Nacho lopez biography

Ignacio López Bocanegra, nacido en Tampico, Tamaulipas en , fue un fotógrafo mexicano, figura importante en periodismo fotográfico de dicho país en el siglo XX. Estudió en el Instituto de Artes y Ciencias Cinematográficas de a Aprendió fotografía principalmente de Manuel Álvarez Bravo junto con sus influencias de Francisco Monterde, Ricardo Razaetti, el director de cine Alejandro Galindo y el escritor Xavier Villaurrutia. Empezó su carrera fotográfica en una época en la que la mayoría de los fotógrafos fueron por las políticas de México y por el deseo de crear una identidad mexicana más unificada, algo que aprendió a rechazar por Alvaréz Bravo. Sus otros intereses incluían arquitectura, etnografía, jazz y danza contemporánea, casándose con dos bailarinas contemporáneas durante su vida. Casi rechazó la creación de imágenes que hacían a México exótico y prefirió la fotografía de gente común de la Ciudad de México sobre las de la élite política y social. Se le acredita haber sido el primero en México en trabajar con series fotográficas, a las que llamó foto ensayos, hechos para publicarse en revistas semanales en el país. Cerca de la mitad de sus fotografías eran eventos organizados

Nacho López:
tener algo que decir

Textos y curaduría por John Mraz

Explicó su posición crítica al referirse a su temprana educación: “Profunda huella causó en mi ánimo la educación socialista que recibí de adolescente durante el régimen de Cárdenas”. Combinar una preocupación social con una intensa búsqueda formal se ha dado pocas veces en la historia de la fotografía, pero es precisamente esta dialéctica la que hizo a Nacho el extraordinario fotoperiodista que fue.

Sus fotoensayos fueron publicados durante los años cincuenta en las revistas ilustradas más importantes de México, entre ellas: Hoy, Mañana, y Siempre! Así, fue revistero, no diarista, y casi nunca cubrió noticias. De hecho, pienso que su fuerte no fue ni la fotografía espontánea ni el “street photography”. Pero el fotoperiodismo es un campo muy amplio y las capacidades de los y las fotógrafas varían tanto como las de quienes escriben. Al contrario de la percepción popular de él, no fue fotorreportero sino fotoensayista en la mayoría de sus publicaciones.

John Mraz


“La cuestión más importante para un fotógrafo es tener algo que decir sobre la realidad.”

Nacho López ().


Nacho

Nacho López:
to have something to say

A John Mraz exhibition

He constructed his own definition of "lo mexicano" by documenting the plurality of many Mexicos in his photoessays about “worlds apart”. The poor, the prisoners, and the Amerindians who peopled some of his finer photoessays were distant from the middle-class readers of the illustrated magazines. And, they also came from other universes than the homogenous vision offered by the party dictatorship of the pri (Partido Revolucionario Institucional): presidential preeminence, the monopoly of power, the skilled manipulation of mass organizations, and the dilution of class difference and ideology in the dissolvent of nationalism.

He explained his critical position by referring to his early education, “The socialist education I received as an adolescent during the reign of Lázaro Cárdenas () left a profound imprint on my soul.” Fusing social commitment with formal exploration makes him part of a very select company of great photographers, including Tina Modotti, Paul Strand, Walker Evans, Dorothea Lange, Paolo Gasparini, Sebastião Salgado, and the photographer who most he admired and resembles, W. Eugene Smi

Nacho Lopez, born as Ignacio Lopez Bocanegra, was born in Mexico during the year   His father was the manager of sales and advertising of Palmolive Soap.  Watching his father work in this field, created an interest of his own in the area of photography and advertising.  He was gifted a camera from his uncle and began perfecting his craft.  At a very young age, he showed special talent in documentary photography and he started the “Yucatecan Photo Hobby Club”.

In , Lopez began working as an assistant cameraman at the Motion Picture Studies Workers Union.  It was also during this time that he became an assistant to Victor De Palma, a photographer for Life Magazine.  Lopez credits Palma as being his first teacher in the art of photography.

Nacho Lopez is most known for his s photography that documented life in Mexico.  His photographs illuminated life in the slums of Mexico City, which included topics like poverty, discomfort, and daily activities in the community.  These photographs, and stories that accompanied them, were very controversial because they contradicted the prosperous growth the government was trying to promote at the t


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