The last few days have been a bit crazy as I tackled some Murphy Law technical issues in order to have Caos finished today. After a failed first render (my bad actually, in all haste I accidentally unsynced the sound in a couple of scenes), yesterday I had two computers rendering and compressing the film simultaneously. It seems such redundancy kept Murphy at bay, as both finished without any trouble. I just watched a compressed MPEG, and it’s allright. And that is just as well, as the avant-premiere is scheduled for… today.

So if you’re in the Porto or whereabouts, you’re invited to drop by Teatro Nacional S. João at 6.30pm. See you there.

Here’s the poster for my new film Caos, right now in the final stages of editing. Like last year’s Damião, Caos is an adaptation of texts by Pedro Estorninho, this time about a surreal group of Portuguese expats in France who meet at the same Portuguese coffeehouse.

Here’s a teaser video. I’ll post more information about the first preview screening soon.

Casa da Musica II Oct 25th

Casa da Musica I Oct 25th

Casa da Musica III Oct 25th

Casa da Musica IV Oct 25th

After a few years of relative distance, in 2012 I went again on a camera-collecting spree. Recently I got an Asahi/Pentax Spotmatic SP from the 1960s, along with an East German 50mm Carl Zeiss clone which might be the best lens I've got (testing on my DSLR suggests so!). I exposed a couple of rolls in it, and I sure liked the results.

Here are a few photos taken around Rem Koolhaas' concert hall. These are somewhat touristy, but what the hell — I like them. Nostalgia for the years of public money spent on lavish construction projects?

Douro Oct 15th

Burnt film Oct 15th

Garage Oct 15th

Gate Oct 15th

Douple exposure Oct 15th

D. Luis Bridge Oct 15th

Boavista Blvd Oct 15th

Taken with my Voigtlander Bessa-L and an adapted Tamron 28mm lens that makes the camera look quite badass.

My mind was somewhere else at the end of the roll of so I briefly opened the camera before rewinding, ruining some of the exposures. Oops, my bad. Anyway, when I took the film to the lab I specifically requested that they digitize every single exposure, no matter how awful it looked. And as (unfortunately) expected, they instead decided to curate my own photos for me, so I had to digitize some of the damage I found interesting (examples one and two) using my own terrible flatbed scanner. Next time I'll take my business elsewhere.