Bom Día is a photographic documentation about the Rota Vicentina, a trail located in the Southern Portugal that was hiked in August and September 2022, and at the same time it is a collection of images that were selected in accordance with research on form and on matter. Each photo has the aim of creating harmonical contexts, formally and chromatically, starting from real imagery and obtaining a result that distances itself from what is commonly considered objective.

The standard by which the pictures were selected is based on the interest of the composition harmony, the colors combination and the surfaces finishing. The compositional harmony is based on visual patterns created by the captured subjects. Each shot tries to find its balance by considering the position of the elements in which the gaze lands the most. The multiple subjects coexist in the same space creating an image that is uniform, but complex and dynamic at the same time.

The shot’s choice was driven by subjects that were contextualized in a clear and spontaneous way and did not generate a feeling of intrusion into the scene. The detail pictures exclude the adjacent context and focus on the subject’s characteristics; while on the overall pictures each subject gets distributed in the environment creating a more complex composition based on the position and the direction of who or what composes it.

The chromatic juxtapositions crate affinities or contrasts in the photography, becoming the protagonists of the scene or emphasizing the existing hierarchy with more or less pronounced lighting. Each element reflects the light in a different way creating shadows with different intensities given the different shapes and characteristics. It was fascinating to create complementary relationships inside real imagery and situations, as it was interesting to specifically underline, through light, a subject positioned in a context characterized by similar tonalities.

The choice of shooting people from the back or in a spontaneous gesture gives the shot a generative power, rather than a mortifying one, given the fact that the subject is not conscious of being photographed, thus it does not assume a forced attitude.

This book is therefore a synthesis of a research guided by the intuition and the interest towards what already exists in our shared imagery.