JC: always worked on the street. At first with 6 - 6, a Ikoflex and Rolleiflex. Then, the passion

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JOAN COLOM (JC): I joined the Group in May 1957, when he was 36, but I have no idea how I ended up there. Before esenmomento had not had any special interest in photography, although commedia a la carte a couple of years before I had come to blows a small camera Italian, one Condor, with which I made my first photographs, without any pretense. Someone took me to the Partnership and spent the first year watching and listening. At that time the Association had much effervescence passed Haas, Steinert, Giacomelli ... There I saw many international exhibitions. I started reading Photographic Art. I discovered what was an angular and since then I have not used any other purpose. In the Group I Confraternice with Ontañón, Cubaro and Forcano. I also met
Maspons, Masats and Miserachs, although its presence commedia a la carte in the Rally was very short. Maspons had arrived from Paris after a long stay, and that atmosphere, very traditional or academic in some ways, he was too small, as some others also sensed that moment of change. A Masats and Miserachs practically the same thing happened.
JC: The group was formed in 1960 and rose from the same vibrant and innovative spirit of some of us, it took us to find out our concerns. We wanted a direct photography without aestheticism, realistic and with a theme, not just beautiful and isolated images. We wanted a photograph that captures life, living the street. An approach which departed from the moment rather academic criteria. Munt were Jordi Garcia Pedret, Ignasi Marroyo (with whom I worked professionally for a year and a half) and me. We respect of four photographers commedia a la carte Terrassa: Josep Maria Albero, Antoni Boada, Josep Bros and Jordi Vilaseca. Our point of meeting once a month, was halfway between Barcelona and Terrassa, a restaurant in Les Planes. Sometimes, Josep Maria Casademont head of the table. There, among a good lunch of fried eggs and sausage, born group. We taught them the pictures and we critiqued. We participated in many international exhibitions commedia a la carte in Belgium, commedia a la carte Holland, Germany ...
JC: It all started unknowingly then, when in late 1958 I discovered Chinatown commedia a la carte and was so impressed that, without commedia a la carte losing interest by other facts of life in the city, I dedicated myself thoroughly. I saw that my world was there. I was fascinated by its diversity, its social wealth. That struck me! I was deeply attracted to the human qualities of the characters. For two years I spent all full weekends there. This he continued to share with competitions. However, as was seeing the results of my work in Chinatown commedia a la carte grew my enthusiasm and dedication. In addition, commedia a la carte the stimulus for me represented the views of people like Casademont, Maspons and Masats, and the interest of the best photography magazine of the moment, AFAL, my work was added. I understood that competitions had no reason to be for me and my path was to be one, so I left. In my view, the contests are fine as photographic activity of organizations and companies or institutions that organize various purposes. They can also be a starting point for beginners, as in my case, or a source of benefits for regular participants. But since then, with only two exceptions that I'm sorry, I worked for my own satisfaction.
JC: always worked on the street. At first with 6 - 6, a Ikoflex and Rolleiflex. Then, the passion for the story took me to a first Leica, G series, until to work in the neighborhood Chinoadquirí a Leica M2. Since 1959 and until recently this has been my only camera that still works perfectly.
JC: When I considered I had to do that job, as imperative, I had to invent a system to photograph in that environment. There were three key factors to consider: spontaneity, integrity and continuity. That is, the work system should allow me to take pictures regularly and continuously, week after week, without endangering my physical integrity and without losing the ability to trap situations alive and spontaneously. For example, there are images of Brassaï and Cartier-Bresson showing scenes of prostitution, but it seems that in complicity with the characters, so I know. This was not my purpose. For me it was basic shooting without looking through the viewfinder. I bought a Canon lens 1.8