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  • Religion; procession; catholic; extremist; cork; needle; blood; tradition; vatican; church; beliver; devote; holy; mother. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012070.jpg
  • Traces of paper and blood seen on the ground during street procession in Phuket town. Every year during the ninth lunar month of the Chinese calendar, the Phuket Vegetarian Festival kicks off. The religious festival in Phuket, Thailand, lasts for 10 days, during which sacred rituals take place in the many Chinese shrines and temples. Walking on fire and climbing ladders with bladed rungs barefoot are two of several rituals believed to bring good fortune. The main purpose of the festival, however, is spiritual cleansing and merit-making. A chosen few among the participants, called warriors, will pierce themselves with objects such as nails, swords, and knives. The piercing takes place in a shrine and is followed by the most spectacular part of the festival, the street processions: just like in a parade they file along the streets of Phuket, with groups of one or several pierced warriors leading a number of people behind them. Onlookers throw fireworks at them as they pass; these are intended to be as loud as possible as the common belief is that this will banish evil spirits. The warriors walk and dance in a trance-like state, unshaken by the noise.
    h_Phuket Vegetarian Festival 2013okt...jpg
  • The cork disk are disinfected with cheap white wine. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012067.jpg
  • One of the old women that announcing the name of the holy mother gives the cadence of the beating to the Battenti. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012066.jpg
  • Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012065.jpg
  • Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012064.jpg
  • A flagellant watch the street waiting for the beginning of the procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012062.jpg
  • Amoment of the procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012061.jpg
  • The cork disk are disinfected with cheap white wine. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012060.jpg
  • Flagellant during the procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012058.jpg
  • Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012057.jpg
  • A women pray the holy mother that reach the church. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012055.jpg
  • The Holy mother is brought by the people of Guardia Sanframondi untill the entrance of the church. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012054.jpg
  • Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012053.jpg
  • Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012052.jpg
  • Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012049.jpg
  • The cork disk and an image of the holy mother are sold for 2€ to the "battenti". Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012048.jpg
  • The flagellant enter inside the church at the end of the religious procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012047.jpg
  • Al Martinez a native of the area takes on Brian Kononchik at the Reality Fighting match at Plymouth Memorial Hall in Plymouth, MA.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005891.jpg
  • A beaten Al Martinez closes his eyes and leans his head against the wall immediately after losing his fight.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005890.jpg
  • Al Martinez takes on Brian Kononchik this is Al's first fight.   The fight begins well for Al but soon the tides will turn.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005888.jpg
  • Al Martinez has his hands wrapped by his trainer in preparation for his first fight.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005887.jpg
  • Al Martinez a native of the area takes on Brian Kononchik at the Reality Fighting match at Plymouth Memorial Hall in Plymouth, MA.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005883.jpg
  • Al Martinez a native of the area takes on Brian Kononchik at the Reality Fighting match at Plymouth Memorial Hall in Plymouth, MA.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005882.jpg
  • With the match lost, Al is relegated to contemplating his mistakes in the ring sitting ontop of an ice cooler in a corridor.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005880.jpg
  • Al Martinez tests the wrappings on his hands in preparation for his fight. Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005878.jpg
  • A full house looks on as fighters take to the ring for a match of Reality Fighting at Plymouth Memorial Hall in Plymouth, MA.
    h_00005877.jpg
  • Doctors tend to Al Martinez after getting knocked out in the 3rd round, in the background Brian Kononchik is thrust into the air by his manager. Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005876.jpg
  • Al Martineztakes on Brian Kononchik.  Al (bottom) starts feeling the pressure as his opponent starts getting the better of him. Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005875.jpg
  • To the winner go the spoils, Brian Kononchik receives his winner katana after defeating Al Martinez in the ring.
    h_00005874.jpg
  • The long wait for the fight.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005873.jpg
  • Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005872.jpg
  • Al's brother offers him a cold bottle of water after his stunning loss.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005871.jpg
  • Warriors seen during street procession in Phuket town. Every year during the ninth lunar month of the Chinese calendar, the Phuket Vegetarian Festival kicks off. The religious festival in Phuket, Thailand, lasts for 10 days, during which sacred rituals take place in the many Chinese shrines and temples. Walking on fire and climbing ladders with bladed rungs barefoot are two of several rituals believed to bring good fortune. The main purpose of the festival, however, is spiritual cleansing and merit-making.<br />
A chosen few among the participants, called warriors, will pierce themselves with objects such as nails, swords, and knives. The piercing takes place in a shrine and is followed by the most spectacular part of the festival, the street processions: just like in a parade they file along the streets of Phuket, with groups of one or several pierced warriors leading a number of people behind them. Onlookers throw fireworks at them as they pass; these are intended to be as loud as possible as the common belief is that this will banish evil spirits. The warriors walk and dance in a trance-like state, unshaken by the noise.
    h_Phuket Vegetarian Festival 2013okt...jpg
  • Warriors seen during street procession in Phuket town. Every year during the ninth lunar month of the Chinese calendar, the Phuket Vegetarian Festival kicks off. The religious festival in Phuket, Thailand, lasts for 10 days, during which sacred rituals take place in the many Chinese shrines and temples. Walking on fire and climbing ladders with bladed rungs barefoot are two of several rituals believed to bring good fortune. The main purpose of the festival, however, is spiritual cleansing and merit-making.<br />
A chosen few among the participants, called warriors, will pierce themselves with objects such as nails, swords, and knives. The piercing takes place in a shrine and is followed by the most spectacular part of the festival, the street processions: just like in a parade they file along the streets of Phuket, with groups of one or several pierced warriors leading a number of people behind them. Onlookers throw fireworks at them as they pass; these are intended to be as loud as possible as the common belief is that this will banish evil spirits. The warriors walk and dance in a trance-like state, unshaken by the noise.
    h_Phuket Vegetarian Festival 2013okt...jpg
  • Warriors seen during street procession in Phuket town. Every year during the ninth lunar month of the Chinese calendar, the Phuket Vegetarian Festival kicks off. The religious festival in Phuket, Thailand, lasts for 10 days, during which sacred rituals take place in the many Chinese shrines and temples. Walking on fire and climbing ladders with bladed rungs barefoot are two of several rituals believed to bring good fortune. The main purpose of the festival, however, is spiritual cleansing and merit-making.<br />
A chosen few among the participants, called warriors, will pierce themselves with objects such as nails, swords, and knives. The piercing takes place in a shrine and is followed by the most spectacular part of the festival, the street processions: just like in a parade they file along the streets of Phuket, with groups of one or several pierced warriors leading a number of people behind them. Onlookers throw fireworks at them as they pass; these are intended to be as loud as possible as the common belief is that this will banish evil spirits. The warriors walk and dance in a trance-like state, unshaken by the noise.
    h_Phuket Vegetarian Festival 2013okt...jpg
  • A warrior seen cuting himself with an ax during street procession. Every year during the ninth lunar month of the Chinese calendar, the Phuket Vegetarian Festival kicks off. The religious festival in Phuket, Thailand, lasts for 10 days, during which sacred rituals take place in the many Chinese shrines and temples. Walking on fire and climbing ladders with bladed rungs barefoot are two of several rituals believed to bring good fortune. The main purpose of the festival, however, is spiritual cleansing and merit-making.<br />
A chosen few among the participants, called warriors, will pierce themselves with objects such as nails, swords, and knives. The piercing takes place in a shrine and is followed by the most spectacular part of the festival, the street processions: just like in a parade they file along the streets of Phuket, with groups of one or several pierced warriors leading a number of people behind them. Onlookers throw fireworks at them as they pass; these are intended to be as loud as possible as the common belief is that this will banish evil spirits. The warriors walk and dance in a trance-like state, unshaken by the noise.
    h_Phuket Vegetarian Festival 2013okt...jpg
  • Warriors in costume seen during street procession in Phuket town. Every year during the ninth lunar month of the Chinese calendar, the Phuket Vegetarian Festival kicks off. The religious festival in Phuket, Thailand, lasts for 10 days, during which sacred rituals take place in the many Chinese shrines and temples. Walking on fire and climbing ladders with bladed rungs barefoot are two of several rituals believed to bring good fortune. The main purpose of the festival, however, is spiritual cleansing and merit-making. A chosen few among the participants, called warriors, will pierce themselves with objects such as nails, swords, and knives. The piercing takes place in a shrine and is followed by the most spectacular part of the festival, the street processions: just like in a parade they file along the streets of Phuket, with groups of one or several pierced warriors leading a number of people behind them. Onlookers throw fireworks at them as they pass; these are intended to be as loud as possible as the common belief is that this will banish evil spirits. The warriors walk and dance in a trance-like state, unshaken by the noise.
    h_Phuket Vegetarian Festival 2013okt...jpg
  • Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012068.jpg
  • The battenti hold in their hand a cross with the image of the holy mother for all the time of the procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012069.jpg
  • Some flagellant wait the beginning of the procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012063.jpg
  • Some flagellant wait the beginning of the procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012059.jpg
  • Preparation of the "sponge", a disk of cork with 20/40 needle that will be used during the religious procession by the "Battenti". Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012056.jpg
  • A women that will participate to the procession as battente is holdin in her hand her cork disk. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012051.jpg
  • Flagellant participating at the religious procession. Every seven years in August  in a small village named Guardia Sanframondi , a one-week long catholic procession, the “Riti Settennali” takes place. <br />
From Monday to Friday the flagellant walk in the street of the medieval village striking their back with small strips of metal to honour the Assumption of the Virgin Mary. The last day, Sunday, the Virgin Mary from the main church is carried around the village and venerated by the “Battenti”. The “Battenti” are men that decide to commemorate the Assumption of the Virgin Mary beating their own chest with a cylindrical peace of cork pierced with needles (between 25 and 45).
    h_00012050.jpg
  • Al Martinez listens to the prefight rules meeting where all fighter are told what is and isnt allowed for the evenings fights. Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005892.jpg
  • Trainer Tim Gillett cuts Al Martinez's hand wraps after he lost his fight. Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005889.jpg
  • Al Martinez's trainer Tim Gillette talks with Al after a tough first round as the card girl smiles to the crowd as she walks by.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005886.jpg
  • Al Martinez psyches himself up before entering the ring.  Al Martinez was a boxer before contemplating a shot at Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005885.jpg
  • Al's trainer applies a thin coat of Vaseline to his face before the fight begins, to keep the damage from his opponents punches to a minimum. Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005884.jpg
  • A dejected Al Martinez sits atop a water cooler after losing his fight, in the background another fighter ices his face in the mirror.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005881.jpg
  • Referee waves the fight over after Al Martinez gets knocked out in the 3rd round, in the background Brian Kononchik raises his arms in victory.  Al Martinez was a boxer before contemplating a shot a Ultimate fighting, this was Al's first and last fight after losing it.  Ultimate fighting is a mixed martial arts type of fighting where almost any type of strike is possible.  Anything from punches to kicks to knee thrusts are legal, creating a type of extreme fighting in the ring.  The popularity of ultimate fighting in the United States has skyrocketed since the mainstream media has given it greater coverage.
    h_00005879.jpg
  • Before the shooting Kim had received treatment for kidney duct cancer. After he got shot he kept having the cancer rate in his blood checked; there was no sign of deterioration. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017283.jpg
  • As Carlos' mother serves him lunch, Carlos reacts after finding out his blood sugar was too high (510). Time for an insulin shot. Carlos Raposa, 49, has lived with diabetes since he was 21. Mr. Raposa had both legs amputated from the knees down due to complications from the disease. Mr Raposa lives in Fall River and visits his mother regularly who lives close by. She cooks for him and helps him deal with the crippling condition he has been dealing with.  As his condition has worstened over the years Carlos has had greater difficulty dealing with his condition.  Increasingly, Carlos has fallen greater into depression and has turned to smoking and drinking to deal with it.  What used to be monthly visits to the hospital has turned into weekly excursions with ever longer stays in hospital.  Family members have become ever more worried about Carlos' drop in weight and his inability to move on his own any longer.  For someone who was an athletic figure, Carlos has become a shadow of his former self.
    h_00015525.jpg
  • Carlos tests his blood sugar before eating a warm lunch his mother prepared for him.  Carlos Raposa, 47, has lived with diabetes since he was 21.  Mr. Raposa had both legs amputated from the knees down due to complications from the disease.  Mr Raposa lives in Fall River and visits his mother regularly who lives close by.  She cooks for him and helps him deal with the cripling condition he has been dealing with.  As his condition has worstened over the years Carlos has had greater difficulty dealing with his condition.  Increasingly, Carlos has fallen greater into depression and has turned to smoking and drinking to deal with it.  What used to be monthly visits to the hospital has turned into weekly excursions with ever longer stays in hospital.  Family members have become ever more worried about Carlos' drop in weight and his inability to move on his own any longer.  For someone who was an athletic figure, Carlos has become a shadow of his former self.
    h_00015515.jpg
  • Adelina Martins have 92 years old, Is bedridden 14 years because of the weight, weighs over 150 pounds and also because of poor blood circulation
    222.jpg
  • Kim doing exercises in bed at home. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017299.jpg
  • Kim having cramps while lying in bed. From the day he was shot in May 2010 until November 2011, Kim spent almost every day in his bed at home. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017294.jpg
  • Kim's hand on the railing of his bed. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017289.jpg
  • Because Aor needed to stay at home and take care of Kim after he was shot, the family had no income. Aor made squeezable cushions that she sold for 20 baht (USD 0.65) apiece and also did laundry now and then. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017288.jpg
  • View from Kim and Aor's apartment. Kim's condition deteriorated on 9th November, 2011; he was put on a ventilator in an intensive care unit room at Mahesak Hospital in Bangkok. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017282.jpg
  • Kim passed away on February 23, 2012 at the age of 55. He leaves behind his wife and three children. The cause of death was a combination of physical weakness and a pulmonary infection. No one has been held accountable for the shooting of Kim. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017287.jpg
  • Kim doing exercises in bed during the day in his home. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_00017285.jpg
  • João António, hunter, 87 years old.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_28.jpg
  • Luis Orvalho giving a speech with safety rules before the hunt. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_30.jpg
  • Hunting landscape. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_31.jpg
  • João Pedro Pereira, 19 years old, first time killer of wild animal. Hunting initiation ritual. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_29.jpg
  • Hunting association, Casa do Povo da Amieira do Tejo.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_26.jpg
  • Hunted deer on hold for review by the veterinary team.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_27.jpg
  • Hunting association, Casa do Povo da Amieira do Tejo. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_25.jpg
  • Antonio Alves, forest ranger.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_22.jpg
  • Hunted deer. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_24.jpg
  • At the end of day collecting hunted deers and fawns in a private estate.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_23.jpg
  • Paula Simões with two partridges.<br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_20.jpg
  • Dogs in pursuit of a deer.<br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_17.jpg
  • António Manuel Barata shooting a deer. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_18.jpg
  • Fernando Melo Gomes, Jacinto Amaro and Constantino Reis in conversation at the end of a day of hunting.<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_15.jpg
  • Crossing a winter river.<br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_14.jpg
  • Ana Parreira, tracking dog handler. <br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_08.jpg
  • "Berras" and his tracking dogs. Montaria na Herdade da Serranheira, Fevereiro 2014.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_13.jpg
  • Ricardo Mira, Mário Pulido e Luis Orvalho at the end of hunting day with the hunted wild boars.<br />
Herdade da Serranheira, Fevereiro 2014.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_12.jpg
  • Daniel Pinto, hunter.<br />
<br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_09.jpg
  • Tracking dogs grabbing a wild boar Herdade do Pedrogão em Montemor-o-Novo. Setembro 2013.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_10.jpg
  • Luis Parreira collecting his dogs after a hunting day.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_05.jpg
  • Traditional breakfast at a local hunting association, Mora.<br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_04.jpg
  • José Troco directing the draw of hunting places. © Antonio Pedrosa<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_03.jpg
  • In the early morning Carlos Ferreira waits. © Antonio Pedrosa.<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_02.jpg
  • Nelson Cristeta loosing his pack of hunting dogs in the beginning of the hunt. November 2013 © Antonio Pedrosa.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_01.jpg
  • Kim at Mahesak Hospital in Bangkok. At this point he was paralyzed from the neck down and could neither speak nor breathe. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_20120110-AW-0017.jpg
  • Maria Teresa, huntress.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_21.jpg
  • José Teixeira cosé Teixeira with his lucky cap. <br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_16.jpg
  • José Pinguelo climbing the escarpment with the head of a deer.<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_19.jpg
  • "Berras" pulling the slaughtered boar for a visible area for better picking. "The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_11.jpg
  • A running herd of deer, February 2014<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_07.jpg
  • "Berras" playing the conch to call his tracking dogs.<br />
<br />
<br />
"The Pose and the Prey"<br />
<br />
Hunting in my imagination was always more like taxidermy — as if the prey was just a mere accessory of the hunter's pose for his heroic photograph — the real trophy.<br />
<br />
When I decided to document the daily lives of Portuguese hunters, I had in my memory the "cliché" from the photographer José Augusto da Cunha Moraes, captured during a hippopotamus hunt in the River Zaire, Angola, and published in 1882 in the album Africa Occidental. The white hunter posed at the center of the photograph, with his rifle, surrounded by the local tribe.<br />
<br />
It was with this cliché in mind that I went to Alentejo, south of Portugal, in search of the contemporary hunters. For several months I saw deer, wild boar, foxes. I photographed popular hunting and private hunting estates, wealthy and middle class hunters, meat hunters and trophy hunters. I photographed those who live from hunting and those who see it as a hobby for a few weekends during the year. I followed the different times and moments of a hunt, in between the prey and the pose, wine and blood, the crack of gunfire and the murmur of the fields .<br />
<br />
I was lucky, I heard lots of hunting stories. I found an essentially old male population, where young people are a minority. Hunters, a threatened species by aging and loss of economic power caused by the crisis in the South of Europe.<br />
<br />
The result of this project is this series of contemporary images, distant from the "cliche" of 1882.<br />
<br />
— Antonio Pedrosa
    Cac¦ºaGrossa_06.jpg
  • Aor points to the bullet that was not removed from Kim's body. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_20110921-AW-0005.jpg
  • Surgery scars on Kim. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_20110921-AW-0004.jpg
  • A board was put up to help Kim and Aor remember important things. On May 14, 2010 during the political disturbance between Red Shirts and army personnel in Bangkok, Thailand, Kim was shot three times while walking to a 7-Eleven to pay his family's bills. He was rushed to Kluay Nam Thai Hospital for life-saving surgery. The most dangerous bullet entered close to his spinal cord and penetrated his lung; it was removed during surgery, but the damage it caused resulted in breathing problems, paralysis, and other severe health issues. The second bullet had not penetrated very deeply and was easier to remove. However, due to the large amount of blood Kim had lost, the doctor considered further surgery too risky: the third bullet had to remain in his body.
    h_20110918-AW-0011.jpg
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