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  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. Mário posing behind the stage.
    h_00018529.jpg
  • portraits of bodybuilding.
    h_00018559.jpg
  • portraits of bodybuilding.
    h_00018556.jpg
  • portraits of bodybuilding.
    h_00018558.jpg
  • portraits of bodybuilding.
    h_00018557.jpg
  • portraits of bodybuilding.
    h_00018555.jpg
  • portraits of bodybuilding.
    h_00018554.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018553.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018551.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018550.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018549.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018547.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018546.jpg
  • h_00018545.jpg
  • h_00018544.jpg
  • h_00018543.jpg
  • h_00018542.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018541.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. <br />
 André Costa in his first competition.
    h_00018540.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. <br />
 Ricardo Fernandes painting Ricardo Oliveira.
    h_00018539.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. <br />
Rita Sargo, national champion of fitness being painted by Ricardo Fernandes.
    h_00018538.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. <br />
Pedro cerdeira and Ruizinho ( Rui Pereira) national champions of fitness.
    h_00018536.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018535.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.  Ricardo Oliveira, second place in his category.
    h_00018534.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. Eunice Miranda, former boxing champion in her first presentation.
    h_00018533.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.  João Caneco flexing his muscles.
    h_00018532.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018531.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018530.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.  World champion WABBA 2008, the hungarian Daniel Toth and Eunice Miranda.
    h_00018527.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. Milton Anjo overall winner.
    h_00018528.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. <br />
Mario after the competition, cleaning the paint.
    h_00018526.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018552.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old.
    h_00018548.jpg
  • For two years in a row, in a rundown theater in Porto, the Portuguese National Championship of Bodybuilding WABBA happened. Several athletes, from allover the country came to this one day competition. <br />
These are photos from the backstage, where the athletes exercise and get body paint for the stage presentation. The muscles and the gold and brown colors get ready in the confusion of tubes, abandoned wood from different theater plays, photos from the past and dressing rooms with 100 years old. <br />
Rita Sargo, national champion of fitness being painted by Ricardo Fernandes.
    h_00018537.jpg
  • A woman poses with her child near Galata bridge in Istanbul.
    120809-LFC-7305.jpg
  • Monteiro Pedro Alves. Batismo pelo primeiro abate de javali. Montaria da zona de caça municipal de Montargil. Novembro 2013.<br />
<br />
<br />
A pose e a presa<br />
<br />
“Arte” ou “acto”, segundo o dicionário, a caça no meu imaginário sempre foi mais fotografia que taxidermia como se a presa fosse apenas um mero acessório da pose do caçador – o verdadeiro troféu. <br />
<br />
Quando decidi documentar o quotidiano dos caçadores portugueses veio-me instantaneamente à memoria o “cliché” do fotógrafo J.A. da Cunha Moraes, captado durante uma caça ao hipopótamo no Rio Zaire, em Angola e publicado em 1882 no álbum Africa Occidental. O grande caçador branco posava, ao centro da fotografia, com a sua espingarda, rodeado pela tribo local.<br />
<br />
Foi com este cliché que cheguei ao Alentejo em busca dos grandes caçadores contemporâneos. Durante meses a fio, de Mora a Mértola, passando por outros concelhos alentejanos, vi veados, javalis, raposas e corças. Fotografei montarias em zonas de caça associativa e em herdades privadas, caçadores ricos e remediados. Caçadores de carne e caçadores de troféu. Fotografei quem vive da caça e quem a vê como um hobby para alguns fins de semana durante o ano. Acompanhei os diversos tempos e momentos de uma caçada, entre a pose e a presa, o vinho e o sangue, o estampido dos tiros e o murmúrio dos campos.<br />
<br />
Logo nos primeiro dias,  durante uma “enxota” ao javali nos campos de milho de Montemor-o-Novo, tive a sorte de cruzar-me com o José António, mais conhecido por Berras, dono da matilha Tempestade de Mora. A personalidade, conhecimentos e experiência deste caçador e do Nelson, o seu ajudante e amigo, levaram-me a segui-los ao longo de várias caçadas. <br />
<br />
Tive sorte, ouvi histórias de caça, da boca de caçadores conscientes mas também da boca daqueles para quem só importa a quantidade. Encontrei uma população envelhecida, essencialmente masculina, onde os jovens são minoria. Uma espécie ameaçada pelo envelhecimento e pela perd
    Cac¦ºaGrossa_32.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
  • 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
  • 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
  • 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
  • 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
  • "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
  • 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
  • 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
  • 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
  • "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
  • 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
  • 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
  • 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
  • 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
  • Girl from Makua tribe poses by Ilha de Mozambique Great Mosque wall
    0010009moz0001-029.jpg
  • A young woman selling lemons in a street of Bijene, posing for a photograph.
    h_00005820.jpg
  • Despite the foggy morning, tourists pose and take pictures at Belem's Tower. The area of Belem's Tower attracts lots of visitors, both tourists and locals, because of its beauty and peacefulness. Belem's Tower was built in the fifteenth century (1514-1520) as a military fortification. It was recognized as a UNESCO World Heritage Site in 1983.
    D01_2742_torre_belem_fog.jpg
  • Despite the foggy morning, tourists pose and take pictures at Belem's Tower. The area of Belem's Tower attracts lots of visitors, both tourists and locals, because of its beauty and peacefulness. Belem's Tower was built in the fifteenth century (1514-1520) as a military fortification. It was recognized as a UNESCO World Heritage Site in 1983.
    h_00002808.jpg
  • The owner of a pharmacy close to the local market in Ingore. Health facilities are scarce in this interior region of Guinea Bissau.
    h_00005825.jpg
  • Mr. Luis poses for a portrait in Esperança Occupancy, Isidoro area.
    dm-isidoro-015.jpg
  • Crackland near Manguinhos shantytown. A man poses for a portrait.
    dm-crack-001.jpg
  • Crackland near Manguinhos shantytown. A man poses for a portrait using a broken watch and bracelets. People in crackland has a peculiar sense of vanity.
    dm-crack-006.jpg
  • Mrs. Maria and his son, Samuel, poses for a portrait in Esperança Occupancy, Isidoro area.
    dm-isidoro-021.jpg
  • Eduardo poses for a portrait in Rosa Leão Occupancy, Isidoro area.
    dm-isidoro-017.jpg
  • Giovane poses for a portrait in Amor de Deus Recovery Center, Del Castilho, Rio de Janeiro. He is under recovery for about one year.
    dm-crack-017.jpg
  • A man poses for a portrait in Amor de Deus Recovery Center, Del Castilho, Rio de Janeiro.
    dm-crack-016.jpg
  • Crackland near Manguinhos shantytown, Rio de Janeiro. A man poses for a portrait using a hair scarf. People in crackland has a peculiar sense of vanity.
    dm-crack-005.jpg
  • Crackland near Manguinhos shantytown. A man poses for a portrait with a crucifix. Some crack dependents find relief for their suffering in spiritual connections.
    dm-crack-002.jpg
  • A man poses in front of Mustafa Kemal Ataturk portrait, inside one of Istanbul's ferry boats (vapur). Ataturk is considered to be the founder of The Turkish Republic.
    120810-LFC-7712.jpg
  • Worker from Roca Bombaim (Bombay Farm) poses in front of the buildings where used to live the slaves brought to work in this farm. Until the beggining of 20th century a different kind of slavery was put in practise by farm owners that, dispite the end of slavery, took advantage of the fact that free slaves didn't had the money to pay their trip back to Angola or Cape Verde.
    001009stp0001-0011.jpg
  • Tourist poses for a picture at Pamukkale. The hard, white mineral deposits, which from a distance resemble snow, are caused by the high mineral content of the natural spring water which runs down the cliff and congregates in warm pools on the terraces. This is such a popular tourist attraction that strict rules had to be established in order to preserve its beauty, which include the fact that visitors may no longer walk on the terraces. Those who want to enjoy the thermal waters, however, can take a dip in the nearby pool, littered with fragments of marble pillars.
    120806-LFC-4920.jpg
  • A government construction worker poses for a portrait as he cuts a pavement marble stone, in front of the House of Government building. Azeri GDP grew 41.7% in the first quarter of 2007, possibly the highest of any nation worldwide, as the country economy completed its post-Soviet transition into a major oil based economy.<br />
Baku was awarded the right to host of the first European Games, a multi-sport event, and since then the city landscape changed dramatically.
    bc0023.JPG
  • A Reveller with wooden mask and carnival garb poses for several photographers during the traditional Celtic carnival "Caretos" in the village of Lazarim, central Portugal on February 17, 2015. PAULO CUNHA /4SEE
    pc0044.JPG
  • Havaiian surfer Garrett Mcnamara poses with fans at Nazare, Center of Portugal, 28 October 2013. Havaiian Garrett Mcnamara's set the record for the biggest wave ever surfed on January 2013 at Nazaré. PAULO CUNHA /4SEE
    h_00022814.jpg
  • Havaiian surfer Garrett Mcnamara poses with fans at Nazare, Center of Portugal, 28 October 2013. Havaiian Garrett Mcnamara's set the record for the biggest wave ever surfed on January 2013 at Nazaré. PAULO CUNHA /4SEE
    h_00022810.jpg
  • Liebiediev Sergii 24,  Daryna 7, Denys 9, Karyna 12, Viktor 23 pose for a family photo with their grandmother Zinaiida at her house. One week earlier at their house a fire erupted during the night. Their mother rescued the children and went back home to help her husband and mother but the ceiling went down and killed the three.<br />
Last Summer Daryna went to Spain and next vacations Karyna and Denys will go to Spain or to Portugal for the first time.
    29.JPG
  • Hunter and wife pose with a riffle in front of their house decorated with dead animals and bones in Begnimato village. The Dogon Country is the most visited part of Mali with tourists visiting its tipical  villages that can be located on the cliff, on the sandy plain or in the rocky plateau
    080807-LFC-1971.jpg
  • Most of the refugees present in the only refugee camp in Mozambique didn't want to stay in the country but they would like to find an african coountry where they right are better respected. In Maratane Refugee camp there are several nationality, there are refugees from Congo, Ruwanda, Uganda, Darfur, Sudan and in the last six months arrived also a large number of refugee from Somalia and Ethiopia. The son of a congolese refugee pose in his home.
    h_00015776.jpg
  • Most of the refugees present in the only refugee camp in Mozambique didn't want to stay in the country but they would like to find an african coountry where they right are better respected. In Maratane Refugee camp there are several nationality, there are refugees from Congo, Ruwanda, Uganda, Darfur, Sudan and in the last six months arrived also a large number of refugee from Somalia and Ethiopia. A congolese refugee pose inside his house.
    h_00015810.jpg
  • Most of the refugees present in the only refugee camp in Mozambique didn't want to stay in the country but they would like to find an african coountry where they right are better respected. In Maratane Refugee camp there are several nationality, there are refugees from Congo, Ruwanda, Uganda, Darfur, Sudan and in the last six months arrived also a large number of refugee from Somalia and Ethiopia. A Gibuti refugee pose inside his house.
    h_00015808.jpg
  • Most of the refugees present in the only refugee camp in Mozambique didn't want to stay in the country but they would like to find an african coountry where they right are better respected. In Maratane Refugee camp there are several nationality, there are refugees from Congo, Ruwanda, Uganda, Darfur, Sudan and in the last six months arrived also a large number of refugee from Somalia and Ethiopia. A congolese refugee pose inside his house.
    h_00015807.jpg
  • Most of the refugees present in the only refugee camp in Mozambique didn't want to stay in the country but they would like to find an african coountry where they right are better respected. In Maratane Refugee camp there are several nationality, there are refugees from Congo, Ruwanda, Uganda, Darfur, Sudan and in the last six months arrived also a large number of refugee from Somalia and Ethiopia. A Rwandese refugee pose with her doughter.
    h_00015805.jpg
  • Most of the refugees present in the only refugee camp in Mozambique didn't want to stay in the country but they would like to find an african coountry where they right are better respected. In Maratane Refugee camp there are several nationality, there are refugees from Congo, Ruwanda, Uganda, Darfur, Sudan and in the last six months arrived also a large number of refugee from Somalia and Ethiopia. A rwandan refugee pose inside his house
    h_00015781.jpg
  • Inside tomb in the public cemetery in Navotas Manila, the belongings of another family, to the cross of Christ serves to pose a photograph of family.
    h_00023175.jpg
  • A woman of Rio Onor village pose in front of her sheep.
    h_00020480.jpg
  • One of the daughters of Mr. Hani to pose for a photograph.She's dressed to attend the wedding of a neighbor.
    h_00016188.jpg
  • Hindu woman and her family posing for photo at Dashashwamedh Gath by the Ganges River in Varanasi, India.
    140804-LFC-1688.jpg
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