Story of an obsession: Interview with Lita Bosch

by • 13. January, 2014 • All, Featured, Interviews, PhotographyComments (0)12715

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For me working with Lita is always a surreal experience. A portrait artist and a muse and model for fellow photographers (myself included), she’s 26, born in Barcelona and currently based in London.

How did it start?

It all started in a very unconscious and intuitive way. I was studying Cinematography in Barcelona, and somehow unhappy with the studies process I decided to try it my way, out of class. Cinema sometimes can be too slow on results, what I love about photography is that you get it straight away, just in a click.

So I called two friends and rented a studio for a few hours. When we finished, I was feeling high. I haven’t felt that in a long time. I wanted more.

I quit school, and a few weeks later, I started shooting in my own studio, a place with low ceilings and no windows. And there I stayed for two years, shooting compulsively faces of friends, friends of friends, actors, and dogs.

Tell me about “Portrait Studies I”. And why is it all about portrait?

Portrait Studies I, is the end of a chapter. The need of organizing the two years of files dropped on my hard disk. The need of understanding “the why’s ” of an obsession and the way it developed. It’s a diary of notes on the portraits, from the day I started till the day I closed the door of my studio in Barcelona for the last time. The book will be self-published this spring.

What are your motivation, inspiration and references?

The desire to unveil the mask behind a human face, knowing that the expressions you can capture are unlimited, is my main motivation. Not knowing what will come out of them, out of me, and the excitement you experience when you know that something special will endure forever.

The inspiration started with a portrait I saw of Julia Hetta on the cover of Acne Paper. There was something in the model’s gaze that provoked me goose bumps. I tried to emulate that look, by imitating the light and the pose, but realized that it was not possible; a gaze can only be captured once.

It’s hard to say where all my references come from. We live in a world overloaded with images. It overwhelms me.

How does being a model for others influence your own work?

A year after I started shooting portraits I had the desire of being photographed by other photographers. In a way I needed to experience how it felt to be in front of the lens with somebody behind. Taking a portrait can be a very psychological and intense action, and you need to connect with the photographer. I’m used to self-portraits, I usually take them when I’m feeling miserable and blue. It’s easy when no one is there; you just have to let yourself be. But when it comes to catching the feelings, you gotta trust whoever is in charge of pressing the shutter.

What’s next?

Now I’m based in London, and there I have my second studio. That’s a small studio with big windows and tall ceilings. My first studio had no windows, so I was always forced to use continuous lighting. Now I want to start ” Portrait Studies II “, analysis and notes on available natural light. I guess it’s all about an obsession, and I’m just sharing it with you.

Don’t think I’m a weird one living in the darkness of my studio (smiley face). When not thinking in portraits, I’m out there observing and living and snapping what I want to remember with my analogue point & shoot camera. You can check my public diaries on my website

Interview by Jekaterina Nikitina,


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