In the world of photography, beauty plays an immensely important role. It is one of our main guides when choosing a subject, a frame, the perfect time of day to press the shutter, or even when seeking a state of mind that helps us connect with the visual beauty we long for. However, despite the power beauty holds in the photographic experience, we must acknowledge that it is not a constant or stable goal.
Like any other resource, over time this pursuit of beauty can lead to a certain weariness, a loss of motivation. We become desensitized to beauty, and that initial spark, which once burned so intensely when facing captivating scenes, gradually begins to fade. Eventually, simple beauty is no longer a driving force; it no longer generates the urge to seek out the next scene, the next perfect composition. It becomes something familiar, just another element among the many we handle in the world of photography.
It is then that one stops settling for appearances, for pleasant shapes and balanced tones. That stage is already behind us, and other realities begin to call. One seeks content, meaning, an experience or feeling that allows the image to transcend itself, layered with knowledge, stories, lived moments, different realities.
The photograph that accompanies this text is a clear example of that natural evolution in the photographic journey. It is not about creating a beautiful image, although it may possess a certain kind of beauty, but rather an image with soul, with history, with a deep essence. An image that evokes sensations at first glance, that transports us to other times, to unknown realities. Its strength is neither superficial nor fleeting; it does not fade with passing looks. It is deeply rooted in its own history and in the meanings it contains.
The interior of this coal-washing tower in Páramo del Sil is absolutely striking. It is a historic building, of vital importance to its people and essential for understanding their past, their origins, their way of life. Its walls contain the lives of many individuals, their memories, their years of dedication, their hopes and dreams. And despite all its significance, today it stands abandoned, completely forgotten by public institutions, which, under a shameful layer of neglect, are allowing it to die. This is the kind of photography that transcends, that leaves a mark through its contrasts and contradictions. Its content is not beautiful, nor does it need to be. Because once you cross that threshold, the concept of photography undergoes a metamorphosis that is, by its very nature, irreversible and definitive, and it will accompany you in every new photograph, in every new shot.
