ALPA cameras take a leap back in time. The Swiss photographer of the brand, Hans Rupp, together with the photographer Maria Pedro Fonseca had access to the historic Palacio National da Ajuda (Lisbon) to document its current state. A building that has been waiting 222 years to be fully finished.
Ehe project of documenting the situation of the Portuguese palace using ALPA cameras began to take shape in the summer of 2017. The photographers Hans Rupp and Maria Pedro Fonseca, together with the photographer Rosa Araci - responsible for the making-of - spent some time adjusting to the conditions of the building as well as the configuration of the ALPA 12 MAX. In this preparatory phase of the project, Hans Rupp mainly used a Rodenstock / ALPA HR Alpagon 4.0 / 32 mm FPS SB17 lens with electronic shutter and the ALPA Silex as control module. This configuration proved to be perfect for the entire subsequent project.
«The biggest challenge was the limited space. Most of the corridors are relatively narrow and this makes it difficult to create depth. The smallest rooms measure approximately 10 by 10 metres and were rather small for our recordings..”comments Rupp on the details of the project.
Perfect conditions for Rodenstock eShutter 250
Rodenstock lenses are known for their excellent resolution and offer the possibility of changes. For the palace photography, Rodenstock provided not only the 32 mm optics, but also the 90 mm optics. Both are very suitable for indoor shooting and were also equipped with the Rodenstock eShutter 250 electronic shutter.
The eShutter 250 can be installed on all Rodenstock / ALPA lenses and serves to remotely control the aperture and shutter of the camera. The maximum exposure time of the eShutter 250 is 126 seconds and in use, it offers photographers three clear advantages over a conventional copal lens:
- Comfortable working with long exposure times
- Easy-to-execute exposure and bracketing series
- Convenient (remote) activation in difficult camera locations.
«The lighting conditions in the palace make long exposures necessary, and this is precisely what makes the eShutter 250 an excellent field of application. In addition, the Rodenstock optics in a medium format system are the best solution for an extremely rich and valuable interior with wall carpets, vases, etc.” concludes Ralph Rosenbauer, Head of Development at ALPA.
Compared to the predecessor Rodenstock eShutter 125, the new solution differs not only in speed (1/250 s instead of 1/125 s), but also in handling. The eShutter 250 can be operated with the ALPA eShutter Control, whereas previously a computer or the Sinar eControl control unit was required. Especially for work outside the studio, ALPA eShutter Control will further simplify the work of photographers, as the handling not only saves space and weight, but also allows direct control of the camera.
The Rodenstock eShutter 250 is available on request as a retrofit option at a surcharge for all ALPA / ALPA Rodenstock targets. The ALPA eShutter Control lever will soon be available from ALPA.
The history of the palace: a mirror of history
The project will be presented in the form of an exhibition to the public and its authors hope that the result will fascinate them as much as it has fascinated them.
“The Palace, among other things, captivates me with its character as a public museum, and some of the rooms are not only exhibits, but are also used; for example, the large dining room is used for official government receptions.«. says Rupp.
The history of the building dates back to the Lisbon earthquake. In 1755 it destroyed practically the entire city, including the royal residence, the Palácio da Ribeira, on the banks of the Tagus River. The urgency of building a new palace and the fact that the royal family survived the disaster because they had stayed in the Belém/Ajuda district, which was hardly affected by the earthquake, were probably reasons for choosing to build the palace in the village of Ajuda. Fearing further earthquakes, the first palace was built of wood in 1761 and received the nickname “Real Barraca”. A fire in 1794 destroyed it, along with much of its valuable belongings.
The rulers created it again in its present form. However, the construction of the new palace was halted several times. Financial problems, political upheavals and, as a low point, the flight of the royal family to Brazil in 1807 for fear of Napoleon's troops thwarted the builders' plans. When Dom João VI returned to his court from Brazil in 1821, the palace was still unfinished and could only be used for protocol ceremonies.
Two years later, King Miguel selected the Ajuda Palace as his residence and forced it to be completed. With King Louis, Ajuda Palace finally came to life. In 1862 Louis married the Princess of Savoy, the daughter of the Italian King Vittore Emanuele II. In the same year, changes began to the interior decorations: parquet flooring, stucco ceilings, murals and new furniture for the corridors. Wedding gifts from Italy also served the new decoration.
The last inhabitant of Ajuda Palace was King Manuel II. He was the son of Don Carlos, who was the victim of an assassination in Lisbon in 1908. Manuel II did not remain on the throne for long. He abdicated in 1910, left the palace and went into exile.
Since 1996, the corridors and facilities have been restored in accordance with historical research. In 2013, Dr. José Alberto Julinha Ribeiro was elected as the new director of the Palazzo Nacional da Ajuda. His aim is to restore the palace to the importance it has in Portugal's history. Thanks to his approval, the photographers' work at the palace has been made possible.
Only less than half of the palace has been built to date. This year, officials began work on the unfinished west side. The visualisation below shows what the final $15 million building should look like. Visitors will have access to the building from the west and will soon be able to admire the Portuguese crown jewels.
