Gustavo Minas, the Brazilian-born photographer based in Brasília and São Paulo, crafts visual essays in color that feel like living paintings—full of reflections, architectural geometry, people in motion, and sharp contrasts. Although his inner world is dense and cinematic, his camera gear has evolved with intention and clarity.
Gear Journey: From Fuji X100 to X‑Pro3
Fujifilm X100 (2014–2016)
Minas discovered Fujifilm in 2014 when his DSLR broke. He borrowed an X100 and immediately fell in love with its slide-film color aesthetic and compactness. He then transitioned to the X‑Pro1 with a 27 mm lens, giving him more compositional control and a 41 mm equivalent field of view, better suited to Brasília’s urban scale.
 |
| Fujifilm X100 |
Fujifilm X‑Pro1 → X‑Pro2
In 2016, Minas upgraded to the X‑Pro1 + 27 mm and the versatile 18–55 mm zoom, which allowed him to work with layered reflections and unified depth, blending planes into visual metaphors.
 |
| Fujifilm X-Pro1 |
 |
| Fujifilm X-Pro2 |
Fujifilm X‑Pro3: The Current Main Tool
Since 2018–19, Minas has relied primarily on the Fujifilm X‑Pro3 for his projects. The X-Pro3’s discreet rangefinder-style body, hidden LCD, and fast lens handling enhance photographic mindfulness—letting him remain immersed in the act of seeing rather than checking images. He's often paired it with the XF 18–55 mm or fixed primes, particularly to capture his layered compositions in Brasília’s chaotic Rodoviária Central bus station and street scenes. As he wrote:
The combo was as compact as the X100s, but the 41mm focal range suited me best… I switched to Fujifilm X‑Pro2… its shutter lag reduction and faster image writing were critical.
The Visual Work: Light, Architecture, Emotion
Minas’s most celebrated work centers on Brasília’s intercity bus terminal (Rodoviária Central)—a massive glass-and-concrete maze with infinite layering. Since 2015, he’s documented it in a long-term visual investigation that won the Pictures of the Year Latam award in 2017, led to his book Maximum Shadow Minimal Light, and featured at the 2021 Venice Biennale and solo exhibitions in Hamburg and São Paulo.
Using controlled color palettes, harsh mid-afternoon light, and visual depth created through windows, columns, and people in motion, his images feel kinetic and immersive. He’s also explored series in Havana (Frente Fria), employing softer natural light and muted tones, creating work that is emotionally resonant and formally disciplined.
Visual Philosophy & Approach
-
Discreet and uninterrupted: The no-screen and low-lag feel of the X‑Pro3 keeps him mental in the scene. He emphasizes minimal distraction—what Fujifilm calls “invisible operations”—to stay present.
-
Intentional color, often leveraging the Classic Negative or Acros film simulations to evoke analog film tone and deepen emotional layers.
-
Mindful repetition: His bus station series is a meditative project—shooting the same location repeatedly, observing patterns, light, and form evolve over time.
 |
| Fujifilm X-Pro3 see it on Amazon |
Why the X‑Pro3 Fits His Work
-
The optical + EVF hybrid viewfinder helps him anticipate layers and reflections better.
-
The hidden LCD reinforces visual discipline—it encourages viewing with a sense of immediacy, not review.
-
Responsive shutter and high ISO performance allow him to shoot into shadows and near motion blur with clarity.
-
Film simulations in camera speed his workflow so he can spend more time observing and shooting, not editing.
Final Thought
Gustavo Minas’s gear may seem modest—no super-telephoto, no pro DSLRs—but his vision is anything but. Anchored by the Fujifilm X‑Pro3 and a tight lens selection, he's built an aesthetic of layered light, urban rhythm, and human presence. His approach proves that in street photography, it's not the gear—it’s the way you see.
You can explore his work on his official site and through his Domestika course, and follow his visual journeys on Instagram @gustavominas.