A Photo Essay on Visual-Mag


Un "Photo essay" con una selezione di fotografie tra l'Adriatico e New York

pubblicato sulla rivista canadese di design  



- A quarterly showcase of material culture designed to inspire creative thinkers -

















In my research into winter sea, my photo sessions usually start at dawn, when I leave Bologna by car and drive alone to resorts on Italy's Adriatic coast, full of tourists in summer, theatrically desolate landscapes in autumn and winter.

Then I start walking. I usually find my images by foot, walking streets I've never seen before, although these seaside resorts, adapted for tourist use since the 1960s, are often very similar to each other.

When I have defined my area of interest, I start to search for an "empathy" between me and the landscape I see in the camera. This empathy is not a "decisive moment", just my fine-tuning the places and spaces I decide to photograph.

It's a process that can take a lot of time before the shot. 

Over the years I have reduced the number of my shots and increased the time spent on each one.

In other occasions, for example when I'm doing travel photography, I have a more instintive approach with the shooting, trying to record an atmosphere or seize a moment, especially in urban contexts.

I'm fascinated by the hint of a human presence or the contrast between "small" human silhouettes and a large landscape.

Snapshots help reduce the visual complexity of reality.

We only rarely manage to concentrate, to read the spaces and the objects around us with the attention that their photographic depiction allows us when we can reflect at our leisure.

So in my work I also attach importance to the selection, made later, of printed photos. 

I use colour film with reflex cameras and moderate wide-angle or 50mm lenses, without filters.

Sometimes I use a Polaroid or digital camera just to have a general view of the light.

Since 1995 I have taken photos almost daily, updating a kind of diary of the everyday life of me and my friends.



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