Many people believe that the poster has been photoshopped and turn very surprised when they find out they were wrong. How did you shoot this photo and who’s the model?
It has already happened during the shooting for the series “Flying women” in which I took photos of flying girls. Some believed that it was a photomontage, but obviously it is not since I believe in the authenticity of photography. I want to turn what I see into real facts. Photoshop can be useful for making some little adjustments, but the essence of the photograph must be a representation, although subjective and personally interpreted, of reality. The model is Lucia Camozzi. She’s a gymnast of the artistic gymnastics team of Corinaldo.
You were born in the city of photography - how much does it mean for your career?
The Photography School of Misa in Senigallia has played an important role in my life. I got inspired then by Mario Giacomelli, the most popular artist who broke away from the Scuola. Giacomelli really gets inside people’s souls through the simple contemplation of his works. In Senigallia, it is possible for everyone to see Giacomelli’s works, in public institutions, in private rooms and offices. Personally, I had the honour of meeting him quite often and so to get to know him better. His great personality and his artistic influence definitely caught my attention. I was young, at the beginning of my career, I was still learning when I met him. At a certain point I decided to take my own way, but following Giacomelli’s teaching.
Arte, the monthly magazine, puts you among the 10 young talented artists of the Italian photographic scenery. How do you feel about this appreciation?
The Arte magazine published those articles about me years ago. I was young and I had just won the first place’s award for Canon Giovani Fotografi, this particular event certainly gave me some popularity in the national scene and also gave me the chance to enter the Contrasto’s company where I’ve been working for 20 years. I live my first time in the company over and over. This job gets continuously new and you can never tell if you’ve reached the end, you can never distract yourself either run out of imagination, you have to feed your mind constantly with new ideas.
Your dream was to become an actor, today you’re a filmmaker. Does this achievement compensate your ancient dream?
I dreamt of becoming an actor when I was a kid. I was extremely fascinated by the gesture of the actors I saw in movies. Those movements aroused such a thrill in me. Growing up, I got aware of the pleasure provided by being behind the camera, directing the film. This would have permitted my ideas to come true, maybe in a more exhaustive way. So, I have to be honest, no matter if you’re the filmmaker, the actor or the photographer, what really counts is having the imagination to fill in an empty page.
You said that commonly people discuss about technique not taking into account the emotional side. Do you think that rules must be taken less strictly?
Rules in photography, like those in writing and in music, should be known because only after having known them you have the power to change them, to adapt them to your needs. Obviously for many people, photography starts and dies in a sterile report of technical data. For me it is nothing like this, since to obtain a good shot, the camera is necessary but not essential. Photographs – Cartier Bresson says – come from the head and the heart and these two are the vital elements which guide you in the making of a good shot.
What does B&W mean to you?
B&W for me is a dimension of the inner part of the self, a conscious choice, maybe unconscious at first, but at the end it is my only means to express myself. Colour, in this sense, kept me too close to reality. I spontaneously started to reflect, not on the colours I see, but on the light and shade effects which make the frame. Considering Giacomelli again, when they asked him why the shot of Scanno with the child and the old women gained such a big success to be exhibited at the Moma of New York, he replied that the popularity of the photograph was not to be attributed to the subjects but to the correct position of light and dark.
How would you relate photography to philosophy?
Photography is also a material and concrete expression. We can see a photo, we can touch it, hold it in hands, it is like the tangible embodiment of my ideas. I believe that inside a photo there is the full path that a human being, or whoever has taken the shot, has made in real life. A photo gathers the personal development of the thought that derives from the cultural education we build reading books, listening to music, watching films and observing all forms of visual art, including paintings, in the course of our life.
You’re already working for the photo of the Epicurean Festival 2021, can you tell us something about that?
Next year’s topic is infinity. A theme which is always fascinating and difficult to interpret in photography. I don’t have a clear image in my head yet. I know there is a part, maybe the most hidden one of my brain, that it is already processing the concept that will permit me to make a decision. We, people from Marche, highly feel this sense of infinity, since Leopardi’s verses help us to understand that seeing is an interior process, not only an act of the eyes.