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Jonathan Rosser

Betin La Plante

 Sarah Rose Smiley

FoxLine

Eriks Naivo

Anne Mortensen

Alice Figus

No faces #3

Vladimir Kostromitsky

Luisa Gutierrez

Irella Konof

Lúa Ocaña

Nicolás Santiñaque

Maria Luchseva

  

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Elif Sanem Karakoc

Anya Shiller 

Esben Bøg Jensen

 Jillian Marleen Becker

 yasya_fögelgardt

Zoe Sherman

Elina Nilsson

 whimsica ljane

Aëla Labbé

Eni Turkeshi

Cigarettes are sexy in photographs #4

Hilda Randulv

 maratsafin

 Oleg Andreev

Adriana Petit

Guella

 Lord Perfidia

 

Who is the person behind the photos?

 A 29 yeats old boy, with a suitcase always ready. Cinema in his mind, music in his ears and a big desire to tell histories through photos.

 How did you discover photography and what makes you keep on doing it?
I studied cinema in Rome. Cinema and photography are related through films, light, shots. I always try to tell a story with my photos. I love to produce beautiful images and this passion draws me to do it.

  

Which artist would you like to work with?
Ryan McGinley.

In your opinion, what are the characteristics of a photographer,and what differentiates him from a good photo taker?
A photographer creates photos with sensibility and originality. Doesn't matter if there is not technique. Usually, an amateur photographer or a good photo taker have a good technique. They are obsessed with camera and lenses. They creates a beautiful image without freshness.

What is your favourite photo or artist?
It's impossible to have just one favourite photo or artist.
I try to pick up at random from the box of my "best photos and artists".
"Simon and Jessica in the shower" by Nan Goldin. Simple and intimistic photo. Full of intimacy.
Terry Richardson, ironic and colorful photographer.

Choose a question and answer
- Do you want to sell your photo for 2000 euro?
- Yes!

What do you expect from your photographic future?
Works, magazine, travel all around the world. I want to be happy with my job.

Thanks to Fabio Astone

April is Tomaso Spiga

   La Fotografia l’ho scoperta da troppo poco tempo ancora: qualche anno fa l’acquisto di un apparecchio digitale mi ha dato modo di studiare, studiare e studiare e, come si fa quando non si segue un metodo ben preciso, magari guidati da qualcuno, ho messo assieme un sacco di cose e sullo stesso piano. Quindi, prima, l’avvicinamento al ritratto e, poi, alle storie ritratte, con la realizzazione di quanto sia bello e ubriacante giocare, letteralmente, con la persona che hai davanti: in questo è stata fondamentale una lunga esperienza teatrale coltivata fino a poco meno di dieci anni fa. Lavorare come sul palcoscenico: instaurare con gli amici quella complicità e sincerità necessarie tra il direttore di scena e i suoi attori, far sì che si fidino di te, che entrino nella tua testa, che rispondano a un tuo sorriso di fiducia.

I haven't know photography long enough yet: a few years ago I bought a digital camera that allowed me to study, study, study, and, as one does when no precise method is followed, maybe helped by somebody else, I put together many things and all on the same plane. Therefore, first my growing interest towards portraits, then towards portrayed stories, with the understanding of how beautiful and inhebriating playing with the person that stands in front of you is, literally: in this a long experience in theatre, cultivated until about ten years ago, is fundamental. To work as on the stage: to install with one's friends that complicity and sincerity necessary between a director and his actors, to win their trust, to have them access your mind, to have them reply to one of your smiles.

A dir la verità, a volte mi chiedo se non siano troppe le cose che voglio infilare in un’immagine: una pagina letta la sera prima, o le sensazioni di un disco ascoltato milioni di volte, sin da quand’eri bambino.

Actually, sometimes I wonder if there are not too many things I wish to put in a picture: a page I read the previous evening, or the sensations given by a cd which I have heard a milion times, since I was a child.

 A cosa ti fa pensare Waiting for the Sun dei Doors? A me, alla fine dell’estate al tramonto, magari vista attraverso un vetro pieno di salsedine.

Passavamo sulla Terra Leggeri è un caleidoscopio di albe, mari, fuochi e terra.

In a Silent Way è, prepotentemente, un’immagine blu. Quello che ti pare ma, di tonalità blu.

Perchè, alla fine di tutto, la cosa più bella è metterti davanti un’immagine e vedere come reagisci: se sorridi, se strabuzzi gli occhi dicendo “cazzo, questo mi ricorda…” oppure se cominci a canticchiarci sotto una musica, commentando “mmm, io ci avrei sentito questo pezzo, questo disco, piuttosto che…”

What does Waiting for the Sun of the Doors remind you of? It reminds me of a sunset at the end of summer, maybe seen through a salt covered window.

Passavamo sulla terra leggeri is a caleidoscope of sunrises, seas, fires and earth.

In a Silent Way is, overwhelmingly, a blu picture. Whatever you want, but wth a blue shade.

Because in the end the best thing is putting you in front of a picture and seeing how you react: whether you smile, if you widen your eyes saying “shit, this reminds me of...” or if you start singing a song, comenting “hmm, I would have set this song under it, this cd, rather than...”

E le storie sono storie di intimità, di sguardi, di occhi socchiusi, di direttrici, a volte quasi degli autoritratti dai quali io cerco di tirarmi fuori.

Raccontare un’emozione. Nulla di più semplice e complesso, allo stesso tempo.

And the stories are stories of intimacy, of gazes, of eyes barely open, of guidelines, sometimes almost self portraits from which I try to pull myself out of.

To describe an emotion. Nothing is more simple and at the same time more complex.

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