Big in Japan

I have a special memory about Japan as my mother lived in Japan after the war. When I was 6 or 7 years old, I remember my mother sending me rice crackled with seaweed in a big can.

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Massimo Vitali & Kyoko Kasuya

Balance

When you overshoot, you lose your balance.

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Massimo Vitali & Kyoko Kasuya

Jeff Wall Drives Me Crazy

Email chain about Jeff Wall. 4x5 or 8x10? This is the question.

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Massimo Vitali

Same Beach, Same Sea

There’s nothing more boring than a “perfect” tropical beach and even now I try to stay away from them.

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Massimo Vitali

Rules

In conversation with Silvia Camporesi about privacy rules and location permits.
Sorry, only for Italian speakers!

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Massimo Vitali & Silvia Camporesi

Pure Chance?

Joerg Colberg: "So pure chance – getting one of your cameras stolen and then being left with another one – does play a role for a photographer, maybe even more often than many people realize, doesn’t it?"

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Joerg Colberg

Step Back

I was interviewed by Tobia Bezzola, Director of MASI in Lugano at Photo London in 2016. Previously, Bezzola had long and distinguished career as a curator of art of the past and present, including photography at the Kunsthaus in Zurich and the Folkwang Museum, Essen.
In this excerpt, we talked about my distance from photojournalism and my artistic process.

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Massimo Vitali & Tobia Bezzola

From Dance Halls to Discos, Pt. 2

Giovanna Calvenzi: Gabriele practices solitude, he awaits solitude, and his photographs search for solitude, Massimo places himself where he is forced to be alone, on high, above everyone.
Massimo Vitali: Just physically. Fortunately my assistant never speaks.
GC: The moment of photographing is a moment of great solitude. You both put yourselves (with dance halls and discos) in a situation that epitomizes crowds, noise, and visual, audio, tactile chaos…
MV: I’ve never spoken to anyone in discos.

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Gabriele Basilico, Massimo Vitali, Giovanna Calvenzi, Alberto Bianda

From Dance Halls to Discos, Pt. 1

I called the managers of the discos, and that wasn’t easy either. They’d keep their phones on the hook only half an hour a day, and I’d try to explain: “I’m doing this project on discos and I’d like to come and take some photos, but we’re going to use this big tripod, then the flash…”, and they would say: “Well… come, ask for the electrician, and get together with him…” They didn’t even ask why. It was totally crazy. Usually, we’d arrive at around four or five with the first electricians. I’d set up eight or nine flashed – 3,000 kilojoules each – I’d mount the tripod, then wait for something good to happen.

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Gabriele Basilico, Massimo Vitali, Giovanna Calvenzi

A Chat on Photography

In this video, I’m talking with Enrico Ratto about my work and photography in general. I talk about my obsessions, impostors, pictures that I hate and much more.

Sorry, the interview is in Italian! If you don’t understand the language, you will need to wait until next week for a new post.

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Massimo Vitali & Enrico Ratto