Crowd Pleaser, Pt. 2

“It was impossible to do with digital what I could have got with film, and now I can do things with digital that I will never be able to do with film.”

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Christian House

Crowd Pleaser, Pt. 1

Taking pictures in Italian discotheques could be problematic during the rave days of the 1990s. “It was the time when you were still allowed to smoke”, explains Italian photographer Massimo Vitali. Difficult in visual terms, I suggest. “In terms of stink,”, he replies. “You even had to wash the camera cases”.

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Christian House

Cars are Sculptures

"Cars are sculptures that should be seen, be touched, and be driven"
My shots of Nicola Bulgari cars collection for Architectural Digest in the Tuscan countryside.

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Mitchell Owens

Another Europe

Another Europe, an exhibition that features 28 photographs, one from each EU Member-State, mounted on specially designed concrete benches dispersed around London’s King’s Cross area. Until August 9, 2018 you can also see my work Roma Forum there.

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Austrian Cultural Forum

Special Fellows

Vitali’s panoramic views show people who interact in their own environment and expose their relationships, their networks and also some non-stories; there are moments in which even if it seems that nothing is happening, the eye of the photographer always catches something.

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Federica Cerami

Every Man is an Island

Spargi is a little island off La Madelena, which is off Sardinia. The place is fantastic, it’s absolutely gorgeous. And being an island off an island off another island, what happens is that it’s totally deserted but at a certain time of the day you have tourist boats that arrive and you have 300 or 400 people who disembark.

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Massimo Vitali

By the Sea

That's an article on my work published in the Chinese Magazine SKP, waiting for someone to translate it! Any tips?

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Ariel Kenig

Beautiful?

"My pictures are not geographic. They should be banal, maybe, but not beautiful and they should not discover a territory. They are about millions of other things."

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Adam Welch

Purgatory

I think the people that I photograph are purging their sins and getting something from water and nature. Tomorrow they start working, fighting, having problems again – but at that moment on that day, they’re free.

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Escapism Magazine

Suddenly

When I realized that after thirty years of photography I still didn’t know who was in front of my lens, I started to follow carefully the work of contemporary photography masters, but then I turned back to the classics of the last century, to the work of pioneers like Atget and Le Gray. Why are their works still so contemporary?

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Dino Messina