Equipment: Gibellini & ALPA

While it is true that the majority of the photographs I take these days are digital, two years ago I had a large format film camera made by Alessandro Gibellini of Gibellini Project, just in case I feel the need to shoot film again.

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Editor

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

Equipment: Deardorff Camera

This is the first in a series of posts about my old and new equipment: cameras, lenses, light meters, platforms... Some of them are not currently in use, but I don’t want to sell them because they have sentimental value. All the equipment finds its place in my studio, in the so-called "gabbia", the "cage" where the negatives are kept sometime together with rogue assistants.

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Editor

First Show in the U.S.

Although the subjects typically become part of an anonymous, teeming mass of humanity, unfortunate individuals captured at less than flattering angles and moments sometimes stand out from the crowd.

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Stephanie Cash

Cultural Extravaganza

“Florence is this mixture of fantastic, very geometric Renaissance buildings, in concert with today’s sellers and Japanese tourists and policemen… that’s something I really like.”

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Nowness

Printing Day – Backstage Chronicle

A day printing at Colorzenith in Milan with my studio assistants. Chronicle from the ordinary life of a photographer.

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Editor

Painters of Modern Life

It was the art historian Heinrich Wölfflin, a contemporary of Léger, who in his 1915 publication Kunstgeschichtliche Grundbegriffe (Principles of Art History) released the quality of painterliness from the artistic genre of painting, defining it instead as a general stylistic category. Since then it has been clear that painterly thinking is not carried out exclusively in oil on canvas.

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Annelie Lütgens

Look At That Idiot!

One day last year I was standing on top of my scaffolding when a couple went by and I overheard them saying, “Look at that idiot, he thinks he’s Massimo Vitali!''.

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Despina Pavlaki

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

What Do We Talk About When We Talk About Photography?

This past Sunday I was part of a panel to discuss the general state of photography in Italy, organized by the Italian Ministry of Cultural Affairs (MIBACT). A part of the PhotoLux Festival in Lucca, the event was the 19th and final MIBACT meeting to evaluate this supposed state. [...]
For me the biggest problem is that there is no understanding of where we started, and so we cannot find a common denominator between a photojournalist and a food photographer, a “fine art” (I hate that term) photographer and medical documentary photography. There is no in-depth knowledge, and so everything exists in a messy melting pot. In order to overcome these divisions in photography, we must first accept that these divisions do indeed exist.

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Massimo Vitali