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


"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

Free time

The invention of free time is relatively recent. It affects the affluent and changing society, and its relations with consumption. Leisure is illusory and instead the economic and social forces take over individual free time and sell it to each of us like they were goods.

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Landscape Stories


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

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Massimo Vitali & Silvia Camporesi

Society: signs and rules

The French people are more controlled, I’m not saying that it’s not good, but it is a difference that I find between the beaches in Italy and France. In Italy it’s a bit more “without rules”.

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Sophie Biass-Fabiani & Massimo Vitali

Not Taken

"It may seem strange, but a long time ago I even ended up in jail for not having taken a picture that the judge said I should have taken, although I don’t want to rehash these sad and painful stories."
— Massimo Vitali

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Massimo Vitali

Photographs of a Man

From the point of view of technique and method, Vitali’s photographs have a far away historic precedent that is little known, that of the commercial photographer Eugene. O. Goldbeck, an exception in the panorama of photography popular between the Twenties and Forties where the names Lewis H. Hine, Walker Evans, Dorothea Lange, Ben Shahn, Margaret Bourke-White and Berenice Abbott dominate uncontested.

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Desdemona Ventroni


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

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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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