Noemi Pittaluga’s excellent work, which fully investigates the persona and work of Massimo Vitali, was published by Ledizioni, a publishing house specialized in academic publications: with this volume, she has created a book that goes beyond the classic academic approach fully entering into the realm of publishing of photographic vision and reflection. In fact, the volume is richly illustrated and the author’s texts are accompanied by many photographs, following an articulated path that brings together different levels of reading Vitali’s story, both human and professional.
Massimo Vitali first emerged as a photographer of social reportage between the late 60s and the early 70s, after which he nearly abandoned photography, turning his interest instead in cinematography. In the early 90s, his interest found a synthesis in a new form of photographic language between his training as social photographer, attentive to people and their actions, and a rigorous aesthetic research. […]
Vitali’s style stems from a well-defined shooting approach which is not an end in its self, not a simple trick, seeking diversity at all costs, but is rather defined as an expressive necessity coherent with his visual way of reflecting on some aspects of the phenomena of contemporary crowds.