Where are you born and when?
I was born in a little town in the big flat land: Mirandola, in 1968.
Where do you live?
I live in Bologna.
When and how do you start your path in photography?
My encounter with photography basically took place in three precise moments: a first time when I was studying it at school and then abandoned it, a second time a few years later as documentation of my decoration and theater works; finally the third, hopefully decisive time, as a free and conscious expressive choice about ten years ago.
Who were the three photographers that inspired you at the beginning and who are the three ones that inspire you now?
Please add links to the pages where the images are shown.
My “rediscovery” of photography took place thanks to three very important but very different figures: Edward Weston https://it.wikipedia.org/wiki/Edward_Weston, Joel Peter Witkin https://it.wikipedia.org/wiki/Joel_Peter_Witkin and Francesca Woodman https://it.wikipedia.org/wiki/Francesca_Woodman; later, growing up and maturing were also added: Walter Chappel https://en.wikipedia.org/wiki/Walter_Chappell, Minor White https://www.moma.org/artists/6342#works, Josef Sudeck https://it.wikipedia.org/wiki/Josef_Sudek, Robert Frank https://it.wikipedia.org/wiki/Robert_Frank, Alec Soth https://alecsoth.com/photography/, Pavel Apletin https://apletin.ru/?lang=eng and many many others in reality.
Did you go to a school or are you a self-taught?
In the past I studied photography at school and then forgot practically everything, in the meantime the photographic technique has totally changed with the advent of digital: I had even studied on a bifocal! Then, practically self-taught, I started studying again starting from digital and rediscovering the analog that I now use regularly: medium and large format too.
Do you make photography as a living?
No, I take pictures for pure pleasure and to express my possible vision of the world; although I must say that photographic vision as a language is also a strong part of my work: I am a theatrical and cinematographic set designer.
What do you like in photography, what is your motivation?
About photography I really like the fact of seeing, selecting and framing the world that revolves around me, or around which I turn ... In any case I would say that it is my way, together with the drawing which is more linked to my work , to express certain thoughts: it is an expressive form. The reasons are that it makes me feel good when I shoot, when I experiment with certain photographic techniques or when I think about developing or deepening certain themes, certain concepts.
What do you want to express or arouse in those who watch your images?
I sincerely hope to arouse some minimal emotion, at least some curiosity; in any case I am very interested in what those who see my photos feel, but at the same time I can say that I do not shoot for others but mainly for me; even if the thought of the people who see my photos enriches me!
What are your preferred moment(s) in the creation process?
My favorite moments are when an idea develops in my head, perhaps starting from a suggestion, from something I have seen; then I would say the shot, while I am alone with the car and I try to “find” that image that I have already seen (or perhaps dreamed?).
What are your three most representative images, and why?
Please add links to the pages where the images are shown.
It is very difficult to identify only three images and above all to motivate the choice, photographing a lot and developing different genres: from nude to landscape to architecture. At certain moments I was attracted to abandoned places for example, then now it is the idea of a “new” landscape that attracts me; with the nude instead it is an always open fact, in any case everything is evolving, and if I had to indicate three representative photos of my work they could perhaps be these: https://www.flickr.com/photos/malevic/49700668287/in / dateposted /
But again, it is very difficult!
What equipment and/or techniques do you use?
It is not a matter of brands/lenses, it is mostly about analog/digital, preferred light (natural/flash), how much post-production, etc.
I have several machines, even if they are not very many in reality; for digital I have a Pentax full frame with different optics, even old ones and a small Lumix; for the analog I have some machines of different formats: 35 mm, 6x4.5, 6x9 and a small 4x5 inch optical bench. I also use my own pinholes for paper negatives. I personally take care of the development of the negatives and their scanning. I don’t particularly like post-production even if I understand its value.
How and why your work as changed since you started?
I would say that my photographic work from the beginning to now has changed a lot in terms of awareness and real photographic culture, not only technical but also historical and philosophical. Then on the level of my particular vision I notice that it has not changed particularly since the beginning, but it is much more solid, strong and mature.
What do you think about the fact that nowadays photography is mostly enjoyed on the Internet?
In reality I don’t know if it is more appreciated on the Internet, it is certainly more enjoyed or followed, but I don’t know if we can speak of appreciation, which also includes a certain deepening and a certain culture; surely the net helps for diffusion but it is also much more difficult to distinguish between “good and bad photography”.
Why did you decide to join the nudeartzine project?
The project stimulated me a lot, to which I came to know by pure chance thanks to the published interest that must have seen some of my photos on my Flickr; in any case I told myself it was time to print some photos in a magazine and NudeArtzine
Would you have an insight or advice to give to whomever is watching your work and wants to learn photography?
Well surely not to be too afraid; especially in the nude, the relationship with the model is not easy, it could be difficult, but there is nothing more beautiful than being able to establish a relationship of closeness and sincerity with someone: it is worth more than any beautiful photo! then I would definitely recommend experimenting with everything, digital and analog, to understand what is closest to our hearing / seeing. Then the technical rules can actually be very simple. Perhaps the difficult thing is to learn to observe and know things, simply to study: photography uses everything that can be visualized, from the history of art to cinema, from architecture to people’s faces; here it is more complicated to extricate yourself ...
What are your plans in the future?
Definitely improve and research again, get out of certain “visions” and dig deeper again to discover other layers: as in archeology that digging you find a lot of stuff that helps you understand yourself and the world.
On what page our readers can find more of your work?
I have several pages on which I publish:
in addition to my site which will soon be online ...
Would you like to add something else?
Photography is beautiful!