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| I have to say I'm nor really into that sweet / pastelcolor imagery that characterises new born photography. That's why I was very enthusiastic when my friends Valentina and Sean let me take pictures of their beautiful baby on my own style: Leone, welcome to the world! :) |
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| Lovely face from my last set! I shot an advertising campaign based on portraits of volunteers. This is just a quick backstage that I took with my dear Olympus Pen, that has a great black and white filter. We had great time! Art direction and impeccable organization by my friend Paolo@CR3ARE |
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The interesting thing
about my new portrait-mania is that I'm starting to look at people in
a different way.
I knew Silvia years ago
in Bologna, because she hired me for a fashion project; I always
found her beautiful and charming, so when we met again in London, I
asked her to pose for me.
We followed
meticulously my self-inflicted rules: 1) Shot in her house 2) only
natural light 3) No photo retouching except light and contrast -the
kind of manipulation you could do in a dark room.
Styling from her (+ her
husband) closet!
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The interesting thing
about my new portrait-mania is that I'm starting to look at people in
a different way.
I knew Silvia years ago
in Bologna, because she hired me for a fashion project; I always
found her beautiful and charming, so when we met again in London, I
asked her to pose for me.
We followed
meticulously my self-inflicted rules: 1) Shot in her house 2) only
natural light 3) No photo retouching except light and contrast -the
kind of manipulation you could do in a dark room.
Styling from her (+ her
husband) closet!
|
 |
The interesting thing
about my new portrait-mania is that I'm starting to look at people in
a different way.
I knew Silvia years ago
in Bologna, because she hired me for a fashion project; I always
found her beautiful and charming, so when we met again in London, I
asked her to pose for me.
We followed
meticulously my self-inflicted rules: 1) Shot in her house 2) only
natural light 3) No photo retouching except light and contrast -the
kind of manipulation you could do in a dark room.
Styling from her (+ her
husband) closet!
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| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
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| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
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| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
 |
| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
 |
| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
 |
| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
 |
| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
 |
| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
 |
| A few years ago I was asked by my friend and colleague Jacopo Manfren to contribute to his Magazine Visionarios. The rule of the magazine was: NO digital photography, only film. One thing that I love about film is imperfection: grain, scratches, dust, give to the pictures something tangible and fascinating. So I thought I wanted to publish the original scans without the cleaning, and also some of the proofs, because it's fun to see the sequence of the models' expression. If you want to see the published editorial, please click here . |
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| Yesterday I had the pleasure to work again with De Primera amazing crew! I rarely have the time to shoot backstage pictures when I'm on set, but I managed to do it. We realized a look-book for the Italian Brand Tuwe.
These are the models in front of the strict supervision of the stylist Ellen Mirk ;)
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| Yesterday I had the pleasure to work again with De Primera amazing crew! I rarely have the time to shoot backstage pictures when I'm on set, but I managed to do it. We realized a look-book for the Italian Brand Tuwe.
This is Eugenia from The Lab Models Agency.
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| Yesterday I had the pleasure to work again with De Primera amazing crew! I rarely have the time to shoot backstage pictures when I'm on set, but I managed to do it. We realized a look-book for the Italian Brand Tuwe.
The model is Anete from The Lab Models Agency.
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