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Behind the mirror It may not be “politically correct” to say this but the plain truth is that the world, after all, does not affect our daily life more than that. Instead, what changes our mood is our perception of the world and how we see our surrounding environment. Thus, the image industry – from art to design, to fashion, to advertising – strives to interpret what is basically a game of mirrors and perspectives, an illusion kept up for social or merely commercial purposes. On the other hand, no window has ever amplified a limited space the way a mirror does and, considering that man needs hope, we often like this (dangerous) manipulation. Floating in a pleasant virtual reality, we might even be lulled into believing that we can find solutions and achieve big dreams, like those nurtured by creatives in their mind, always on the lookout for new stimuli, discoveries, and angles to come up with new projects, new satisfying contexts and realities. “Anybody who believes in something and creates something”, even the most prudent, sooner or later will be at a crossroad, a moment in life when one is faced with the worst risks and the best expectations. We have a mirror in front of us. This mirror reflects unforgettable experiences, unwavering hopes, consuming passions, ideas worth fighting for and… a combination of qualities, shortcomings but most of all values, which we have decided to embrace and that, as such, define us. My “mirror” has arrived for the third time now, at the age of 35. I don’t think that it is a crossroad but only a door. Behind this door there may be a better or worse future, it doesn’t matter. Whatever is there is much

better than the shadow cast over you when you stop moving forward, when you quit the game. Fear is there and it bites. In fact, there is nothing less than our identity at stake. In these difficult moments you look into yourself and decide whether you are what you think you are and whether you are making the right choices. We know that no one knows us, our potential, and our talents better than ourselves. Much as the people closer to us help us to put into sharp focus our pros and cons, deep down we already know everything. We are a constellation of lights and we see those lights before everyone else, even when we don’t want to. Those lights shine even more when, in the darkness of difficult situations, we confirm who we are, what we want, what we wish to achieve with all our strength, how we want to achieve it and why we take a risk. Image in Progress is all this. It wants to provide a window on these choices, a forum for professionals driven by a burning passion for creativity more than the tools through which creativity is expressed. It is a showcase for players in a fascinating and constantly changing sector, a space open to all sorts of contaminations, without exception. We are together behind the mirror that is no longer mine alone. Emanuele Cucuzza Editor-in-Chief

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Cover: “Aquanaut”- Photo & Set design: Zena Holloway for 125 Magazine - Styling: Harris Elliott – Glasses: Ksubi - Clear plastic trench: Spikers en Spikers - Nude Top: Reem - Make up: Mel Arter @ CLM - Hair styling: Soren Bach @ Frank Agency Model: Georgie @ Elite - Location: Pinewood Studios

biannual - n. 1 - Winter 2010

creative director and editor-in-chief

Emanuele Cucuzza art director

Andrea Notari advertising and press inquiries translation

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Registrazione del Tribunale di Roma n. 261 dell’8 giugno 2010

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Editorials 8 I remember... by Flavio Lucchini 10 Architectural Talent by Alan Blakely, AIAP 11 Festival by Kevin Reeder, Nordic Light Festival 12 Large-Format Print by Philippe Serenon, HP 13 Brand&Future by Valentino Bertolini, Nital 14 Photography and Market by Alison Zavos, Feauture Shoot 15 Visual Trends by Daniele Di Giorgio 16 Magazine by Tim Clark, 1000 Words Photography Magazine 17 Digital Publishing by Valentina Moressa, Quark 18 Web and Photography by Andrea Notari, eConverso 20 Don’t touch my copyright! by Adriana Morganti 22 Last word by Mattia Colonnelli de Gasperis, Colonnelli Law Publications 24 Still aLife t: Jeremy Redstone - ph: Melanie Pullen 33 Rankin’s Cheeky t: Emanuele Cucuzza - ph: Rankin 38 S Magazine t: Emanuele Cucuzza Artist Diary 40 Profiles, Variations, Illustrations... t-ph: Francesca Todde 42 Inner world, concreteness and day-to-day life... t-ph: Serafino Maiorano Beyond Photography 44 In Sandy’s limbo t: Emanuele Cucuzza ph: Sandy Skoglund

Experiment 51 Time Suspended t: Emanuele Cucuzza ph: Denis Darzacq - ph: Martin Klimas

Focus On 73 “No barriers in life and in photography” t: Melody Jordan - ph: Catherine Opie 76 “Learn from your subject” t: Melody Jordan - ph: Richard Schulman 82 “PaciArte Contemporary” and Photography t: Veronica Salvetti 86 Paolo Ranzani, a visionary builder of images t: Marco Consiglio - ph: Paolo Ranzani 94 Daniela Pestova, the shining jewel of the golden top-model era t: Emanuele Cucuzza 100 “Do not forget to sleep! if you want to keep your dreams alive” t: Mette Thyssen 105 At Bez’s Pace t: Paolo Ciacci - ph: Livio Bez 110 Photographing Rinspeed Prototype t: Filippo Pernisco 116 Dingo, Automotive Photography Artist t: Michelle Bourcier 122 Etienne Russo, Secrets of a Fashion Pioneer t: Emanuele Cucuzza Location&More 130 Seeko’o, the ice hotel t: Selena Nei 135 Palazzo Boglietti t: Costantino D’Alitto

dFuoco nel mondo dell’immaginazione.

Cover Story 60 Underwater with Zena Holloway t: Emanuele Cucuzza Francesca Cornelia Tosetti - ph: Zena Holloway

Masterpiece 138 Moca. How is the permanent collection of a Museum born? t: Melody Jordan

Not Only Credits 143 Healthy Beauty by a (part time) rectoucher t: Jeremy Redstone - ph: Mario Brown 146 “Great genes are not enough!” t: Mandy Sullivan - ph: Mario Brown 150 Maria Eriksson, a free lance model t: Sarah Archer - ph: Ryan Pream


Fire Wonderland


Fuoco, divinità danzante che conosce i miei segreti. Ti controllo, ma ti rispetto. Simbolo di inizio e fine, ergiti e accompagnami nella passione. Sogno con te e con il tuo profumo.

dFuoco nel mondo dell’immaginazione.

Fire, dancing deity which knows my secrets. I control you, but I respect you. Your motions of silence fantasize me, relax me, and numb me. I dream of you and your scent.

Camini a Bioetanolo (ecologico) Il camino non necessita di canna fumaria


I remember…

t: Flavio Lucchini*

How did Vogue come to Italy and has become what it is? Today Vogue is recognized as the Bible of fashion. But how did it come to Italy and has become what it is? Let me start from the beginning… In the early 1960s Condé Nast bought Novità, a magazine for women edited by Lidia Tabacchi and written by young society girls, daughters of architects or well-known families. The editorial offices were in Via Brera, where Camilla Cederna used to live, right opposite the Academy. The Americans had bought it for a song, thinking that the Condé Nast name would be enough to turn a small snobbish magazine into a success. Things did not work that way. The magazine was nice, its contents sophisticated (it published Balenciaga and Givenchy in exclusive, the first fashion shows, the jewels by the Pomodoro brothers, Giò Ponti’s houses, articles by important writers, photographs by young photographers like Ugo Mulas and Giampaolo Barbieri…). After I had created Amica for Corriere della Sera, I was hired as the new art director. However, costs were going up as, with a deep-pocketed US publisher, nobody was willing to work for little or nothing anymore. Soon the magazine began to lose money. The editor, Franco Sartori, with whom I had worked in Amica, told me one day that headquarters in New York wanted to shut down the Italian operation. I had an idea and immediately convinced Sartori to try it. We would transform Novità into Vogue and use Vogue in Italy as an important magazine that would bring new

ideas, fit for a rapidly growing country, intellectually sophisticated messages and new status symbols. Sartori was enthusiastic and the Americans accepted within the space of a week. For a year I had Novità&Vogue in the newsstands and then only Vogue, which was exactly the same as the US magazine. Why this long premise? Because this transition made it possible to put in the same pages great photographers like Avedon and Penn with up-and-coming Mulas, Barbieri, Toscani and others who would soon become famous in their own right. This interaction stimulated quality, research and the emergence of new personalities. Vogue brought to Italy also some extraordinary people, like Helmut Newton, with whom I did the first photo shoot for Uomo Vogue in a refinery near Milan and his telephoto lens was so long that I had to shout my orders to the model. Or like David Bailey who messed around in the editorial offices and with his cockney irreverence called me “Zucchini”. So many people, not only photographers, started brilliant careers at Condé Nast in Italy, including the current editor, Franca Sozzani, whom I hired right out of university - along with other journalists who would eventually become important - through an ad I placed in Corriere della Sera. She started as an assistant in Vogue Bambini (Children) and is now the number one of Vogue Italia.

On Colour Bac

*Flavio Lucchini was born in Mantua, attended the Architecture school at Venice’s University and the Polytechnic in Milan and eventually Brera’s Academy. He started as a graphic artist in 1960, created Amica for Corriere della Sera and Vogue Italia (L’Uomo Vogue, Casa Vogue, Vogue Bambini, Lei-Glamour etc.). In 1967 he founded the Art Directors Club in Milan, with Giancarlo Iliprandi, Horst Blachian, Pino Tovaglia and Till Neuburg. In 1979 he returned to Corriere della Sera and founded Edimoda, a publishing house for high fashion magazines. He created Donna, Mondo Uomo, Moda and other magazines. In 1983 he founded Superstudio, the first center for photography and image, and created Superstudio Più in 2000, a large complex dedicated to cultural events and creativity. Meanwhile the time had come to bring to life a longheld passion and in 1990 he opened his own atelier to explore the relationship between art and fashion. He lives in Milan, where he has his atelier and an imposing archive-cum-gallery, and Paris, in his home-gallery in Saint Germain, where he shows his works by appointment only. 8

On White Bac


©2 chan war as c omi



On White Background

On Colour Background

Ensuring long-term survivability and profitability in today’s printing industry requires a blend of attributes that embrace solid business acumen, an ability to fulfil customer needs and continued investment in the latest digital printing technology. One company that can genuinely lay claim to having successfully harnessed all three is Nottingham (UK) based exhibition and display graphics company, John E Wright & Co. Ltd.

Increased quality and efficiency with HP Vivid Photo Inks

From modest beginnings dating back to 1900, the fourth generation company is now the leading supplier of services and supplies to the CAD and graphic design communities throughout the Midlands region.

Increased speed of proven Z-series technology enhances company offering

According to John E Wright’s managing director, Tony Barnett, its arsenal of HP large format printers is instrumental to the company’s success, securing repeat business and winning new customers. The most recent acquisition is the HP Designjet Z6200 Photo Printer, which features aqueous-based HP Vivid Photo Inks, delivering high-quality output and the highest speeds of large format printers in its price class.(1) Since its installation, we have mainly used it for running heavy-weight coated and HP Instant Dry Media, as well as for speciality media like canvas, water-colour, pop-up and roll up banners.” UK’s largest curated photography festival in the frame The HP Designjet Z6200 proved pivotal to the company’s role behind this year’s Brighton Photo Biennial. Now in its fourth year, the Brighton Photo Biennial comprises of nine exhibitions presenting the work of international artists from a range of cultural backgrounds, premiering recent work and exhibiting historical work in new contexts. “We were tasked with printing the work of renowned Dutch photographer, Wout Berger, one of those whose photographs were featured,” explained Alan Edwards, technical director, John E Wright. “It was naturally critical to ensure the true reproduction of the photographs and we were especially mindful of the need to accurately maintain the vivid black and white tones.” To produce Berger’s exhibit, John E Wright also used HP Inks, HP Media, an HP DreamColor Monitor and DreamColor Advanced Profiling Solution. This complete HP workflow enabled the company to print professional photo quality colour, black and white prints.

The Z6200 uses new HP Vivid Photo Inks for improved scratch resistance. Its eight-ink printing system features HP Chromatic Red ink, enabling coverage of up to 95 percent PANTONE® Colours,(2) and greater ink efficiency with the ability to print the same output using up to 44 percent less ink than preceding HP technologies.

Barnett emphasised the collective benefits delivered by the HP Designjet Z6200. As well as ease-of-use, these include print speeds of up to 140m2 per hour (1500 ft2/hour). “HP’s Z-series technology had already proven its worth in delivering to our customers’ demanding expectations,” explained Barnett. Compared to its predecessor, the Z6200 significantly enhances our service capability by affording us an increase in speed of around fifty-percent. This greatly improves our workflow and gives us the capability to meet increasingly tight deadlines.” Barnett’s objective is to implement additional Z6200’s as a successor to John E Wright’s fleet of HP Designjet Z6100s installed in the company’s eight branches across England. “It boasts the high productivity and outstanding quality benefits for printing roll-ups, pop-ups, print/mount/ seal graphics and anything else needed in this particular sector.” John E Wright has recently installed HP’s Latex technology, an HP Designjet L25500 Printer, to meet increasing customer demands for the utilisation of technologies that help reduce the impact on the environment. “An added benefit of installing HP’s Latex technology is that we have now managed to qualify for the stringent ISO 14001 environmental accreditation as a direct result of the benefits Latex technology brings to the business,” said Barnett. (1)

Compared to large format inkjet printers under $25,000 for graphic applications. Based on the fastest rated colour speeds as published by manufacturers as of January 2010. Test methods vary.


Ninety-five percent coverage of PANTONE MATCHING SYSTEM® and PANTONE® GOE systems, based on HP internal testing (PANTONE® certification of HP results pending). Final results are available at

To learn more, visit © 2010 Hewlett-Packard Development Company, L.P. The information contained herein is subject to change without notice. The only warranties for HP products and services are set forth in the express warranty statements accompanying such products and services. Nothing herein should be construed as constituting an additional warranty. HP shall not be liable for technical or editorial errors or omissions contained herein. 4AA0-8619EEW October 2010


Architectural Talent

t: Alan Blakely*

The Business of Contemporary Architectural Photography The business of architectural photography has never been easier and never more difficult than it is today. When I started out in this business architectural photographers typically shot with large 4x5 view cameras on heavy tripods. The film we shot was 4x5 transparency film expensive and extremely unforgiving to the uneducated user. In the days of film, the architectural photographer was regarded as a technical wizard. Film-based architectural photography was difficult for two reasons: first, one had to be a master of the 4x5 view camera in order to control the image perspective and composition of architectural subjects. The image appears upside down and backwards on the focusing screen and requires considerable practice to compose and focus. Second, one had to be a master of lighting and have the ability to divine the color characteristics of the various light sources in a scene. Successful exposures of subjects with multiple light sources required mastery of complex light meters, a generous supply of color correction filters and a great deal of experience. For myself and many of my colleagues, the world of architectural photography changed almost overnight with the advent of digital photography. Personally, I haven’t shot a sheet of film since 2004. Architectural photography was likely the last holdout for film-based photography due in large part to the requirements for image quality. With digital format the two biggest hurdles for image creation, camera control and

light balancing, literally vanished. Most architectural shooters now use a Canon or Nikon DSLR camera with perspective control lenses. The viewfinder image is right reading, and can be composed and focused on a bright screen. What’s more, the puzzle of balancing various colors of light is now accomplished with digital auto white balance. This is obviously the easy part. The problem is, creating a reasonably acceptable architectural image is now more achievable than ever for anyone. For around a thousand dollars one can purchase a quality digital camera with a very sharp lens and in automatic mode create a fair architectural image. I said fair, not great. However, great architectural photography has always been about talent, not tools. Success for today’s architectural photographer means marketing his talent, style and vision not his gear. Great architectural images, as with all great photographs, are created in the minds and hands of great photographers and great photographers are what make professional architectural photography such a unique profession.

*Alan Blakely is the founder and current director of The Association of Independent Architectural Photographers and Real Estate Photographers of America & International. Mr. Blakely is the recipient of many professional awards for his commercial and architectural images. Blakely is the author of several photography publications and is a regular contributor to photography and architectural magazines and educational websites. Mr. Blakely began his commercial photography career following a brief stint as a photojournalist. In the ensuing years Mr. Blakely also enjoyed successful careers as both a jazz musician and as an advertising copywriter. Since 1988 Alan Blakely has built a reputation for fine architectural and interior photography as well as commercial studio photography. 10


t: Kevin Reeder*

Only in Kristiansund Last spring I sat on a balcony eating bacalao and interviewing a master photographer who has portrayed everyone from U2 to Al Gore. He graciously took time out from conference calls about his new film collaboration with George Clooney to dwell on world issues and shoot the breeze. It could only happen in the Norwegian town of Kristiansund which undergoes a transformation each April. World-renowned creative talents, photographers and photo fans, and others looking for inspiration and insight, flock to this picturesque coastal location for the Nordic Light International Festival of Photography. The festival’s vision is to become Europe’s foremost photographic gathering. The fifth festival, in 2010, drew 60,000 visits with its exhibitions, lectures, portfolio reviews, workshops, on-stage interviews and films. Morten Krogvold, Nordic Light’s artistic director, calmly acknowledges the success his team – a tiny core staff and untold volunteers – have created. “Well, photography is the world’s most popular leisure activity. And authentic, no-frills Kristiansund is the perfect location.” However, there is also some magic at work. As Krogvold, himself a master photographer, readily admits, “It is amazing that you can pop into a café here and talk to a photographer who has taken pictures that are global icons.” This opportunity to meet photographic legends is part of Nordic Light’s power. It

has undeniably become an annual get-together for the world’s photographic elite. But what attracts the likes of Marc Riboud, Joyce Tenneson, Anton Corbijn, Joel-Peter Witkin, Chris Rainier, Elliot Erwitt, Sarah Moon, Don McCullin and William Klein to this festival on the roof of Europe? They say it’s a unique combination of unpretentiousness, scenic beauty, intimacy, and a chance to network with a creative milieu ranging from troubadours and authors to engaged filmmakers and musicians. Krogvold’s right-hand woman at Nordic Light is Director Anne Lise Flavik. Her legendary ability to cold-call VIPs and tenaciously persuade them to guest the festival is one of the reasons for its success. She explains that Nordic Light is more than stars and fantastic exhibitions. “This is a festival for everybody – not just for photo buffs! It’s about community, memorable encounters and food for the soul. We aim to showcase the entire range of photographic expressions, from nature, skateboarding and wedding photography, to fine art and documentary, as well as featuring cultural events – as long as it’s top quality.” Morten Krogvold underlines that Nordic Light ultimately wants to communicate an attitude to photography – and to life itself.

Kevin Reeder is a versatile professional communicator (editorial consultant, journalist, corporate storyteller and a copywriter), British, a BA Hons Media/Communications graduate and a resident of Norway since 1990. His career track covered work for the BBC World Service, Channel 4 and international NGOs (in UK) Yara, Telenor, Norske Skog, Orkla, PGS and SN Power (most of Norway’s global companies). He has written several books with Krogvold. Currently Kevin is interviewing leading photographers about their motivations and inspiration. He is also a Buddhist, an environmentalist, a Nesodden patriot and father of two “non-stop teenagers”. He now works as an independent communications consultant for clients such as Yara International, Telenor, NRK (Norwegian Broadcasting Corporation), PGS and the Nobel Peace Center. 11

Large-Format Print

t: Philippe Serenon*

Photographic versatility enabled by HP print technologies Today’s photographers rely increasingly on wide-format prints, using different technologies to produce larger sizes on unusual as well as conventional media. HP has acknowledged that, as well as within the display and technical markets, there is a growing demand for greater variety and speed, but this has to be matched to high quality and longevity. The term large format, or wide format, generally relates to printing machines which are sized A1 (600 mm/24 inches) and wider, right up to 5 m. The opportunities given to photographers wanting bigger prints are challenged by the ability to maintain good enough quality without having to work with unmanageable file sizes. This problem is compounded by the maximum quality which can be generated by digital SLR cameras; not every user has the use of a medium format body with a digital back. In practical terms, most of today’s photographers work with crop and full frame camera bodies; the higher the number of pixels in each file, the better quality the end print will be at larger sizes. Working with the highest quality at a typical output of 300 dpi is adequate for most wide-format printing machines. End results are improved by using a software RIP (raster image processor) to interpolate the dots and use specific algorithms to maintain image quality at sizes far larger than the original. The RIP instructs the printer how and where to place the ink on the end material, and also carries information relating

to colour management and media type so that the most accurate results are achieved. A native printer driver can handle smaller photographic files but, with HP’s wide-format machines, the RIP finetunes the images and works with the printer to optimise results. This is why a single photo file, normally an RGB TIFF, can be used across a variety of different print devices using HP’s aqueous-based, Latex and UV-curable inks. The benefits here lie in the ability not only to produce photographic prints onto traditional papers but, also, to output images onto innovative materials and substrates for greater creativity. HP’s Latex printing technologies are finding new markets for photographers. These machines use HP Latex Inks technology to produce odour-free(1) (Printers using HP Latex Inks use internal heaters to dry and cure the latex polymer film. Some substrates may have inherent odour) prints, which provide excellent durability both indoors and outdoors, matched with recyclable materials. Longer term images can be produced using HP’s UV-curable options which can output onto interesting materials, such as wood, glass and aluminium composites as well as flexible and other rigid substrates. Finally, HP’s Designjet Z3200 and Z5200 aqueous-based models produce extremely highquality results on traditional photo papers and canvases.

*Philippe Serenon is Experts and Mentors Program Manager, HP Graphic Arts Global Solution Business. He worked 15 years at Kodak, across the consumer, professional and photofinishing markets in an EMEA-wide marketing, communication and sales role. He then became WW Marketing and Communication VP at Bureau Veritas ($3Bo , 39 000 employees in QHSE Conformity assessment and certification), before coming back to his beloved photography sector for HP. With knowledge of conventional photography but without any nostalgia, he is passionate to support migration to digital imaging which offers so many new possibilities. Within HP’s large format division, he manages a programme called Experts & Mentors, which involves partnering with world famous photographers like Magnum Photos, Joel Meyerowitz or Albert Watson among hundreds of others, supporting their initiatives as they contribute through their experience to the HP Brand and its product development. 12

Brand and Future

t: Valentino Bertolini*

The evolution of professional and non-professional photographers with Nikon Photography captures better than any other communication form the existing moment, giving emotion to the artist and the viewer. No other art form is this democratic; in fact, thanks to digital photography, everyone can give and receive emotions with simplicity and immediacy. However, the camera is “only” the precious and indispensible instrument that allows the magic transformation. Light enters in the lens to come out as an image on the display but it is the photographer that works this magic. Only the photographer can give a soul to the image because – beyond technique, camera and the subject – photography comes from the photographer’s heart, from a project, an idea, an emotion. When film was used, the professional photographer was “one of the few” who could take certain photographs and the market in which he operated was simpler. Today, after the digital revolution – which I was lucky enough, and had the honor, to witness firsthand in the leading company in the Italian photography market – photography is a much more democratic art. There are many more professional products but most of all, on average, there is a higher photographic culture, which allows many to take photographs of very high quality, thus bridging in part the gap between the amateur and the professional, also in terms of investment. In fact, non-professionals are increasingly equipped with professional equipment… After a few months spent heading downward, the photo market is growing again. The target market for reflex cameras is undoubtedly smaller than that for compact cameras

and has a less frequent turnover. The average reflex user is much more prepared and buys much more “responsibly”, considering what ensures the best quality and the broadest range of accessories and applications. The reflex Nikon range, which includes DX format (consisting of the new Nikon D3100, which evolved from the Nikon D3000, Italy’s best-selling digital reflex in 2009, the Nikon D5000, D90 and D300s) and FX format cameras (D700, D3s and D3x), together with Nikon’s range of accessories (one of the world’s most complete photographic services), feature a great variety and can meet all of the customers’ requirements. Most of our digital reflexes, for instance, can record videos. The D3100 can even record in Full HD, because the professional today has to be able to offer a multimedia product composed of photos and videos, without considering that the quality of camera lenses is undoubtedly better than video compact camera lenses… In other word, even if they do not have a video historicity, Nikon has products that can achieve it, obviously with the quality that you come to expect from this Japanese company.

*Valentino Bertolini, born in 1968, has been Marketing & Communication Director of Nital since 2002. Following a long experience in the food and pharmaceutical industries, he joined Nikon because he was fascinated by the exciting history of the Nikon brand and the “magic” passion that pervades the photography world. And it is this passion that drives his action and that allowed the Turinbased company to stand out for its communication activities, obtaining from the parent company, Nikon, for several consecutive years the prestigious “Best Marketing Activities” award. 13

Photography and Market

t: Alison Zavos*

The Right Exposure In order to get the most mileage out of their work, photographers must be savvy with marketing and self-promotion. But thanks to the Internet, photographers can create a strong buzz for their work with a bit of effort and a creative approach. First, photographers should make sure that the work they’re promoting is easily accessible on their website. This means a well-written explanation of each series, a brief bio and a short list of recent or upcoming exhibitions and awards. When ready, approach photography blogs who are open to submissions. Send a personalized email and a small sample of recent work. Advertising on popular photography sites can also be fruitful. Humble Arts Foundation, a New York-based nonprofit organization for emerging photographers, for instance, has an international email newsletter available to photographers for US$39 through which to promote new work and exhibitions. Applying to competitions is another effective way to have work seen by an international audience. Many competitions, such as Viewbook’s PhotoStory and Hey, Hot Shot!, are putting all submissions they receive online. Viewbook goes a step further by having an online public vote. Approaching fashion boutiques and coffee

shops with an inquiry about putting work up for sale can also be a great way to get highly targeted exposure. Colette, the famed fashion/concept boutique in Paris, for instance, has been working with portrait photographers such as Aaron Ruell and Trujillo-Paumier to show their photographs in the store. And then there’s Twitter and Facebook, of course, which remain the quickest and cheapest promotional tools available. However, while the Internet is very important, face-to-face time should not be discounted. Joining or starting a critique group can be valuable, as well as attending lectures and participating in portfolio reviews. Much of what makes creative marketing and promotion successful is about being specific about who to target and then being resourceful in figuring out the smartest way of approaching them. The same level of care and commitment should go into marketing materials as it does with the work.

*Alison Zavos is a Photo Editor, photographer, curator, and the founder/Managing Editor of the photography blog, Feature Shoot. Her photography has run in various print and online publications, as well as being featured as part of the American Photography 23 book and exhibition. She was invited to do portfolio reviews for the Art Directors Club and Advertising Photographers of America, and was a judge for both the Viewbook Photostory contest and the APA Tell Us A Story competition. Most recently, she was on a panel discussing ‘Multi-Platform Editing: Presenting Your Work to the New Media Landscape’, and curated a group show called ‘Sea Change,’ featuring emerging New York photographers. She lives in Brooklyn, NY. (Photo by Mark Mahaney) 14

Visual trends

t: Daniele Di Giorgio*

Visual tensions “I do need certain subjects in order to create new photographic effects and especially to find new visual tensions that the choice of these subjects allows me”. Helmut Newton used these words in the early 1980s to answer the question on the meaning of the desire to provoke that so often underlay his work. Visual forces are the heart of advertising and all the other forms through which communication is expressed. In an advertisement, when the layout and setting of the page are studied, the perfect fit between the art director’s creative idea and the rules that make visual communication a true discipline are paramount. Starting from the typical approach to create an advertisement page - which breaks down headline, visual, body copy and payoff – it is important to consider the arrangement of these elements within the visual space. The forces act by “ploughing” the space, drawing lines and dots which accompany the view within multiple meanings while maintaining a balance and a symmetric rhythm. Thus the dot and the line become expressive instruments (ideal tools according to Paul Klee) through which infinite contents can

be expressed. Primary force lines are placed along the horizontal, diagonal and vertical center lines of the page; a key point for Westerners is the top lefthand corner because we write from left to right and down. Lastly, the lower right-hand corner attracts attention mostly because that specific point is where something ends. Starting from the left and moving toward the right, we would have the impression of entering the stage while starting from the center, and going toward the right, the impression is that we are leaving the visual field. These principles are the same as those that inspired modern art. That is how visual tensions became a very important source of inspiration for countless artists.

*Daniele Di Giorgio is 32 years old and lives and works in Rome. He has been working in the field of communications for seven years. Following his graduation in Communication Science, he attended courses and master classes in marketing and communication, discovered a passion for graphic arts and advertising and was given a teaching position as Subject Expert (Cultore della Materia) in the department of Techniques of Advertising Communication at LUMSA in Rome. Soon thereafter, he became Marketing and Communication Coordinator in a well-known wax candle manufacturer in Rome. He edits different contemporary arts, fashion and trend magazines. He also works in communication and event organization for the fashion and show business industries in Rome. 15


t: Tim Clark*

1000 Words Photography Magazine As an editor, or curator depending on which way you look at it, the type of photography I’m looking to showcase has to be able transport you to a world you wouldn’t have experienced otherwise. The best pictures, for me, show you something that everybody recognizes in a way that you haven’t seen before. Now that may seem like two opposing ideas but in fact it is not. It is all to do with saying something new about your subject. It’s about contributing new ideas that shed light on some unseen aspect which opens up a space for questioning the world around us. There also has to be some magic involved, a certain romance even. I like photography that is eccentric, eloquent and apolitical. The work you’ll find on 1000 Words reflects this and our selection of imagery often attempts to stump the viewer’s expectations and suspend their disbelief. Of course speaking on a more practical level, when looking at work photographers have submitted, I need to see a series of images that is methodically built up, and underpinned by a strong aesthetic and concept, preferably forming part of a project. Often incredibly diverse in terms of subjects, concepts, styles and techniques and covering a wide spectrum of genres, 1000 Words aims to highlight the best in contemporary art photography worldwide. It is committed to showing the work of lesser-known but significant artists alongside that of established photographers in the

aim of bringing their work to a wider audience. The online magazine’s quarterly issues attract over 140,000 unique visitors from more than 75 countries every month and its blog was recently ranked as number 3 in The Top 25 UK Arts & Culture Blogs. 1000 Words has received widespread praise and attention from the global photography community. New York gallery owner Michael Mazzeo said: “In a very short period of time, 1000 Words has proven itself to be a prescient and reliable online publication and an indispensable addition to any art lover’s reading list.” Elsewhere, writer and communications consultant, Dionne Griffith has ventured: “1000 Words is a great example of how an online publication can deliver as equally a satisfying experience as print. They consistently produce a magazine with incisive yet accessible writing, immaculate layout and photographs at pin-sharp resolution.” International best selling author, Alain de Botton has written of the project: “1000 Words brings hope back to the world of photography and magazines.”

*Tim Clark is the founding editor and director of 1000 Words Photography Magazine. Tim studied Photography and Visual Culture at Falmouth College of Arts and the University of Brighton, England. Moving to Spain after graduation he worked as the photography critic at The Barcelona Metropolitan. His writing has also appeared in The British Journal of Photography, a-n Magazine, The Telegraph, Next Level, Foto8, Hotshoe, Eyemazing and Fotograf. In 2010 Tim judged a number of awards and competitions, and was also invited to review portfolios at Les Rencontres d’Arles; BJP Vision; New York’s ICP Career Day; Paraty Emfoco International Photography Festival in Brazil and FotoFest Paris. He lives and works in London. 16

Digital Publishing

t: Valentina Moressa*

Photography with Digital Publishing 2.0, publishing to the iPad and more with Quark The first generation of digital publishing delivered the electronic equivalent of a book. But not all books. It was for books with layouts and content that were simple enough for the small black-and-white screens of ereaders. No pictures or photography allowed. Magazines and about 85% of books have not been able to reach these devices, because they just aren’t suitable for design-rich content and their displays are too limited. That’s all about to change. Digital Publishing 2.0 is the second wave of technology that has made yesterday’s innovation in digital publishing today’s dinosaur, opening up an entirely new range of opportunities to creative professionals. Digital Publishing 2.0 is marked by the introduction of an entirely new digital experience - one that promises an unprecedented level of interaction with content through smartphones, ereaders and tablets, as well as an equally engaging experience through computers. Digital Publishing 2.0 technology delivers a full-colour, interactive multimedia experience through larger, more sophisticated displays in which consumers explore content (whether books, magazines, newspapers or portfolios) through galleries, clickable videos, sound files, and other interactive functionality. We have all seen the iPad and we all know there are more tablets on the way. Quark has recently partnered with K-NFB, the makers of Blio, and Baker and Taylor to deliver the first com-

plete Digital Publishing 2.0 solution. Blio is a revolutionary e-reader software designed for reading electronic versions of books, newspapers and magazines. Blio raises the bar for the graphical display and navigation of e-content, delivering a superior, full-colour, 3-D reading experience. Unlike standard e-ink e-readers, Blio preserves a publication’s printed format, including layout, fonts, colours and finally images, such as great photos. Starting with a rich, compelling design in QuarkXPress, Quark will help creative professionals export those designs and artwork to a variety of digital devices. Without requiring any programming or other special skills, designers will be able to enhance their print content for digital devices by using QuarkXPress’s built-in interactive features to add slide shows, embed video, and create other interactive elements to differentiate and add value to their print publications. digitalpublishing

*Valentina Moressa is Quark’s PR Specialist for Northern Europe. Valentina’s experience in Public Relations spans across the public sector, charities and technology businesses in Italy and in the UK. Valentina has a background as translator and interpreter and enjoys anything that has to do with creativity. With her work at Quark she looks after media and analyst relations for the Denver-based company. Two decades ago, Quark’s flagship product - QuarkXPress® - changed the course of traditional publishing. Today, Quark is revolutionising publishing again by setting new standards in XML-based publishing across print, the Web, and digital media. 17

Web and Photography

Starting from the next issue, Andrea will be happy to answer your questions. To contact him, please send an e-mail message to:

t: Andrea Notari*

Flash vs. html5? Eighty percent of mobile web navigation takes place on Apple devices. The iPhone revolutionized the telephony sector with its 3.5 inch screen and touchscreen, hence the polemic on the future of Flash, which is not supported by IOS, Apple’s mobile operating system. Steve Jobs was clear: Flash uses up a lot of system resources and if it were available on mobile the battery would be much more short-lived. Thus, blogs worldwide started a harsh “Adobe vs. Apple” diatribe, linked to the future of the Flash technology. Actually, many are convinced that Flash is a web-dedicated software and don’t know that this is only one of the many possible applications. Corporate, e-learning, and gaming are the sectors where Flash is in fact nearly irreplaceable thanks to the ease with which it interacts with the php language and databases and the support of a vast community. Lastly, the recent transition to ActionScript3 further enriched this object-oriented programming language. In essence, developers can sleep tight, as Flash is here to stay, though not on the web. Actually, the trend for the web

is to use lighter technology, without the need to plug in (Flash contents need a plug-in installed on the client to be viewed). The road, as indicated also by Jobs, will be that of HTML5 and Css3, and to upgrade the current HTML 4.01. This language has excellent potential, also in terms of compatibility with not-too-recent desktop and mobile browsers. It will guarantee native support to audio and video multimedia contents, the canvas that makes it possible to utilize JavaScript for the creation of animations and vector graphics, and geolocation, which is important for mobile operating systems. Thus, HTML 5 might be the future of the web also in contexts which have always been dominated by Flash, such as photographic, artistic and multimedia web sites. This is an area where mobile is starting to become a fundamental requirement and where the lightness of HTML5 might help to load photo, video and audio galleries. All this is very sad for those who have been using Flash from the start, but it is also a stimulus to expand one’s skills.

*A graphic designer and photographer, Andrea Notari lives and works in Milan where he cooperates with publishers and companies. He has been working as a freelancer since 2008. Andrea is an Adobe Certified Expert in Photoshop, Illustrator, InDesign; an Adobe Certified Instructor and teaches Project Communication at ISAD (Higher Institute of Architecture and Design). With a background in humanities, he began studying photography in Milan and worked with several photographers during the transition from film to digital. At the same time he started working as a graphic designer. Notari has a solid experience in the publishing sector. With he engages in e-publishing and training with Adobe software. 18

Don’t touch my copyright!

Starting from the next issue, Adriana Morganti, an intellectual property lawyer, will be happy to answer your questions. To contact her, please send an e-mail message to:

t: Adriana Morganti*

What are the rights of photographs? In Italy law no. 633 of April 22, 1941 (protection of Copyright and other rights related to the exercise thereof ) governs three types of photography: Photographic Works, whose creative nature may qualify them for protection under the Copyright law; “simple” Photographs (governed by article 87 of the Copyright Law), which enjoy a more limited protection of related rights; Photographs of writings, documents, business papers, material objects and technical drawings (as listed by article 87 of the Copyright law), which are not afforded any protection. For purposes of the different legal treatment of the three different types of photography, it is worthwhile to clarify the meaning of “creativity”. It is commonly held by Italian scholars and case law that the creative process takes place immediately before the snap, involving the framing, the set-up of the image and the ability to elicit imagery well beyond the representation of the surrounding reality. Moreover, it is paramount for the photographer to be able to capture the meaningful moment of an event by crystallizing it in a combination of perspectives, lights, shades and colors that are special and never banal and for the photographic image to be fanciful, in good taste and reflecting the author’s sensitivity so as to convey the photographer’s own emotions. In other words, for

Copyright purposes, Photographic Works need to incorporate the traits of creativity typically found in the author’s personal touch, as manifested by such factors as the choice and arrangement of the objects to be reproduced, their placement side by side, the selection of the lights and the various shades between bright and dark. Accordingly, the mere photographic reproduction of architectural works protected by copyright without any substantive and personal rearrangement of images by the photographer is not considered an intellectual creation pursuant to article 2, no. 7 of the Copyright Law and will receive the more bland protection afforded to “simple” photographs.

Legal disclaimer. The information contained in this page is provided for general informational purposes only and does not claim to be comprehensive or to provide legal or other advice. You should not consider the contents of this page to be an invitation to a client relationship. EdiFore and Adriana Morganti disclaim any and all responsibility and liability with respect to actions or omissions based on any information or articles contained in this page.

*Adriana Morganti graduated in law in 2001 from the University of Rome “La Sapienza” and obtained an LL.M. in Intellectual Property and Competition Law from the Max Planck Institute for Intellectual Property, Competition and Tax Law in Munich, Germany, specializing in European and U.S. intellectual property law. She worked with different international law firms (including, among others, Cotchett, Pitre, Simon & Mc Carthy in San Francisco, Girardi & Keese, in Los Angeles, Bird & Bird in Munich). She has been a speaker at several conferences, related especially to the world of wellness, health and beauty. Currently, she is an advisor on intellectual property law to a leading cosmetic company. 20

T r a a P f s r l

Talk, waTch, sTroll, resT, wrap up, dream, awaken, lounge around… smile Parler, regarder, flâner, s’allonger, s’emmitoufler, rêver, se réveiller, lézarder... sourire


Bordeaux — 33300 54 Quai de Bacalan Tel +33(0)556 390 707


Last word

t: Mattia Colonnelli de Gasperis*

Regulation and internet Online bullies beware! The recent conviction of three Google executives for breaking Italian privacy law highlights the need for new legislation and codes of conduct to enable more effective policing of the web. Patents, copyrights, trade-marks and domain names represent some of the most common types of intellectual property. However, in today’s economy, intellectual property protection takes many additional forms. The law protects not only against the misappropriation of trade secrets, personality rights, and passing off, but also privacy and personality rights to some degree, as affirmed in a recent verdict of an Italian court, which is likely to have ramifications for content providers and professionals around the globe. On 24 February 2010 the Court of Milan (sentenza n. 1972/2010) convicted three Google executives for breaking Italian privacy law by allowing a video to be posted online in 2006 that showed schoolchildren bullying an autistic teenager. Prosecutors argued that Google broke Italian privacy law by not seeking the consent of the parties involved before allowing it to go online. Google said that the video was removed as soon as it was brought to its attention and that the firm also provided information on who posted it. However, according to the prosecution, before being removed, the video was in Google’s ‘funniest videos’ category for almost two months, reaching 5,500 views. Google said at the trial that pre-

screening all YouTube content was impossible. Shortly after the decision: some Italian advocacy groups stated that protection of human beings must prevail over any business logic and the aim was not to censure freedom of expression but to protect the individual right to privacy; Google represented that it would appeal this astonishing decision because the Google employees on trial had nothing to do with the video and it attacks the very principles of freedom on which the internet is built; only the person who films and uploads a video to a hosting platform could take the steps necessary to protect the privacy and obtain the consent of the people they are filming. The case clearly means that internet service companies and professionals would have to take privacy more seriously. Legal disclaimer. The information contained in this page is provided for general informational purposes only and does not claim to be comprehensive or to provide legal or other advice. You should not consider the contents of this page to be an invitation to a client relationship. EdiFore and Mattia Colonnelli de Gasperis disclaim any and all responsibility and liability with respect to actions or omissions based on any information or articles contained in this page.

*Mr Mattia Colonnelli de Gasperis (Columbia LL.M./Fulbright, Yale Exchange Student, La Sapienza J.D., Trieste Ph.D.) is a dually qualified U.S. and Italian lawyer based in Milan and Rome and teaches at the Law School of the University L.U.I.S.S. in Rome. He has a strong expertise in both domestic and cross-border IP, corporate, and commercial transactions and represents a wide spectrum of clients, from small companies to large corporations, as well as individuals in all their IP, corporate, commercial, and investment matters. He regularly delivers lectures at conferences all over the world, appears in many of the most prominent legal publications, and chairs various committees of the American Bar Association. 22


Behind every original property are the original people who make it happen. Design Hotels™ presents its most illustrious personalities. Former race-car driver Emanuele Garosci brings an elegant, edgy, emotional vision to a magnificent little palace on Venice’s Grand Canal.


t: Jeremy Redstone - ph: Melanie Pullen

Phones, 2005; C-Print 93�x70�; Edition of 5

still alife



Rankin’s cheeky t: Emanuele Cucuzza - ph: Rankin

© Rankin’s Cheeky, published by teNeues,, Photo © 2009 Rankin. All rights reserved 33



t: Emanuele Cucuzza


interview to its founder photographer Jens stoltze Since its birth, 5 years ago, Danish publication “S magazine” has become a landmark (and a checkpoint as well) for international fashion, photography, art and style. Each issue represents a high production show of some of today’s finest talents and trends, both emerging and established. “In the world of magazines, we’re like watching a Feature Film instead of reading the news - its founder, photographer Jens Stoltze, tells us. We realize that readers crave our content very much, in an age of cheap digital fare. We trust our family of photographers, stylists, illustrators, artists, & writers to be nothing short of amazing. The result is that our readers trust us, and repeatedly think we’re worthwhile to buy and read.” How did the S magazine project see the light? “I started it ‘cause I had this Idea about a place where I could publish my personal stuff without any restraint. I was sure that I was not the only one with this desire to do more and personal stuff. I introduced this Idea to some people I worked with: a Beauty editor, a stylist and my good friend Mads Teglers who is also a photographer. Back then there was a lot of research to be done. My only experience was from working with other magazines so me and my assistant worked on the task for 6 months before we went into the design phase.”


The market is quite challenging, especially in this period, what was the toughest moment in this new adventure and how did you overcome it? “Well we are still in the middle of a changing time but there have never been a greater demand for magazines and such a great variety in magazines. We are not here to have popularity contests among magazines, we are here to show talent and personal direction; that I am sure is one key to our success.” Can you tell us about the editorial line of S magazine? Besides the quality of the images, there is a strong dose of eroticism or voyeurism in the reports published and from which, I think, the name of the magazine is derived… “Yes, it sprang out of inspiration for magazines like Dutch, Deliciae Vitae and Richardson Mag. At the time these mags was not producing anymore and no one was showing nudity along with fashion. Our working title was Sexual but we were fast to realize that this would be too cheesy.” Also post-production seems nearly always imperceptible and more oriented to the chromatic atmosphere of the photos… am I wrong? “I am not sure about the question but it’s right that we as a magazine do very little to change the photographers’ original “look” by colorgrading. We prefer that the photographers adjust their setting and deliver what they intentionally want it to be.”




The Lucie Foundation is a not-for-profit foundation. Our mission is to honor master photographers, discover and cultivate emerging talent and promote the appreciation of photography worldwide. //

t-ph: Francesca Todde

Profiles, variations, illustrations… Profiles. “The drawing outlines a world that could not otherwise be captured by the eye. Profile syntheses. The line measures and translates differences, it thins and thickens in the pressure that shapes body hollows. I like animal bones, the way they show from the flesh of the moving hip of a horse or the jaw of a deer. Long bones creating space and an expanse where the eye can run. The same is for landscapes, plant shapes, trees and fruits, their weight, the curve created by the wind blowing always in the same direction. The contour, the profile, the form, the silhouette: scissors and cutting. I work with scissors. They may be true iron, folding seamstress scissors, or long, wide-cut paper scissors or digital scissors, an outline consisting in Besier’s gentle curves. I really don’t pay much attention to the medium, as I can’t tell the difference between photography, drawing and illustration. Cutting out a shape is following the lines that make it up and invent new ones; following the irregularities of the clavicles up to the shoulder, turn around the arm and then… suddenly turn back, following a profile that does not exist (yet), toward the chest. It is a matter of a second, the choice of the variation, it is like photography. The stage set is there from before and will continue to be there, but when to shoot is the variation”. Variations. “Many variations take place without the camera. These are for me the most important, those that build up the personal history of a photographer. These moments occur in otherwise normal days, when the eye sees and, within a split second (of wonder), the mind shoots. These are photographs that are not printed, films that are not developed. They don’t need to, they come directly out of the territory of memory, of life, in a box which, to tidy up things a bit, might have a label with “inputs” written on it. These are starting points, private stimuli because they are addressed to you alone. Recently, it happened to me with a circus poster. Right in the middle of this poster there was the heavily makeuped face of a woman and zebras, lions and elephants all around. The colors were fading because of the August sun, shreds of paper on an electric switch in that area of the city between outskirt and countryside. I have always been fascinated by the syncretism of po40

sters. Everything is on the same two dimensions, pressed layers and layers to define a time relationship; the still image in motion, motion of look and feel”. fashion illustration. “A fashion illustration is a nice excuse to tell a story and to make people feel things that have no name, that cannot be classified, things that are chased out of the rooms of Sense, only to return through the backdoor of Sensation. Illustration shapes a world. Pasta, cookies, soap bars carry images on their package. In fact, they are stuck in memory for decades. The essential of the useless, all the baggage of images that we all carry inside is my hunting ground. Between the time that is seen and then forgotten I look for images to be saved, to catch before they fall”

Francesca Todde

Francesca Todde was born in Padua in 1981. Between 2000 and 2005 she attended the Accademia di Belle Arti in Carrara, where she studied in depth drawing, engraving, lithography, photo-engraving, as well as sculpture, which was her major. In 2006 she moved to Milan, where she attended the Italian Institute of Photography and worked as a fashion photographer. She continues to follow her artistic pursuits, based mostly on the main tool of her work, Photoshop. In 2008 she worked for the LOMO Group (Lomographic Society Italia) in the field of experimentation on film, and this provided fresh food for thought on the use of digital and its possible contamination with film, the photocopy, the rough and dirty. Currently, Francesca manages the coordinated image of the Italian Institute of Photography in Milan, where she also teaches post-production. She spends the rest of her time working as photographer and illustrator with Luca Reffo (a young artist on the Milanese scene and her life partner), with whom she founded the creative label DepartPourL’Image. www.f r a n c e s c a t o dde .c o m www.l o m o ho m e s .c o m /fr a n c e s c a t o dde www.m ys p a c e .c o m /fr a n c e s c a t o dde www.f r a n c e s c a t o dde .b l o gs p o t .c o m p a r t p o ur l i m a ge .b l o gs p o t .c o m


t-ph: Serafino Maiorano

Inner world, concreteness and day-to-day life… “My work stems from a painting experience, even though I use camera and computer, in addition to traditional painter tools. In fact, my photographs are processed by the computer using a construction methodology that is very similar to painting. In this way, my works shed in part the typical features of pure photography and take on an identity and sensitivity closer to painting, achieving a fusion between technology and handicraft, between real and virtual. I started out as a painter and somehow I ended up using my skills in that role for my “works” by giving an effect of matter to the surface, making it tri-dimensional, and even more present and subjective. Thus, painting is a tool that has accompanied and followed me in my artistic growth. I now use it for the final touch, when the work is set on a lambda print, creating anomalies, spaces, lines which I complete with the paintbrush and color. It makes my works more evocative, irreproducible and unique. In fact, digital technology allows me to change the human figures and commonplaces of our day-to-day life in hypnotic and nearly virtual images, full of vibrant energy, showing an investigation and research that focus on my inner self and result in this combination of art and technology. Thus, well-known urban architectural facilities become flying spaces, driven by light beams that extend the bodies and the elements, changing them to unreal locations. My favorite images are taken at night, when darkness alters reality, making it mysterious and unpredictable. I take them in familiar locations or in recognizable places, such as the Termini train station, Ara Pacis Augustae, Vittoriano, the Auditorium… I take them rapidly and instinctively because, in reality, I do not seek perfection in photographic technique per se but try to bring out the innermost part of the image that I reproduce in my paintings with strong psychoanalytic overtones, describing the places of my 42

imagination. That is why my photos are always blurred, their reflections are excessive and there is lack of balance. My characters walk on a tightrope, are unstable, recognizable, flying and sometimes obsessive when they met and migrate in different works. In this way the places that I shoot change to inner sensations and emotions and my research shows the many facets of human nature through my photos. When I m alone I work out and extrapolate the fragments, which are made up of the lights and shades that characterize the places of my imagination, where architecture play a key role because it represents our internal structure. The blueprints that appear in the background of my works are the places where we live but also the restrictions that they impose on us. These places are protective but can also be prisons; we can move in them but, sometimes, they can be illusory. In my work I try to show these sensations, like the fast and unexpected click of the camera. My art is centered on this thought over identity and is inspired by my own deep roots, which are linked to my existence and my deepest unconscious… the work is revealing of my inner world and my history, which comes up constantly and materialize in my every gesture and in my fluid, soft or shape paint strokes”. s p ec i a l t ha n ks t o Sa r a Luc c i Serafino Maiorano was born in 1957. In the 1980s he moved to Rome, where he currently lives and works. He has held many personal exhibits both in Italy and abroad and has been invited in many collective shows in galleries and museums. Lately, he had two personal exhibits at the Traghetto gallery, both in Venice and in the new space in Rome. www.s e r a f i n o m a i o r a n o .c o m

Serafino Maiorano 43


t: Emanuele Cucuzza - ph: Sandy Skoglund

In Sandy’s limbo


*Please ensure that your e-mail message contains name, last name, age, mobile number and the following wording: “I hereby confirm that I am the author of the attached photograph and that I have all the necessary releases for its publication.”

ph: Denis Darzacq


t: Emanuele Cucuzza


t: Emanuele Cucuzza

TIME SUSPENDED Man has always dreamed of stopping time, flying, watching the inside of things. As attested by mythology, religion, philosophy, science and even the superheroes in the comics… this flame burns constantly in collective imagination. Is art a witness to or a stoker of this flame? The one thing that is certain is that two artists, two photographers, capture with astonishing photographs that feeling of omnipotence. Yet they also convey the sense of inadequacy we feel when we are confronted with impossible tasks.

ph: Denis Darzacq

I am talking about Martin Klimas and Dennis Darzacq, whom I purposely interviewed in he following pages with nearly identical questions. They do not know that are part of the same article and do not know each other’s work. I consider them complementary and interesting because, after all, they engage, independently but with the same means and through different paths, in the same theme. Who knows how they will react when they see this article…


more than 30 exhibitions Portfolio review face to face workshoPs lectures

At Nordic Light International Festival of Photography you will meet the greatest international photographic stars. A small and intimate festival aiming to expand the visual horizon of everyone interested in photography.

During the past five years photographers like Joyce Tenneson, Joel-Peter Witkin, James Nachtwey, Sarah Moon, Don McCullin, Anton Corbijn, William Klein, Marc Riboud, Franco Fontana, Martin Parr, Bruce Gilden, Michael Kenna and Elliott Erwitt have been there to teach and inspire us. Our next festival will be just as rewarding as the previous ones.

Welcome to the charming and windswept coastal city of Kristiansund, Norway!



t: Emanuele Cucuzza - Francesca Cornelia Tosetti ph: Zena Holloway

“Truly, madly, deeply” - Ph: Zena Holloway - Styling: Damian Foxe - Dress: Bottega Veneta - Make up: Yasmin Heinz @ DWM using Laura Mercier - Hair styling: India Miller @ Charlie Miller - Model: Hannah @ Storm - Location: Action Underwater Studios - Magazine: How To Spend It – Financial Times publication - 61




On the border between Umbria and Tuscany, the residences of Fontanaro offer a new way to experience the countryside. During the stay, the care and attention of the Pinelli family will make you feel at home. Upon arrival you will enjoy a wine tasting or you can have lesson in olive oil tasting with an AISO sommelier (Italian Association of Olive Oil sommelier). You will be able to savor the products of the organic vegetable and fruit garden and to discover the secrets of olive oil, honey and saffron production. You can be guided to the cultural as well as wine and food marvels of the area, and even to the best cashmere producers..., or you can choose to stay and relax in 30,000 square meters of privacy.

Sunset #8 2009 50 x 37.5 in. c-print

t: Melody Jordan - ph: Catherine Opie

“No barriers in life and in photography� interview to American photographer Catherine Opie


Richard Meier at home - ph: Richard Schulman

t: Melody Jordan - ph: Richard Schulman

“leArN frOM YOUr SUBJecTS”

Architects And Architectures’ photogrApher During his career, Richard Schulman has earned commissions to photograph many cultural and well-known artists’ and architects such as Andy Warhol, Joan Miro, Jasper Johns, Phillip Johnson, Frank Gehry, Rem Koolhaas, Renzo Piano, Santiago Calatrava. Schulman has also had many Architectural assignments as well. His most recent body of work is “Portraits of The New Architecture” (Assouline): portraits of the most compelling architects in modern architecture. His work has been featured in numerous books and magazines throughout the world including Vanity Fair, European Vogues, New York Times, Town and Country, Time, Newsweek and hundreds more. Schulman’s work has also been exhibited in the Basel Art Fair and included in numerous exhibitions Internationally. He is currently working on two new architecture books, one book on artists and a book on Science’s, Nobel Prize. He was 76

also invited to lecture at Parsons The New School for Design. The class is entitled “Photographing architecture and its design: the history of photographing architecture”. He also lectures on the issues of portraiture and documentary photography how it relates to contemporary work at New York’s School of Visual Arts. How did you start working on architecture? “I have always been interested in the rhythms of static and movable objects. Architecture is static in its most obvious sense, but is movable in the way structures flow within themselves… Throughout the city seemingly inanimate becomes anthropomorphic-living breathing objects! I always found myself photographing details of architecture and simultaneously landscapes of architecture, the way architecture determines the ebb and flow of urban integration… the dance of modernity and history. Professionally I was


The institut du monde arabe by Jean Nouvell


t: Veronica Salvetti

“PaciArte contemporary” and photography

Clark & Pougnaud “Beatrice”

Simona Atzori - Ballerina, painter - 

Paolo Ranzani calls himself a visionary builder of images. A photography graduate, he experimented in different areas before finally settling on “people”. He moves seamlessly from fashion to socially-oriented photo-reporting, from typical portraits to glamorous images. He holds workshops on the portrait between the quest for style and photographic pose. An eclectic, he operates as a creative professional and his vision dri86

ves him to take photos – with great talent and a strongly personal imprint – of cultural and show business figures. His photos have been used on album covers, he shot short movies and video clips and, with his unmistakable sense of esthetics, he created some of the most successful VIP glamour calendars. He is considered one of the most interesting and emotional authors of his generation. His photo books include “Behold

t: Marco Consiglio - ph: Paolo Ranzani


the Woman” (2000 - Ecce Femina), “99 for Amnesty” (2003 - 99 per Amnesty), “The Threshold. Life, Prison and Theater” (Orvieto Professional Photography Awards 2005 - La Soglia. Vita, carcere e teatro), “Go 4 you/Universiadi 2007”. He exhibits his work both in Italy and abroad and receives awards and recognitions. In 2009 he received the Creative Quality Award in professional photography for publishing.

You take many different types of photo, from the portrait of the intellectual to celebrity calendars, to advertising, to personal photos published also in your books… Are you always true to your style? “My signature is in the word “people”, thus the photo that I am after and that which is requested from me concerns “human beings”. I love intimate portraits, those that capture the personality, an emotion, like the album cover for a singer or the portrait of an actor. You have to be able in one frame to give meaning to a world, to tell a story, the way someone is. I do not have a specific style and maybe I am not even interested in having one. I cannot stay boxed in one space, I am too eclectic and this is why I don’t like to be called an “artist”… also because it is too important a word and, lately, too many people have been using this word inappropriately, by calling themselves artists. It is true that being recognizable is an important factor and I believe that somehow there might be some sort of elegance in the photos that I have taken in my career, but life changes every day and my eyes change with it. If I had the same style as 10 years ago I would be unhappy.” How important is it to have a recognizable style in this business, especially when you have so many different types of work? “Artistically speaking, it is paramount. Many gallery owners don’t like it when one of their artists produces works that vary substantially from that which made him or her famous. This for me is too limiting, I don’t want to have one way to look at things, one technique. True, it is great to see a naked woman in B&W and say “… this is Newton’s!”… but I am not like that. Every project is born of new thinking and to express it I need new words. I need to challenge myself. So, I would say that I do not really have a style but – please allow me to humbly and ironically emulate the great Picasso –periods, the “Hasselblad b&w” period, the “negative desaturated” period, the “piece of life” period…” Often behind a fictitious name or a “no name” there are photographers who are strongly committed to another genre, but they have to compromise. Many, including some the greatest ones, took photos, especially at the beginning, which were very different from those that eventually made their careers take off. This was the case, for instance, with Helmut Newton who was even fired by a Singapore 87


ph: archive of Daniela Pestova and Czechoslovak models

t: Emanuele Cucuzza

DANIelA PeSTOvA, The ShINING Jewel Of The GOlDeN TOP-MODel erA 95

t: Mette Thyssen


interview to LinA BArBAgALLo, “divA modeLs” ceo. her Agency story, her experience And her Advice…

Diva Models was founded in 1987 with the idea of establishing an agency based on a very creative structure. Now Diva Models has a world-wide network and we interviewed its CEO, Lina Barbagallo. How was your agency born? “The short version: I was modeling, but was not really keen on being in front of the camera, but I loved the atmosphere, the creative process in making a beautiful picture, a perfect fashion show, etc. I just loved being around creative people. The agency was founded in1987 and, at that time, you needed a license to start an agency. My mother did the necessary paperwork, working for a union, and she had experience working as model. I convinced my mother and a good friend, Jette Henriksen, that this was the right idea. Today my mother is still in the agency, working in the accounting department, while Jette is still one of my best friends, but she dropped out after a few years.” What did you do before you founded it? “I was in school, took a Higher Preparatory Examination Course and took some courses in English and accounting. I tried to work in a fashion shop, in a department store, sold ads in a fashion newspaper. I was a modeling from when I was 7 – 21 years old.” 100

Your name sounds Italian… What are your origins? “My father is from Catania, Sicily, my mother is Danish. My father was and still is a very handsome looking man. He worked as a model when he was young and he often brought my sister and me with him, that is how my modeling career began.” Printed media, TV advertising, publishing advertorials, fashion shows… What are the sectors where your agency is strongest? “A mix of it all.” What are the international agencies you work with? “We work with agencies all over the world, to mention a few out of many that we have been working with during the years: Ford, New York Models, Wilhelmina (NY); Beatrice, Major, Fashion, Why Not, Women (Milan); Nathalie, Women, City Models (Paris); Take 2, Models 1, FM (London); Modelwerk, Louisa Models, Place Model Management (Hamburg).”

Hair stylists, make up artists, fashion stylists, designers, interior designers and even choreographers… For a model agency, you seem to handle a broad range of other professionals.

Anzeige Progress:Anzeige 15.10.10 16:05 Seite 1

Pictures, Tim Walker 368 pp., Hardcover with jacket ISBN 978-38327-9245-9 € 98,00

Hasselblad Masters, Vol. 2 Emotion 240 pp., Hardcover with jacket ISBN 978-38327-9411-8 € 79,90

View and order teNeues photo books at Elliott Erwitt’s Rome, Elliott Erwitt 144 pp., Hardcover with jacket ISBN 978-38327-9361-6 € 59,90

teNeues Publishing Group Kempen Berlin Cologne Düsseldorf Hamburg London Munich New York Paris

t: Paolo Ciacci - ph: Livio Bez

AT Bez’S PAce


Wake Of Freedom, Twill Magazine - Ph: Livio Bez - Styling: Giuseppe Dicecca And Sabrina Mellace - Hair: Marco Braca At Close Up Milano - Makeup: Masha Brigatti - Model: Ani Alitalo At Flash Models - Ph Ass: Andrea Pugiotto


t: Filippo Pernisco ph: Rinspeed

Photographing Rinspeed prototype


t: Michelle Bourcier - ph: Dingo



SUPERSTUDIO SPACES FOR EVENTS AND CREATIVE CONSULTS Superstudio, with its two prestigious locations only a few meters apart, is the “image and creativity citadel” of Milan in “zona Tortona”. 18 000 square metres turned into lounges, offices, showrooms, photography studios, restaurants, art-garden (with Flavio Lucchini’s sculptures), available for great events, fairs, conventions, fashion shows, cultural events and entertainment. Also present MyOwnGallery, concept gallery for contemporary art,, microgallery for art and Dance Point, space and workroom for dance.

graphic design StudioB16

Superstudio Group - via Tortona 27, Milano ph. +39 02422501


Bokeh速 2 gives you the creative choices of specialized lenses without the complexity or expense. Now you can focus on shooting rather than planning ahead for effects like tiltshift, depth of field, motion, and vignette. Bokeh is a sophisticated lens simulator, but we kept the controls simple. Just exercise your creativity to bring your photos to life.



息 2010 Alien Skin Software, LLC. Bokeh, Alien Skin Software, and the Alien Skin Software logo are registered trademarks of Alien Skin Software, LLC. Photoshop is a registered trademark of Adobe Systems Inc.


t: Emanuele Cucuzza

secrets of a fashion shows pioneer

Etienne Russo

Ph: Hermès 2010 Fall-Winter Fashion Show Location: Halle Freyssinet - Paris Set Design: Etienne Russo for Villa Eugénie Ph: By2 Photographers for Villa Eugénie

industrial design | visual design | corporate idenity

TwentyoneStudio Via del Pebliscito 107 00186 Rome Italy



t: Selena Nei

Seeko’o, the ice hotel

It was a major challenge: the opening of a hotel in the center of Bordeaux. On the left bank of the river, to be precise, a strategic location for the city of “stone”, given its spirit and heritage. The King Kong firm of architects had to come up with a design that would be highly innovative but in keeping with the surrounding environs. The result is “Seeko’o”, an unusual five-story hotel with an “icy” look. In fact, the name is Inuit for iceberg and the smooth and white façade has been made possible by the use of Corian® by DuPont™. Jean-Christophe Masnada, an architect with the French firm of King Kong, explained his approach: “The nobility and richness of this material have allowed us to look for new solutions to coat facades. Corian® provides a combination of qualities that make for an enduring facade: sturdiness, weather and fire resistance, conformity with environmental rules, as everything is recyclable”. The coating which is easily cleaned and restored thanks to its uniformity and non-porosity, involves the adoption of an invisible drying systems which makes on-site “repairs” possible. Corian® panels are applied through bi-material inserts (Corian® and metal) on a supporting structure with horizontal and vertical rails. The façade has an “environmentally-friendly” harmony also inside the hotel, a true example of the versatility of new technological materials. In fact, Corian® is used extensively in the long glacier-white reception counter and in the bathroom furniture of the 45 rooms, which range from 30 square meters to 55 square meters. The choice of using an innovative material in front is not a coincidence. SEEKO’O was created by a family who loves the taste of risk. The common goal was to create a 4 stars boutique hotel in Bordeaux which could be playful and creative, without compromising the international standards expected of a luxury hotel. Hammam, sauna and massage are freely accessible. The hotel features also a business center and meeting room for 75 people and a cocktail bar (150 sq.m.), where you can enjoy the best cocktails in Bordeaux. The five rooms on the last floor have a terrace and the panoramic suite has a view of the Garonne. No doubt the Seeko’o is a refreshing addition to the prestigious docks of Bordeaux, a location classified by UNESCO as world heritage site. w ww.s e e koo-hote l.c o m w ww.s e e koo-hote l.c o m / b lo g

Ph Arthur Pequin



t: Costantino D’Alitto

palazzo boglietti 135


ph: Marissa Roth

t: Melody Jordan

How is tHe permanent collection of a museum born? rebecca morse, associate curator at moca, tells us about tHe relationsHip between tHe museum of contemporary art in los angeles and pHotograpHy by describing part of moca’s permanent collection 139

Ph: Mario Brown - - Model: Nicole Geary -

not only credits

t: Jeremy Redstone

Healthy beauty by a (part time) retoucher Those who started to shoot photographs on film know how hard it was to learn to deal daily with a computer and digital retouch software. Even the most severe perfectionists – those who get personally involved in post-production at every level – have been tempted at some point, tired of the constant and necessary upgrading, to find a specialist who would do the work for them… Surfing the internet we came across www., a friendly, direct and welcoming web site… Here’s the text on the Welcome Page: “I am a part-time image retoucher specializing in model enhancement and photo cleanup. I don’t turn models into liquefied fantasy babes with impossible curves and ridiculous proportions. Come on, you’ve seen those horribly photoshopped images complete with the hideously destructive Gaussian blurred plastic skin. I know photographers aren’t taking pictures of plastic dolls, that’s why I clean up your images and keep models looking like the healthy beautiful people they are. You don’t want your images screaming they’ve been retouched by a monkey. Retouching an image is much more than a shallow concept of simply making a

model appear better than she does in real life, it’s about cleaning up the extraneous generally unnoticeable elements the camera captures, balancing out the colors and lighting to realistic levels, and applying the final touches to a perfect work of art.” These words address the typical fears of a professional photographer (or a model or a make-up artist…). We looked at photos and were reassured by works skillfully illustrated with an ideal “before and after” effect, with skins showing a flawless tone, without imperfections yet natural, and more. Our first request was answered by Clay. Once he was reassured about the publication of credits – and after he had been authorized from the model, the agency and the photographer – Clay answered our questions. How did you start working as a professional retoucher? Are you a photographer? “I’ve been in love with Adobe Photoshop for a long time and chose to study Graphic Design in college. Working as a designer allowed me to work on a great variety of projects from magazines and book covers, to television graphics, to package designs of all sorts. So I’ve had plenty of opportunity 143

not only credits t: Mandy Sullivan - ph: Mario Brown

“Great genes are not enough!”

Model and student April Gutierrez has some tips

Born in Houston (Texas), April Gutierrez is the subject of some of Mario Brown’s photos, retouched by She is 23 years old and in 2009 she won 1st place in the Fame Lone Star Weekend Open/Advanced Swimsuit Model Competition... 147

not only credits


t: Sarah Archer - ph: Ryan Pream

Maria Eriksson, a free lance model In the world of fashion, professional models need agents and agencies, but when it comes to fine arts, glamour or art nude (sometimes with very little art) the approach is totally different. In fact, quite often you meet freelancers that come out of the blue and become an international successful. Maria Eriksson is one such freelancer...

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