40 ANNI DI NAVIGAZIONE
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copyright photo and text
Antonio Tartaglione
Roberto Tartaglione
1983-2023
40 ANNI DI NAVIGAZIONE
Abbiamo preparato questo quaderno per condividere, con chi volesse sfogliarne le pagine, la rotta percorsa.
Iniziata nel 1983, la nostra attività ha subito profonde trasformazioni nel corso degli anni. Siamo partiti dalla fotografia di arredamento in studio per arrivare, in questi ultimi anni, ai progetti a lungo termine destinati all’editoria.
Non è stato un percorso lineare, spesso abbiamo dovuto navigare a vista, ma siamo contenti di avere intrapreso questo viaggio.
40 YEARS OF SAILING
We have prepared this booklet to share, with those who would like to leaf through its pages, the route taken.
Established in 1983, our business has undergone deep changes over the years. We started with furniture photography in the studio and moved in recent years to long-term projects intended for publishing. It has not been a linear path, we have often had to navigate by sight, but we are glad to have embarked on this journey.
Antonio, agosto 2023
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Prima dell’inizio
Siamo stati presi dalla passione per la fotografia, sopratutto per la camera oscura, alla fine degli anni ‘70.
Lavoravamo a casa dei nostri genitori, dove abitavamo, oppure a casa di amici. Il bagno veniva trasformato in camera oscura (per la stampa bianco e nero) e la cucina in camera chiara per le sperimentazioni sulle tecniche non argentiche.
Before the beginning
We were taken by the passion for photography, especially the darkroom, in the late 1970s. We worked at our parents’ house, where we lived, or by friends. The bathroom was turned into a darkroom (for black and white printing) and the kitchen into a light room for experiments with non-silver techniques.
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1983 - 1994
Nel 1983, dopo molti viaggi e soggiorni all’estero, ognuno per proprio conto, abbiamo deciso insieme di tuffarci e cercare di far diventare la fotografia, oltre che la nostra passione, anche una fonte di reddito; diventare cioè dei “professionisti”.
In 1983, after many trips and stays abroad, each on our own, we decided together to dive in and try to make photography not only our passion but also a source of income; in short, to become “professionals”.
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Abbiamo quindi iniziato a lavorare in un capannone industriale nei dintorni di Adelfia (BA), pensando di dedicarci sopratutto all’arredamento. Era il periodo del boom del mobile imbottito, Altamura, Santeramo e Matera erano i poli di un nuovo triangolo del salotto.
So we started working in an industrial shed near Adelfia (BA), thinking we would devote ourselves mainly to furniture. It was the period of the upholstered furniture boom, Altamura, Santeramo and Matera were the hubs of a new production district.
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1984 prove tecniche / technical tests
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il nostro primo logo (creato da Roberto Zecca), usato per la targa fuori dalla porta / our first logo (created by Roberto Zecca), used for the plaque outside the door.
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E’ stato un periodo misto di grande fatica e di grandi soddisfazioni, come quando riuscimmo a fotografare due automobili insieme, sul nostro set. Ci sembrava di imparare ogni giorno qualcosa, e non capivamo ancora bene che direzione avrebbe preso la nostra attività.
It was a mixed period of great effort and satisfactions, like when we managed to photograph two cars together, on our set. We felt like we were learning something new every day, and we still didn’t quite understand what direction our business would take.
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Nel 1990 avevamo noleggiato una fotocamera FUJI panoramica (6x17) per realizzare un servizio per il Centro Acciai (ILVA), e ci siamo divertiti a portarla sulla Murgia, con il nostro fedele cane Puck.
In 1990 we rented a panoramic camera FUJI (6x17) to shoot for the Centro Acciai (ILVA), and had fun taking it to the Murgia, with our faithful dog Puck.
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1992 durante lo shooting di un catalogo di moda ambientato nel territorio La Martella (MT) / during the shooting of a fashion catalogue set in the area of La Martella (MT)
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1989
foto realizzata per l’editore Franco Maria Ricci, presso la Cattedrale di Bari. L’oggetto è stato poggiato su un fondo di velluto nero in base alle indicazioni del curatore della pubblicazione. / Photo taken for publisher Franco Maria Ricci (Milano)in location at the Bari Cathedral. The object was placed on a black velvet background according to the instructions of the publication’s editor.
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Abbiamo iniziato a lavorare con il banco ottico (nei formati 4”x5”, 13x18 e 8”x10”), anche perchè all’epoca era una scelta obbligata se si volevano realizzare delle fotografie di arredamento in studio.
I nostri clienti erano sopratutto, ma non solo, i salottifici del “triangolo del salotto”:
We started working with the view camera (4”x5”, 13x18 8”x10” formats), also because at the time it was a must if you wanted to take photographs of furniture in the studio.
Our customers were mainly, but not only, the salon manufacturers of the ‘living room district”.
Tra i nostri clienti di allora / among our customers at the time:
Banca del Salento
Calia Salotti
Flli Conte
Franco Maria Ricci Editore
ILVA - Centro Acciai
Industrie Natuzzi
Keoma
Maiullari Salotti
P4 Salotti
Pinacoteca Provinciale Bari
Quattro Esse
Nicoletti Salotti
Saicaf
Soft Line
Terredora
T & T
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1993 foto realizzata per la Terredora di Paolo (Montefusco AV), dei fratelli Daniela, Lucio e Paolo Mastroberardino / photo shot for Terredora di Paolo (Montefusco AV), belonging to the brothers Daniela, Lucio and Paolo Mastroberardino
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1990
foto realizzata per la Saicaf, destinata ad una campagna di comunicazione curata da Graphidea (art director Luca De Napoli).
La foto fu ritoccata da ColorZenith di Milano per inserire il fumo (uno dei primi effetti speciali, realizzato con l’utilizzo dell’areografo direttamente su un duplicato del nostra diapositiva originale).
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1990
photo on assignment for Saicaf, intended for a communication campaign curated by Graphidea (art director Luca De Napoli).The image was retouched by ColorZenith of Milan to include smoke (one of the first special effects, made by using an areograph directly on a duplicate of our original slide).
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1994 - 2003
Questo periodo è stato sicuramente caratterizzato dalla nostra collaborazione con le Industrie Natuzzi, (ora Natuzzi). Grazie a loro abbiamo viaggiato molto e conosciuto il mondo delle grandi agenzie di comunicazione.
This period was certainly characterised by our collaboration with Natuzzi Industries, (now Natuzzi). Thanks to them, we traveled a lot and got to know the world of big communication agencies.
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L’azienda aveva il suo studio fotografico interno completamente attrezzato, all’epoca uno dei migliori in Italia.
Per noi era poter guidare una macchina di formula 1!
The company had its own fully equipped in-house photo studio, at the time one of the best in Italy. For us it was like driving a formula 1 car!
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1998 Divani e Divani (Indstrie Natuzzi) agenzia / advertising agency: Bozell Italia
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2001
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Spagnesi (Industrie Natuzzi), foto per booklet - agenzia di comunicazione interna, art direction Roberta Dispoto / photos for booklet - in-house communications agency, art direction Roberta Dispoto
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1995 Indeco - lo sfondamento del diaframma durante lo scavo di una galleria (foto per la comunicazione
aziendale curata dalla CaruccieChiurazzi) / The breakthrough of the diaphragm wall during the excavation of a tunnel (photo for corporate communication curated by CaruccieChiurazzi)
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In questi 10 anni abbiamo lavorato per tantissime aziende oltre alla Natuzzi. Ogni lavoro era per noi una occasione di crescita. Ci siamo dedicati allo still-life, l’architettura, la foto industriale, il ritratto, che hanno affiancato l’arredamento e la riproduzione di opere d’arte. La cerimonia e la moda invece non ci hanno mai particolarmente interessati.
Ricordiamo qualche cliente
di questo periodo / Let us recall a few customers from this period:
AqP
Archivolto
Banca Popolare di Taranto
Il Baricentro
Cenro Acciai (gruppo ILVA)
Circolo Tennis
Flli Alinari
Flli Conte
Gente Money
Giuseppe Laterza & Figli SpA
In these 10 years we have worked for many companies besides Natuzzi. Each assignment was an opportunity for us to grow. We have devoted ourselves to still-life, architecture, industrial photography, and portraiture, which have complemented interior design and reproduction of works of art. Ceremony and fashion, on the other hand, have never especially interested us.
Gruppo Randazzo
ICAM
Indeco
Laterificio Pugliese
Mazzotta Editore
Nettis Impianti
Nicola Pantaleo
Orolevante
Nuovo Pignone
Osram Gmbh
Paola Pettini
Pinacoteca Provinciale
Planifim
Terredora di Paolo
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2004 - 2023
Dal 2004 ad oggi abbiamo sviluppato la nostra attività in settori che non avevamo immaginato. Abbiamo dovuto constatare che non tutte le nuove direzioni seguite si rivelavano, alla fine, utili.
Since 2004, we have developed our business in areas we had not imagined. We had to realise that not all the new directions we followed turned out to be useful in the end.
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I settori in cui adesso lavoriamo sono abbastanza vari, non ci siamo mai spinti verso una specializzazione eccessiva, anche perchè, secondo noi, le condizioni del mercato locale non lo permettono.
Potete avere un’idea di quello che facciamo sul nostro
sito: www.tartaglione.com
Architettura
(interni, esterni)
Arredamento (spazi arredati, riprese per catalogo)
Beni Culturali
(ad esempio riproduzione dipinti, sculture, oggetti sacri)
Corporate (ritratti, ciclo produttivo, catalogo prodotti)
The are various areas in which we are now working, we have never gone too specialised, also because, in our opinion, the local market conditions do not allow it.
You can have a look at our recent work on our website: www.tartaglione.com
Architecture (interiors, exteriors)
Furnishing (furnished spaces, catalogue shoots)
Culturale Heritage (for inst. repro of paintings, sculptures, sacred vessels)
Corporate (portraits, production cycle. product catalogue)
Hospitality
(strutture ricettive, food)
Hospitality (accommodation, food)
Tra i nostri Clienti / Among
our customers:
Abaca Press
Absolicon
Accor Italia
Aleandri
Appelberg
Arcidiocesi di Acerenza
Aricidiocesi di Bari Bitonto
Arnoldo Mondadori Editore
Auriga
Azienda Vinicola Rivera
Banca Popolare di Novara
Banca Pop. di Puglia e Basilicata
Base Protection
Bellino
BPER Banca
Bridgeman Art Library
Cairo Editore
Campus
Centro Ricerche St. Rel. in Puglia
Cromwell Investment Services
Di Leo Pietro
Domar
Edilelettra
F. Divella
Ferrotramviaria
Figli di Michele Angiuli
Frantoio Galantino
Gaz Natural Italia
Gdesign
Graficom
I Divini
I.L. Immobiliare Longano
Il Quadrato
Indeco Ind
Ist. Encicolpedia Italiana
Italialiving
Lokhen
Mangini
Masiello Food
Masmec
MAXTA
Metal. Ri.
Molino Casillo
Mondadori Electa
Natuzzi
Nettis Resort
Nice 2 Stay
Nicola Pantaleo
Nurith
Pastificio Riscossa
Planitalia
Puglia Hospitality
Quorum Italia
Romano Exhibit
Rossetti
Rubner Haus
Salumi Emmedue
SELEX Gruppo Commerciale
Signum
Silos Visionary Craftsmen
Skira Editore
TELMES
Tenimenti Greco
Terredora di Paolo
The New York Times
Università Studi della Basilicata
Venice Duke
Villa Romanazzi Carducci
Wilo Italia
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Ritratti
in bici - 2012
Decidemmo di invitare chi fosse venuto da noi in bici, nel giorno del solstizio di inverno, ad entrare direttamente dal passo carrabile e farsi ritrarre insieme al suo mezzo. / We decided to invite anyone who came to us on a bike on the day of the winter solstice to enter directly through the driveway and have their bike portrayed with them.
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Lo studio
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The studio
Anche se adesso molti fotografi lavorano in casa, a noi è sempre piaciuto avere uno studio dove realizzare ritratti o still-life e potere lavorare tranquillamente al computer. Dal 2000 circa ci siamo trasferiti in questo studio a Bari, con pareti bianche e parquet industriale come avevamo sempre desiderato.
Even though many photographers now work at home, we always loved having a studio where we could shoot portraits or still-life and work quietly on a computer.Since around 2000 we moved to this studio in Bari, with white walls and industrial parquet flooring as we had always wanted
Giancarlo De Marco Alessio Frisenna Antonio Orlando Francesco Picella Francesca Garofalo![](https://assets.isu.pub/document-structure/231004074441-dd2be0396939d9baeeb802384387956a/v1/c8b7fd60244d73fb8ee34a170005af70.jpeg)
le prime volte
Possiamo dire che questi 40 anni sono stati un continuo susseguirsi di “prime volte”.
Abbiamo dovuto perciò aggiornarci di continuo e scoprire... cosa fare da grandi !
We can say that these 40 years have been a continuous succession of “first times”. Therefore, we had to continually update ourselves and find out ... what to do when we grow up !
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1987
La nostra prima campagna fotografica di riproduzione di opere d’arte. Si trattava di una ricerca sulle icone bizantine in Puglia e Basilicata per la Pinacoteca Provinciale, allora diretta da Pina Belli D’Elia.
Il catalogo venne realizzato dall’editore Mazzotta.
Our first photographic campaign to reproduce works of art. It was a research on Byzantine icons in Apulia and Basilicata for the Pinacoteca Provinciale, then directed by Pina Belli D’Elia. The catalogue was produced by the publisher Mazzotta.
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10 anni dopo, nel 1997, abbiamo realizzato una campagna fotografica per gli Archivi Alinari presso la Pinacoteca Provinciale di Bari
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10 years later, in 1997, we produced a photographic campaign for the Alinari Archives at the Pinacoteca Provinciale di Bari
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Nel 2013 abbiamo realizzato una impegnativa campagna fotografica in Puglia Basilicata e Calabria per il volume di Mimma Pasculli Ferrari.
In 2013 we carried out a challenging photographic campaign in Apulia Basilicata and Calabria for Mimma Pasculli Ferrari’s book.
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catalogo della mostra / exhibition catalogue “La fabbrica svelata” 1994
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1993
Dopo qualche anno dall’inizio della nostra attività abbiamo sentito la necessità di lavorare a progetti personali, per potere esprimere un punto di vista proprio e raccontare quello che ci interessava. Da questo punto di vista la nostra prima mostra, “La fabbrica svelata”, è stata per noi un punto di svolta, abbiamo capito che eravamo in grado di trovare delle motivazioni personali per fotografare il mondo che ci circondava.Le foto furono realizzate nel
1993 e la Mostra inaugurata nel 1994 a Bari presso l’Associazione Italo Francese / Artoteca Alliance. Il catalogo venne curato dallo Studio De Liso (Geppi De Liso e Lilli Chimienti).
Stampe a colori di Arrigo Ghi.
Catalogo stampato in offset da Ragusa Grafica Moderna.
1993
After a few years from the beginning of our activity, we felt the need to work on personal projects, in order to be able to express our own point of view and tell what interested us. From this point of view, our first exhibition, ‘La fabbrica svelata’, was a turning point for us; we realised that we were able to find personal motivations to photograph the world around us. The photos were taken in 1993 and the exhibition was inaugurated in 1994 in Bari at the Italo-French Association / Artoteca Alliance. The catalog was edited by Studio De Liso (Geppi De Liso and Lilli Chimienti). Color prints by Arrigo Ghi. Catalog printed in offset by Ragusa Grafica Moderna.
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1990 in quell’anno realizzamo per la prima volta delle fotografie appositamente studiate per un calendario.
(Calendario 1991 / in collaborazione con Bianca Bellomo (Be.Pa.) che curò anche la colorazione a mano delle foto da noi realizzate in bianco e nero con vari viraggi chimici)
Dopo quell’esperimento abbiamo continuato per vari anni a produrre calendari creando sinergie con studi grafici e/o tipografie.
1990 in that year we first produced photographs specifically designed for a calendar.
(1991 calendar / in collaboration with Bianca Bellomo (Be.Pa.) who also carried out the hand coloring of the b/w photos we printed with various chemical toning)
After that experiment, we continued for several years to produce calendars by creating synergies with graphic design studios and/or printers.
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la dispensa del corso di tecnica fotografica
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1991
Prima esperienza didattica: Roberto organizza, per il Gruppo Randazzo, corsi di tecnica fotografica nelle sedi dislocate in varie città del Centro Sud. Il corso ha tanto successo che viene repplicato nei due anni successivi.
1991
First teaching experience: for the Randazzo Group, Roberto organizes courses in photographic technique in various cities of central and southern Italy. The course is so successful that it is reapplied in the following two years.
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direzioni
Nella navigazione bisogna individuare sin da subito le migliore rotte da seguire, ma a volte non è facile.
In sailing, one must identify the best courses to follow from the very beginning, but sometimes it is not easy.
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TRANS TV
Dal 1986 al 1992 partecipammo come soci ed amministratori all’avventura della cooperativa “VideoClub” che con il marchio Trans TV produsse vari documentari e spot pubblicitari. Utilizzavamo le prime videocamere Plumbicom e registravamo in formato 3/4 High Band. Le attrezzature video all’epoca costavano una fortuna !
TRANS TV
From 1986 to 1992, we participated as associates and administrators in the adventure of the ‘VideoClub’ cooperative, which produced various documentaries and commercials under the Trans TV brand. We used the first Plumbicom video cameras and recorded in 3/4 High Band format. Video equipment cost a fortune at the time!
1988
Tommaso Lapegna , regista e sceneggiatore (sx) ed Angelo Amoroso d’Aragona, operatore, durante le riprese di un documentario sulle Chiesette a cupola in asse nel territorio di Bitonto. Noi curavamo la fotografia e ci occupammo anche della produzione esecutiva / Tommaso Lapegna, director and scriptwriter (left) and Angelo Amoroso d’Aragona, cameraman, during the filming of a documentary on the small domed churches in the Bitonto area. We took care of the photography and also handled the executive production
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WORLD WIDE WEB
Abbiamo vissuto in pieno le trasformazioni dovute alla nascita di internet.
Nel 1998, grazie ai consigli di Matthew Watkins, abbiamo registrato il nostro dominio tartaglione.com, anche se non sapevamo bene a che cosa servisse. Da allora abbiamo implementato il nostro sito principale (www.tartaglione.com) e pubblicato altri siti dedicati ad attività specifiche.
WORLD WIDE WEB
We have fully experienced the transformations due to the birth of the Internet.
In 1998, thanks to the advice of Matthew Watkins, we registered our domain tartaglione.com, although we did not really know what it was for. Since then we have implemented our main site (www.tartaglione.com) and published other sites dedicated to specific activities.
1999 una schermata del nostro primo sito (curato da M.Watkins) / a screenshot of our first site (edited by M.Watkins)
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www.tartaglione.com
Il nostro sito principale cerca di dare un’idea sempre aggiornata della nostra attività. A questa presenza sul web abbiamo affiancato, oltre ai soliti social, anche alcuni siti in cui presentiamo attività più specifiche; ne indichiamo alcuni:
Fotografia e parole (https://fratellitartaglione.org/): ragionamenti intorno alla fotografia
Fotografia in Puglia (https://fotografiainpuglia.org/): rèportages dalla Puglia e Basilicata
Il nostro scaffale su ISSUU (https://issuu.com/studio_tartaglione), dove è possibile sfogliare alcune nostre pubblicazioni.
Our main site tries to give an up-to-date idea of our activities. In addition to the usual socials, we have added to this web presence a number of sites where we present more specific activities; we indicate some of them:
Fotografia e parole (https://fratellitartaglione.org/): reasonings around photography
Fotografia in Puglia (https://fotografiainpuglia.org/): rèportages from Apulia and Basilicata
Our shelf on ISSUU (https://issuu.com/studio_tartaglione), where you can browse some of our publications.
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DIGITAL DIVIDE
A un certo punto, ormai sembra passato un secolo, abbiamo smesso di usare il banco ottico, caricare gli chassis (ne sono rimasti alcuni ancora con le lastre vergini all’interno). Non abbiamo più comprato pellicole ma computer, monitors, software. Alla fine non ci è dispiaciuto troppo. Pensiamo che la tecnologia digitale abbia reso possibile dedicarci ad attività che prima sarebbero state fuori dalla nostra portata, quali l’archiviazione e l’attività editoriale. Non abbiamo sofferto insomma del digital divide.
DIGITALE DIVIDE
At some point, it seems like a century ago now, we stopped using view cameras, loading chassis (there are some left still with virgin plates inside). We no longer bought film but computers, monitors, software. We must say that in the end we didn’t mind too much. We think that digital technology has made it possible for us to engage in activities that would previously have been out of our reach, such as archiving and publishing. In short, we have not suffered from the digital divide.
nei primi anni 90 fotografammo per Fotolito 38 una delle prime workstation collegate ad uno scanner a tamburo. Era un sistema chiuso che consentiva le prime manipolazioni dell’immagine
In the early 1990s we photographed one of the first workstations connected to a drum scanner. It was a closed system that allowed the first manipulations of the image
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L’ARCHIVIO
dal 2006 circa, da quando cioè utilizziamo reflex full frame, abbiamo iniziato a lavorare sull’archivo, inteso sia come un modo di lavorare per grandi temi riguardanti il territorio (paesaggio, tradizioni popolari, monumenti), sia come partecipazione a varie piattaforme on line. Siamo stati coinvolti in due grandi progetti di archivio fotografico del territorio italiano, che purtroppo ora non esistono più.
Oggi siamo contributori dell’Archivio Bridgemann (Londra) specializzato in beni culturali e curiamo un nostro proprio archivio che costituisce la base per i nostri progetti editoriali.
L’ARCHIVIO
Since around 2006, that is, since we have been using full frame reflex cameras, we have been working on archive, understood both as a way of working on major themes concerning the territory (landscape, popular traditions, monuments), and as participation in various online platforms. We were involved in two major projects of photographic archives of the Italian territory, which unfortunately no longer exist.
Today we are contributors to the Bridgemann Archive (London) specialising in cultural heritage and we curate our own archive, which forms the basis for our publishing projects.
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incontri
Una delle cose che ci piace di più nel nostro lavoro è il fatto di incontrare e ritrarre le persone più diverse.
One of the things we enjoy most in our work is meeting and portraying the most diverse people.
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Nicola Barrese, 2014, meccanico, per il Magazine della Scania “Legend”
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voglia di volare
Il sogno di un fotografo è quello di potere sviluppare progetti personali e farlo a tempo pieno. In realtà quando si lavora in proprio la maggior parte del tempo viene impiegato per cercare e realizzare lavori su commissione, che tra l’altro, nel nostro caso, hanno spesso tempi di preavviso strettissimi. Tuttavia, come un fiume sotterraneo, la nostra attività di ricerca personale è sempre continuata in questi anni, e ci ha consentito di mantenere sempre una finestra aperta sul mondo introno a noi.
A photographer’s dream is to be able to develop peronal projects and do it full-time.In reality, when ypu are self-employed, most of your time is spent researching and realising commissioned work, which by the way, in our case, often has very short notice periods. However, like an underground river, our personal research activity has always continued over the years, and has allowed us to keep an open window on the world around us.
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Antonio Tartaglione
Albania, Elbasan, “Kombinat” 1994
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I VIAGGI DI ANTONIO
A volte il viaggio ti mette nella condizione mentale adatta a realizzare foto che nascono da idee o esigenze strettamente personali. Il viaggio quindi, inteso come atteggiamento spirituale, mi ha portato a realizzare lavori fotografici spesso esposti in mostre o utilizzati per altri progetti.
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ANTONIO’S JOURNEYS
Sometimes travelling puts you in the right frame of mind to take photos that arise from strictly personal ideas or needs. Travelling then, understood as a spiritual attitude, has led me to realise photographic works that are often exhibited in exhibitions or used for other projects.
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Antonio Tartaglione
Nuove cittadinanze 1991
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Antonio Tartaglione double exposures 1992
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Antonio Tartaglione
“Infanzia” 2001
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Antonio Tartaglione
“Metro Quadro” 2005
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Antonio Tartaglione
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Paesaggi - 2011
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Antonio Tartaglione
Polignano 2012
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Antonio Tartaglione
natura morta - 2014
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I VIAGGI DI ROBERTO
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L’invito ad una mostra o alla realizzazione di un progetto quale un calendario può essere l’occasione, se si è lasciati liberi, di realizzare qualcosa di personale. In questo modo sono nate molte mie immagini, di cui solo una parte è stata esposta o utilizzata in progetti editoriali.
ROBERTO’S JOURNEYS
An invitation to an exhibition or the realisation of a project such as a calendar can be an opportunity, if one is given the freedom, to realise something personal. In this way, many of my images have come to life, only some of which have been exhibited or used in editorial projects.
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Roberto Tartaglione
Basilicata 1985
cittadinanze
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Roberto Tartaglione
Sarajevo - BIH 2004
cittadinanze
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Roberto Tartaglione
Cisternino 1994
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Roberto Tartaglione
Cisternino 1994
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Roberto Tartaglione
“corpo a corpo” 2003
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Roberto Tartaglione
PAURA - 2010
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progetti a lungo termine
L’attività a cui dedichiamo il nostro tempo e le nostre energie in questi ultimi anni, quando non lavoriamo su commissione, è lo sviluppo di progetti a lungo termine. Alcuni abbiamo avuto la soddisfazione di vederli pubblicati sotto forma di libro, altri sono ancora in corso ed in cerca di un editore
The activity to which we devote our time and energy in recent years, when we are not working on assignments, is the development of longterm projects. Some we have had the satisfaction of seeing published in the form of a book, others are still in progress and looking for a publisher
2021 - stampa di “Winter Rites”
dopo tante pubblicazioni cui avevamo partecipato contribuendo con le nostre foto, spesso senza neanche essere citati, vedere nascere il primo libro da noi firmato come autori è stata per noi una esperienza indimenticabile.
2021 - printing of ‘Winter Rites’
after so many publications in which we had participated by contributing our photos, often without even being mentioned, to witness the birth of the first book that we signed as authors was an unforgettable experience for us.
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WINTER RITES
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Graficom Edizioni - Matera 2021
la nostra ricerca durata oltre dieci anni che documenta la persistenza del senso di comunità espresso nei vecchi e nuovi riti del Carnevale in Basilicata / our research lasting over ten years documenting the persistence of the sense of community expressed in old and new carnival rituals in Basilicata
il volume è in vendita anche presso il nostro studio. / the volume is also on sale at our studio.
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HOLY PASSION Grafiche Deste - Capurso 2022
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La Settimana Santa in Puglia: le opere d’arte, la musica, le confraternite e le processioni
Holy Week in Apulia: works of art, music, brotherhoods and parades.
il volume è in vendita anche presso il nostro studio. / the volume is also on sale at our studio.
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WAYS OF MERCY IN BASILICATA Graficom Edizioni - Matera 2023
I riti Mariani in Basilicata attraverso un viaggio per santuari, opere d’arte, devozione popolare e processioni in montagna.
The Marian rites in Basilicata: a journey through shrines, works of art, popular devotion and mountain processions.
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*
il volume è in vendita anche presso il nostro studio. / the volume is also on sale at our studio.
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PASSATO PROSSIMO in corso / ongoing
viaggio tra le testimonianze ed i resti delle “riforme” realizzate nei due dopoguerra, in Puglia e Basilicata
journey through the testimonies and remains of the ‘reforms’ carried out in the two post-war periods in Apulia and Basilicata
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Prototipo del volume che abbiamo progettato / Prototype of the volume we have designed
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CHIESE RUPESTRI in corso / ongoing
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una ricognizione di ciò che resta della civiltà rupestre dell’arco jonico, che accomuna Puglia e Basilicata.
a survey of what remains of the rupestrian civilisation of the Ionian arc, which unites Apulia and Basilicata.
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XYLELLA in corso / ongoing
Un viaggio nel disastro.
Il paesaggio del Salento sta cambiando per sempre: noi stiamo documentando questa trasformazione.
A journey into disaster.
The landscape of Salento is changing forever: we are documenting this transformation.
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GIOVANNI E GIROLAMO in corso / ongoing
Abbiamo fotografato tutte le opere attribuite a Giovanni Todisco e Girolamo Todisco, due pittori vissuti tra 500 e 600 che hanno affrescato Chiese Conventi in tutta la Basilicata.
We photographed all the works attributed to Giovanni Todisco and Girolamo Todisco, two painters who lived between the 16th and 17th centuries and who frescoed churches and convents throughout Basilicata
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RITUALI, MIGRAZIONI E COMUNITA in corso / ongoing
Ogni religione ha i suoi riti, ogni festa particolari significati. Eppure la coincidenza delle feste ci indica che chi crede in Dio, chi cerca Dio, vuole la pace tra le donne e gli uomini del nostro tempo.
Every religion has its rites, every feast has its particular meanings. Yet the coincidence of festivities shows us that those who believe in God, those who seek God, want peace among the women and men of our time,
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GRAZIE
Sopratutto ai nostri genitori, che ci hanno sempre sostenuto.
MARIA FORTUNATO
DOMENICO TARTAGLIONE
THANK YOU
Above all to our parents, who have always supported us:
MARIA FORTUNATO
DOMENICO TARTAGLIONE
nel corso di questi anni abbiamo incontrato tante persone con cui si è creato un rapporto personale e che a vario titolo ci hanno aiutato: amici, art directors,clienti, critici, colleghi..., impossibile citarle tutte, ma a tutte diciamo: grazie !
In the course of these years we have met many people with whom a personal relationship has been created and who have helped us in various ways: friends, art directors, clients, critics, colleagues..., impossible to mention them all, but, to them all, we say a big thank you !
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Antonio e Roberto Tartaglione, fotografi
persona giuridica attuale / current legal form:
A.R.T. di Roberto Tartaglione S.A.S.
via San Tommaso d’Aquino 6/B
70124 BARI (BA)
ITALY
P.IVA / VAT IT05109470723
studio@tartaglione.com
www.tartaglione.com
foto senza didascalia
pg 10 - città vecchia di Taranto 2011 (dal nostro archivio)
pgg 54 e 186-187: realizzate nel 2006 e 2009 per la manifestazione “Le voci dell’anima” organizzata da Antonio Princigalli, art direction Roberto Brunetti.
pg 48 è antecedente al 2000, art direction Enzo Tempesta.
pg 50 2007 per Natuzzi - art direction Roberta Dispoto
Photos without caption
pg 10 - old city of Taranto 2011 (from our archive)
pgg 54 and 186-187: made in 2006 and 2009 for the event “The voices of the soul” organized by Antonio Princigalli, art direction Roberto Brunetti.
pg 48 is pre-2000, art direction Enzo Tempesta.
pg 50 made in 2007 for Natuzzi - art direction Roberta Dispoto
ANTONIO TARTAGLIONE
nasce a Roma nel 1957, si trasferisce con la famiglia in Belgio e frequenta la scuola internazionale dello SHAPE negli anni ’73-74. Dopo la Laurea in Filosofia conseguita nel 1981 presso l’Università degli Studi di Bari soggiorna all’estero (Inghilterra, Germania e Francia).
Rientrato in Italia (1983) decide di diventare fotografo professionista insime al fratello Roberto.
ROBERTO TARTAGLIONE
nasce a Cagliari nel 1962,si trasferisce con la famiglia in Belgio negli anni ’73-74.Dopo la maturità scientifica lavora a Milano per circa 2 anni come assistente di studio prima per Enzo Mininno e poi per Roberto Freno, fotografi specializzati in architettura ed arredamento. Rientrato a Bari nel 1983 decide di diventare fotografo professionista insime al fratello Antonio.
was born in Rome in 1957, moved for two years with his family to Belgium and attended the international school of SHAPE in the years ‘73-74.
After graduating in Philosophy in 1981 from the University of Bari he stayed abroad (England, Germany and France). Returning to Italy in 1983 he decided to become a professional photographer together with his brother Roberto.
was born in Cagliari in 1962,he moved with his family to Belgium in the years ‘73-74.After graduating from high school he worked in Milan for about 2 years as a studio assistant first for Enzo Mininno and then for Roberto Freno, photographers specializing in architecture and interior design.He returned to Bari in 1983 and decided to become a professional photographer together with his brother Antonio.
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