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  • 28 marzo 2009

    99 ragioni per vivere in italia

    Elle issue (Italy) still on the shelves but it came out about a month ago in Milan (Italy) during the fashion shows (italian) and on the cover it shouts: 99 reasons to be happy in Italy.
    Amongst them surely it won’t say to be a fashion photographer (italian).
    For a matter of fact below here (which I’ll mash up a little not to give them some useless advertising) are all the photographers all foreign and featured on this issue:
    Matt JoXXes
    Karl LageXXeld
    David BuXXon
    Marcelo KraXXlcic
    Luis SaXXhis
    Paulo Suxxh (doing a still life on white background!)
    Jason KibXXer
    During the same days (if it wasn’t clear, the week during which the italian fashion was unveiled to the world here in Milan, Italy) there was an opening at the regional gallery of the exhibition titled “beauty interpreted by the best photographers from the thirties till today”, sponsored also by the City of Milan (Italy).
    In this exhibition there wasn’t one italian photographer.
    Not one.
    Gianpaolo Barbieri, for example? Not there.

    no comments

    49 Comments »

    27 marzo 2009

    photoshow

    Tomorrow morning, Saturday, at 11:30 I will chat with my friend Luca Pianigiani at the Canon stand…
    http://www.canon.it/About_Us/Advertising__Sponsorship/Events__Exhibitions/Consumer_Event_09_areaworkshop.asp

    49 Comments »

    26 marzo 2009

    nicola guiducci & saturnino

    As I was saying earlier, there are some pleasant surprises when doing this job:
    I was in my studio doing things being busy when my phone rang, it was my friend Saturnino.
    “Settimio! Where are you?!?!”
    “Satu! I’m in my studio, come by!”
    “I’m coming, because I’m going next to you to interview Nicola”
    “you are interviewing Nicola?!? I am coming to immortalize the moment!”

    And so in no time I found myself taking a portrait of a giant of the bass (it’s not an oxymoron, it’s the truth) like Saturnino together with a giant of music in general and of creativity like Nicola Guiducci.

    The photo above can be seen better here a href=”http://disk.benedusi.it/satu_guiducci/satu+guiducci.jpg” target=”_blank”>http://disk.benedusi.it/satu_guiducci/satu+guiducci.jpg

    9 Comments »

    22 marzo 2009

    benedusi_thorimbert: last one switch off the light…

    Here we are, each one back to their respective homes, I write on my blog, my friend toni on his.
    We did some kind of home web swap, and I liked it. I have to say that Toni and his family behaved very well, I didn’t find chaos, everything was in order and clean: well done!

    I would like though to reflect on this and, for once, I might be serious and schematic.
    So:

    – I’ll start from general: I loved this all thing of swapping, I said it already. I liked it a lot in the sense that it is one of those things for which internet has a point. It is not enough to post the link of whom we like, infact I do not have that and maybe I never will. You need, between people that like and appreciate each other, to create communicating networks, in order to let the experiences, the knowledge, the affinities and whatever else to pass from one another. Besides it is a mistake to make such a comparison above with communicating networks, because in our case mentioned above the magic happens that the levels do not average but the lowest only moves to the higher. Unfortunately our activity, but I do think that it includes anyone else, is a solitary activity. We are always folded on ourselves, and the temptation to say and think “I, I, I, I, I, I …” is very strong. With “I, I, I, I, I, I …” you won’t get anywhere, you have to think of US.

    – Attached to all this there is another thought: there is everything and more on the internet, we know it very well. Obviously there is everything and more also concerning our field: photography. I think that the use of a website like mine has to evolve into some kind of platform in which the infinite internet “mare magnum” is filtered by my taste, from my affinities, and from what I am. I would really love that my new website, that will be launched very soon, after infinite travails, could desire to become a big home where there could be my room but also many other rooms of people, photographers, restauranteurs, hotels, models, friends, architects… where I will work hard (and they will towards me) towards affinities. In any case the first room, the one with the best view and the sun that shines on it all the time will always be toni’s…

    – let’s leave the general feeling, and get to the specific, toni thorimbert: first of all I would like to take a step back and go back as far as my beginnings, in which toni had a finger in the pie. I come from the Liguria province and arrived in Milan when I was about twenty years old. Without knowing anything or anyone, threw myself in there, with the dream of becoming a photographer. I had some kind of a portfolio, done with friends back in Imperia. I got there with a classic mix of shyness and arrogance typical of someone beginning. The arrogance was such that I thought well to jump the whole idea of assisting, to propose myself to a newspaper: like that, jeopardized! I then went to a news stand and bought all, I mean all, the newspapers and magazines that were available. Flipping through I found an editorial that I loved so much, if I’m not mistaken it was done by using a crowd from a rock concert as models (right toni?). The magazine was duepiù (which doesn’t exist anymore from quite sometimes) and the photographers was someone by the name of toni thorimbert. I took the tram and headed towards mondadori and, with beginners luck, I got my first editorial for that exact magazine, for which I went back to Imperia to shoot it with my friends. When I then understood that to become a photographer it wasn’t enough call yourself a photographer but you needed to know the profession, I stopped being a photographer and began assisting. But this is another story…

    – I am going even deeper in the specific, to toni’s answers: the books: we’ve skimmed them one by one, with avendon… the photographic cameras: toni, with my greatest admiration, used the optic bench and the six by six for a long time, creating beautiful imagery with these instruments. I righteously quote it. Although now, he uses, righteously, digital format. But he is right, a PHOTOGRAPHER, has to know how to use those cameras, they have to be in his DNA. The digital equipment: I’d say we all agree, a photographer has to use MAC, nothing else. The magazines: well! Here we see toni’s passion for motorbikes… anyways (is it a case?) there isn’t an italian fashion magazine… The music: ok massive attack, but here toni could give more… 😉 the movies: great choices. Of stanley kubrick I would have also said barry lindon, for the crazy use of lighting and for the presence of a great model, marisa berenson (which I have photographed a few times, and I have asked her all emotional about the experience…) the three photographs: obviously impeccable choices. Somewhat choices made similar to mine, in the sense that in his first photograph, shot when he was very young, there is already everything. The first photo shoot: here toni says something beautiful and righteous in our line of work. You are all quiet and realxed in your studio, someone calls you and sends you to take pictures of monkeys’ asses in bengala. And we pack and we go… mistake: right! Art to buy: damn! I also would have liked to have said mollino! Studio: toni’s new studio is beautiful with a beautiful natural light, more than welcome to do it the same again! Garage: I did mention that this question was at his use and abuse! 😉 clothing: toni is, as you’d think of a great photographer, really elegant… 😉

    – in short this is all. I really think this won’t be an isolated case, my little blog, dear toni, is at your and you friend’s disposal. Do what you want to do. On one condition: that the last one switches off the light…

    Off course you can see all the comments of this whole thing on toni’s blog, here is the http://tonithorimbert.blogspot.com/

    12 Comments »

    19 marzo 2009

    toni thorimbert vs settimio benedusi second part

    Second part of the interview with toni thorimbert
    You will find my answers, obviously, on his blog http://www.tonithorimbert.blogspot.com/

    Settimio benedusi: With a lot of hard work you manage to recover some of your files from a LaCie that the fire spared. Miraculously very few of your images were saved. You hope that are these three…

    Toni thorimbert: this is not a question, this is torture, it’s self inflicted pain!!!
    I realise that I am completely unprepared to answer this question. Anyways because this is a game I will choose three that surely will be on the money, then tomorrow morning another three hundred will come to mind from which I could have chosen and that I will deem more important. Anyways on the first one (01 Piotello http://disk.benedusi.it/toni_pioltello/01%20pioltello.tif) I don’t have many doubts. Practically, that’s me (even though obviously I am not) and behind it there are the huge buildings where I grew up, in Piotello. The photograph was part of a series I presented in the final exams at the Umanitaria school of photography. It was 1974 and I was a little older than my subject. I always saw myself in that little boy and his fighter attitude. Infact his attitude, and mine as a photographer, coincide perfectly… we are both showing off our guns!

    (02 quarto oggiaro http://disk.benedusi.it/toni_quarto/02%20quarto%20oggiaro.jpg) the secnd one is a fashion photograph shot in quarto oggiaro, another suburb in milan. It’s 1994, much later after the first one, in any case a moment in the big turn. One of the very few photographs that, suggested by peter lindbergh, I took with me to new york. A photograph which has always been a small revolution because not only it reevaluated the suburb as a “location”, but also as a mental and symbolic condition, it put back into play, especially in the fashion shoot, the usual dynamics: you show yourself, I photograph you. Here things got complicated, the image layers became stratified, as in the relations of the characters…

    (03 macerie http://disk.benedusi.it/toni_macerie/03%20macerie.jpg) as the last one I chose this one, taken three years ago, proof that the world has only gotten worst from then.
    Also a fashion photograph, taken for Io Donna.
    I always told it like this: “we all walk, dressed impeccably, on the world’s rubble”.

    SB: Your portfolio is obviously charred,you have recovered three images from the LaCie but they are few. Having to start all over again, what is the first photo shoot you’d like to do?

    TT: one thing I love about this job is that I could be in my studio taken by something completely different and the phone rings and someone proposes to shoot a person or a theme for an editorial which I have never thought about. I don’t always accept and not always, when I accept, its what I would have like to have done, but I like this “russian roulette”effect. Anyways my ideas for a photoshoot are as such that, when I propose them, nobody wants them. Maybe they aren’t commercial enough. Even with people and magazines with which I have worked for years, when I propose something, I see terror or worst, emptiness, painted on their face, I don’t know why…
    I make an example: I find interesting those who loose battles, not the losers, but the great fighters that loose, that disappear, that suffer, but the newspapers always want the pictures of the one that laughs because he won. Therefore I have given up a little and, with the outmost respect, I associate myself to helmut newton: “I am a gun for hire…”

    SB: To start all over again has it’s advantages: you can avoid some mistakes of the past. Professionally, besides employing the assistant that burned down your studio, what mistakes would you try to avoid?

    TT: I have to admit that I would do everything all over again, even the inevitable mistakes, seeing that today I am here and very well.
    From time to time I have a feeling of regret, I don’t know, maybe I could have bought a motorbike before, or perhaps some “hardship” from the past, which at the end they were merely camouflaged insecurities, stopped me from deepening and enjoying some relationship with the others.
    I could have had more holidays, I think…

    SB: Amongst all this tough luck, an old family member of yours passes away, shame. An old uncle from America centenary eccentric and super rich. His legacy is unlimited one some conditions: you can spend the money only by investing it in modern art: which are the first three art pieces or artists that you would buy and why, and what would be the first three photographic pieces you would invest into?

    TT: if my budget was unlimited I’d say:
    Basquiat
    Paladino
    Hopper. (yes, really hooper. Seen for real his paintings loose completely the “poster” effect and they are beautiful) of his I prefer his small canvases.
    In photography I’d say:
    A naked portrait by Mollino on polaroid 10X12
    Helmut newton. I just saw now on ARTE a quote at an auction of a 30X40 by newton which went for 30.000 euros. The same subject, same measurements, photology gallery had one 3 / 4 years ago for less than a half the price. I have to say that, of newton I would never buy the big nudes or similar, but instead a nice old small 30X40. I don’t know, perhaps the one with Rampling sitting facing her back on the table at the nord pinus hotel in arles…

    SB: Your old studio was in Bovisa, with your uncle’s money, you can buy a new one wherever you wish. Where would you buy it?

    TT: strange question. I have just bought and renovated my new studio in milan, so I have to, no to lie to myself, say in milan.
    Maybe it would be cooler to say new york or copacabana. Because it is a game, I could get away by saying that I would buy it where I could re sell it at the best price in a year.

    SB: This studio, thanks heavens, has a substantial garage.
    What would you put inside?

    TT: a question that one should never answer with frankness: a man’s garage bares his soul: ok, I’ll answer, but it is not to say that it’s the truth: an ample tool box (please note that I am quite unsuited, but if you have a bike you have to have a few tools). A mountain bike, a scooter beta eikon 150 and a yamaha tmax, my yamaha TRX 850, a R1 with irregular firing, a speed triple, a ducati 1198R, a motocross with no number plates, a trailer for the bikes, a chainsaw, a weed wacker, a BMW M5 dark blue, a flaming yellow porsche like oliviero toscani’s one, an audi Q7, black, definitely with tinted rear windows, an old laverda 750 kept like god taught me, an off road toyota 4runner petrol, all the motorbike suits by dainese and the helmets by arai, boots, gloves, and on the wall a calendar of naked women photographed by settimio benedusi…

    SB: You cannot pitch up in front of your clients with your jailbird outfit, and even less on set: what is your “photographer’s outfit”?

    TT: a metal gray suit, slightly shiny, or totally black, by tonello or dior (also those by costme national aren’t bad) a blue trench by victor & rolf, a leather jacket by gerard loft and, impossible to live or work without, an original bomber AF1 and a pair of jeans by edwin (for the shoes you’d need a whole new blog).

    15 Comments »

    14 marzo 2009

    Here we are: here is the first part of the answers to my questions! UPDATED! IT WAS MISSING THE MOVIES!

    Toni thorimbert photographed by sonia giottoli

    Settimio Benedusi: which three photographic books you’d buy again, and why?

    Toni Thorimbert: I answer this with pleasure but I’d like to state in advance. If my studio really had to burn down today, I don’t know if the answers would be the same. Lets say that the game will rather take me to tell you about those books that counted in my visual formation from the beginning of my path to today.
    I am not at all of a nostalgic nature, and I would probably take advantage of this incident at my studio to decisively turn the page towards something unknown and possibly audacious, while the answers that follow are after all conservative. But, seeing that this post is after all an escamotage to tell, together with my friend settimio, what has been important for our professional formation I’d say that one of the first books that I’d buy is:

    “tokio” william klein.
    I will never thank giovanna calvenzi enough, at the time she was just my history of photography teacher at the umanitaria institute in milan, in getting me to know the works of william klein and especially for getting me to know him from a prospective: klein vs cartier bresson. A point of view which to this day I still use as a watershed when I have to decide how to approach or judge a job. Infact as soon as you compare these two authors you come to the realisation that as soon as you pick up a camera you have to first of all choose sides: you either take part with the type of photography without being seen, or in any case where the presence does not interfere with the course of reality, like cartier bresson or you behave like klein that with his ways of physically becoming part of the act unavoidably he modifies it, so much that the consequent photograph is a result of this interaction.
    At the beginning it was like choosing a party, “klein’s party”.
    I didn’t like Cartier bresson at all, then with time I began to recognise his great stature, while klein became, especially after getting to know him, more obscure.
    So, my way of approaching reality with a camera around my neck comes from there, from klein, and from the first book on photography that I bought.

    “white women” helmut newton
    Also this was one of my first books. A real beauty. The woman, the sensuality, the photography, the power. A world of white women, dangerous and independent.
    Thin and terrible title. I mention this book because it is the one that made me aware of newton, but all his books, even if a few are debatable, should be owned. All his work, for a photographer, is extremely important because it is absolutely inimitable. One can try and take a “newton photo” but the more the result is similar the more it would look ridiculous and absurd. Helmut newton is a real mystery, in his very subtle way of being so powerful… maybe partly revealed by a famous portrait, taken by his wife Alice Spring, where he’s wearing high hills.

    “an autobiography” by richard avedon
    Even though my/his favourite book is “in the american west”, this autobiography contains avedon’s essence, in the good and evil, as a whole. Avedon’s is preeminently the modern time photographer, with his unmatched ego, his theatrical tricks, his schizophrenia between commercial photography and art, between introspection and glamour. To study, love, and at the end even maybe hate, and in no ways can he be disregarded.

    SB: You are a photographer, so you need some equipment. Name three photographic cameras that you cannot be without?

    TT: a 6×6 rolleiflex bifocal with an 80mm 2,8 planar lens. Not because it’s a fetish, but because there isn’t a digital camera in the world, at the moment that can do what only the rollei can do with this optic, can do so well: a photograph in full colour taken at sunset and backlit and, once printed it recreates also the smell, and the transparency of the air, and the sentiment of that moment with the same truth and fullness.

    An optical bench 10×12. The abc of photography. It is necessary to know how to use it as to know to read and write, like breathing. Professionally the best camera in the world, with which against some beliefs you can do, well, absolutely anything. It deserves a book on its own, let figure a post. Who has never used it should do themselves a favour and leave the canon and start from the beginning with modesty, from the emery lens, with the image upside down.

    1 small compact digital camera.
    I need it for the blog, the locations, the holiday photos.
    Of all the others, after all I’d be happy to get rid of them.

    SB: Three digital equipment pieces?
    TT: a Mac Book Pro laptop
    A server (at least three terabytes)
    I can’t think of a third thing… a mouse?

    SB: To keep up with the time, you go to the newspaper kiosk… name three magazines you’d buy.
    TT: I have a deep relationship with the newspaper kiosk, almost morbid, even though nowadays I go much less. I mean that niccolò, my assistant, goes and gets the magazines, but sometimes I do go, perhaps at night I go to the “bad newspaper kiosk” and I start sniffing, paging, piling , buying. A totally compulsive shopping which varies from time to time, from what inspires me and what doesn’t. I buy everything, from horses to australian fashion magazines, interior design, houses, architecture. But I can think that this time I would buy:
    “motosprint”, in case there won’t show the moto gp in jail and “superbike” because I do not want to miss the latest motorbike which I won’t buy anyways. Also because “superbike” is the last magazine to have the naked pinup in the middle and the motorbike on a white background. It’s courage that has to be awarded.
    “vogue paris”, not to look like someone that only reads motorbike magazines.
    American “vanity fair”, not to confuse it with the italian one. Let’s say, to be polite, that they are two different things and the american one keeps me up to date with what is happening overseas. I read it all, it’s written very well and also because there are lebowitz’s pictures which, even though they are a bit mincing, they always have to be seen. Besides it is better to see them in the magazine than in her books because with the layout and the titles and the explanations I see them at their best.

    “interview”. In the new look designed by fabien baron. I am ashamed of saying this but I still find his graphics really beautiful. It makes me feel cool. It’s a bit like jazz, like miles davis, in reality the stuff is a little outdated which bores after a while, but if you put it on it will always make you look good.. Like: “who’s this?” “well.. It’s miles davis” like that, as if it was by chance. Baron’s graphics are like that: super cool even though it is definitely very, very bourgeois. But it is like a cashmere jersey, soft and to have it is not a bad thing.

    “numero”, “pop”, “purple”, “!D”. Or the fashion photographs that I will never do. I like them, sometimes they inspire me, but they are not my kind, at all. Infact I buy them often, because then I can reassure myself of what I am NOT.

    SB: At an electronic store you buy an iPod and a television with dvd player. You also buy 3 Cds to gladden in the background your next photo shoots, (assuming that, after many years in jail, someone will still hire you) and three movies that are of paramount importance for a photographer.

    TT: Massive attack, protection.
    An album that not only carries me, but the whole wide world, armies and luggage, from the mediocre repetitiveness of rock to the more intense, contemporary morbid and facetted. This was recommended to me by the editor of mademoiselle in new york of which I had a crush on. Before massive attack I lived in some kind of musical prehistory and I used to listen to a miscellaneous post melodic sounds of guitars and drum sets. (you want an example?sting) I bought the tape (the tape!) at the virgin megastore in los angeles and I drove to it to san francisco. Since then it got under my skin. Probably, if you could put me in a cd player and you spin me around its the sound I’d reproduce.

    Madonna’s latest, whichever one it is. when in the studio you have a model yawning because of jet lag or the hair and make up is slightly pissed off, you put on madonna and you can never go wrong, you are sure to get one or two photos.

    SB: three movies
    TT: blow up, michelangelo antonioni.
    Off course. It is the movie that says everything about photography and photographers and not only because david hemmings drives a convertible rolls royce and white levi’s, or because he rolls around between backdrops with models, but also because, at the end, he not only discovers that photography lies, but that life itself is an illusion.
    This said, all of antonioni is to watch. There was a period of time (a rather dark period) in my life where I used to keep in my studio a television always on with antonioni’s movies on loop, to always have a constant flow of incredible images. Now, thank god I have recovered, but I do not deny that I’ve done it.

    “2001 a space odissey” by stanley kubrick
    A classic. Perhaps a banal choice. But 2001 is not a science fiction movie, it is a movie about the mystery of life and death, packaged like a conceptual art piece but easily comprehended by everyone, equipped with the best images accompanied by the most spot on music in the world.
    I thought it was a good excuse to spend 9,90.
    Anyways besides kubrick as a photographer (not the greatest but, his photography book is a rather useless present) all his movies, besides the last one, deserve a box set. I mean, if one wants to understand how to put images together, a story, how a camera panes, how to direct actors, I would say that stanley cannot be set aside and I would add that it all reveals with time very, very useful when you go and take a picture…

    Eraserhead. By david lynch.
    His debut movie, I think was made for his final exam.
    Ugly. Dark. Anxious, slow, crumbled, absurd.
    All this makes it extremely important.
    The dark side of the matter. Everything I said for the other two directors also goes for him: besides “dune” (never understood it) all his movies are incredibly good but also bad, and don’t even get me started on his cartoons where horrible people fart and burp or kill. A disaster. But the lighting.. Man!you have to learn! And how he films and photographs interiors is beyond me. And his women? Beautiful, also, a little quirky, of twin peaks.
    Now I see he directed some gucci ads.. I guess he also has to pay off some bond…

    Toni Thorimbert

    You can find my answers to the same questions on toni’s blog: http://tonithorimbert.blogspot.com/

    9 Comments »

    11 marzo 2009

    Friend and photographer Toni Thorimbert answers to some crucial questions on photography, image culture and how to survive in case of fire…

    with Toni in front of “al pescatore” in via vannucci.
    photographed by giuliano

    I often receive emails, phonecalls, messages from young photographers asking for tips on how to become a photographer.
    It is never easy to answer because you run the risk to give a common answer, full of wisdom and good sense, and therefore deep down useless.
    To be more useful I think the secret lies in trying to create a strong empathy towards who is starting this profession. Meaning I have to put myself into his or her shoes. It is not easy, so to change a little, because this blog always talks about me and how I see things, I’ll try giving things over to a photographer friend of mine, really good intelligent and famous, Toni Thorimbert.
    http://www.tonithorimbert.blogspot.com/

    I invented for him a little story to convince him to reset himself, start all over again as if he was a rookie and tell me what he would do…

    Dear Toni, unfortunately your wretched assistant has just set your studio on fire “by mistake”.
    You are ruined. You have lost everything.. Books, cameras, the complete collection of vogue italy, the polaroid dedicated to you by the most beautiful models in the world etc etc…
    After a period of depression, (and jail time, because obviously you tried to kill him), you are free and driven to rebuild yourself and your story: obviously you don’t have much cash (the lawyer was very expensive) so you are forced to do things one at the time, so, after cleaning up your space from the debris and giving it a coat of paint you buy a bookshelf from ikea: which three photographic books you’d buy again, and why?

    You are a photographer, so you need some equipment. Name three photographic cameras that you cannot be without?

    Three digital equipment pieces?

    To keep up with the time, you go to the news stand… name three magazines you’d buy.

    At an electronic store you buy an iPod and a television with dvd player. You also buy 3 Cds to gladden in the background your next photo shoots, (assuming that, after many years in jail, someone will still hire you) and three movies that are of paramount importance for a photographer.

    With a lot of hard work you manage to recover some of your files from a LaCie that the fire spared. Miraculously very few of your images were saved. You hope that are these three…

    Your portfolio is obviously charred,you have recovered three images from the LaCie but they are few. Having to start all over again, what is the first photo shoot you’d like to do?

    Who would you propose it to?

    To start all over again has it’s advantages: you can avoid some mistakes of the past. Professionally, besides employing the assistant that burned down your studio, what mistakes would you try to avoid?

    Amongst all this tough luck, an old family member of yours passes away, shame. An old uncle from America centenary eccentric and super rich. His legacy is unlimited one some conditions: you can spend the money only by investing it in modern art: which are the first three art pieces or artists that you would buy and why, and what would be the first three photographic pieces you would invest into?

    Your old studio was in Bovisa, with your uncle’s money, you can buy a new one wherever you wish. Where would you buy it?

    This studio, thanks heavens, has a substantial garage.
    What would you put inside?

    You cannot pitch up in front of your clients with your jailbird outfit, and even less on set: what is your “photographer’s outfit”?

    Toni’s answers will be here on this blog in a few days…

    14 Comments »

    8 marzo 2009

    Read portfolio

    here
    http://www.nokiatrendslab.it/the_lab/serata/2957

    13 Comments »

    7 marzo 2009

    benedusi kezich

    In the title of the post I (incautiously) marry my surname to the one of the great Tullio Kezich, great movie critic and especially friend and biographer of Federico Fellini.
    All this premise to be able to speak about cinema:

    In actual truth I just wanted to speak about one movie, that came out this weekend. Seeing that it is the subject of my argument I will write a little list of the movies I’ve watched lately. Like the great Tullio!

    -”the wrestler” by Darren Aronofsky with Mickey Rourke. I had the luck and the pleasure to view this movie in September when it was presented at the Venice Film Festival, and therefore in its original language. It is a masterpiece, which I deeply suggest everyone to go and watch it. Touching, consuming, real, emotional. Incredible performance by the protagonist, that manages to melt his own life with the life of the character in an extraordinary way. A merciless representation of the real America.
    Go and watch it, it is the only reason why I wrote this post.
    Vote 9 (I will give votes like in school, from 0 to 10)

    -”ex” by whom I don’t know with whom I don’t know. A piece of shit, but a little bit funny. I ask myself why someone like Bisio lets himself into doing things like these. They say he’ll be seen as Totò used to be and only in twenty years time we’ll understand its greatness: bullshit.
    Vote 6

    -”italians” by whom I don’t know with whom I don’t know, amongst others, Verdone. A bigger piece of shit than the previous one. They say it’ll revalue… etc etc
    I do not understand why a great actor such as Verdone lets himself into doing such crap. It vaguely makes you laugh when he appears, but he makes you laugh even when he reads the medication leaflets (which he would probably do with more taste). The first scene is embarrassing with two actors which I don’t even want to nominate.
    Vote 3 (it would be 0 without Verdone)

    -”the curious case of Benjamin Button” by David Fincher, with Brad Pitt and Cate Blanchett. Beautiful movie, created from the book by Fitzgerald. Its very long, but it doesn’t weigh for a second. Gripping story, which surely hides various levels of psychoanalysis. Consuming final scene with an old lady that sees her own son/lover die.
    Vote 8

    -”milk” by Gus Van Der Sant with Sean Penn. Beautiful movie. When coming out of the movie it was like being at the exit of a fashionshow, the public was very fashion and above all “gay”. Excellent photography, which reprised the aesthetics of 70s film.
    Vote 8
    -”slumdog millionaire” by Danny Boyle. Almost a masterpiece, beautiful movie. The idea is always at the basis of everything beautiful. The simple idea at the basis of this movie is: “the thousand misfortunes will be my treasure”. Wonderful marriage between the ways of the western world and the indian one.
    Vote 8 and a half

    -”waltz with bashir” by Ari Folman. Wonderful animated movie. To see, overcoming the difference of a movie/animation. Fiery argument but treated outstandingly. Disturbing ending.
    Vote 8 and a half

    -”an english wedding” by whom I don’t know with whom I don’t know. Sweet movie, totally useless, but that lets two hours go by in a way you didn’t know how to spend otherwise.
    Vote 6 and a half

    -”revolutionary road” by Sam Mendes with Leonardo di Caprio and Kate Winslet. Beautiful movie, but surely not kind towards the concept of matrimony. Outstanding photography by Roger Deakins. Excellent actors.
    All the information here http://it.wikipedia.org/wiki/Il_vento_fa_il_suo_giro and here http://www.ilventofailsuogiro.com/
    If you can, watch it.
    Vote 8

    7 Comments »

    4 marzo 2009

    Stock markets

    After months, weeks and days of the stock markets collapsing today the italian newspapers read:
    “the stock markets today take a breather!”

    Also a dead cat thrown from a skyscraper bounces…

    10 Comments »