From the bistros to the streets, what the Parisians let you see is just a part of their everyday life. It’s a mind game – an “allowed theft” of moments and forbidden frames – that starts in the mind of the photographer. Paris as a hallway in a high-school: relate to a few schoolmates and ignore the rest of the world inside. Little Leica C Typ 112 is the perfect “invisible mate” to explore a reality which is apparently flat. High contrast black and white is the patois language allowing you to quickly understand and live the different situations around you. Everything that is happening in front of you can open the curtains of reality. A coffee with a friend; an ecological rally; perfect architectures and reflections; street art sketches; passers-by ad commuters. Even where the dark explodes, a blink of light survives for the photographer. Paris is… what the Parisians let you see, between the shadows and the lights.
The crowd in the S.Siro South Stand moves and sings in unison, the team in heart and mind. But if you look closely at this three-dimensional mass, you can see the faces of the individual football supporters. Every face has a story. More than the football players’ performances, these faces have immediately attracted me and continue to attract me. These individual souls are the fuel of competition, but each also changes the dimension and profile of the mass. (All frames taken with Olympus OM-D E-M5)
Occasionally I decide to go out with an old 35mm camera… This happens now and then. I don’t have a wish to feel like Cartier Bresson, you see?
Maybe it’s because of Paris itself that I took out my Yashica GSN Electro 35 and went down in the streets of the Marais.
One hour was enough: the old Yashica GSN weighs a lot, but its autofocus was fast enough to capture the different souls of the neighborhood. 35mm “language” is different, perhaps today few understand its aesthetics… (a Rollei RPX400 roll film loaded in camera).
Boats can remain in the harbor without sailors. Boats can be abandoned at the mercy of marine currents. But a sea-less boat must make people think. A ship with no sea attracts attention and suggests questions about its dry fate. Why does it lie there on dry land after a lifetime in the water? Who was its captain? Who were its sailors? And its passengers? The camera lens records the fate of these boats with no sea and tries to give them back a poetic fate. The camera lens imagines new ports and new sea routes for them. How many lives could these ships with no sea save?
All frames taken in Naxos, Greece, with Fuji X100 and Ricoh GX100
As a Jazz Ascona Festival press officer, I had the opportunity to meet many artists and chat with them. One evening while writing a press release, I was distracted by a spicy fragrance. While still trying to figure out where the good and intense fragrance came from, I heard the sound of a trumpet. It was a clear sound full of heart. The melody accompanied the growing perfume to perfection.
I stopped writing and I followed the fragrance & sound down to the basement. The darkness was lit by a light. The kitchen door was open. Pamela Pierre Brown, the Gourmet Sacred Soul Kitchen chef, was committed to the stove; a little further, her husband Leon “Kid Chocolate” Brown saturated the scented gumbo air with the notes of his trumpet. That was my unrepeatable chance to capture the quintessence of jazz: a greeting and an unobtrusive gesture to indicate the digital camera I had with me. The session started. The whole kitchen was pervaded with Souls: Pamela’ s Soul; Kid Chocolate’s Soul; my colleague Simona’s Soul; and my Soul. The feeling was to be living a real jazz moment that we wouldn’t be able to find another time. No book could ever describe the scene in a realistic way. I hope my photo shooting maintained that soulful fragrance and reflected for the observer the melodies of New Orleans jazz. After all, even photography is a question of soul… Let’s jazz, let’s groove, let’s swing!
P.S. The day after musicians and Jazz Ascona staff sat in the kitchen and tasted Miss Pamela’s gumbo (and fried fish).
June 28, 2019, a full page with a selection of my b&w frames dedicated to the Jazz Ascona Festival 2019 in Tessiner Zeitung newspaper. Some great musicians (friend New Orleans trumpeter Leroy Jones; Jazz poetess Othella Dallas; New Orleans Jazz Orchestra, etc.) portrayed in action. ENJOY!
<… ein paar Schnapppschüsse des offiziellen Festivalfotografen Matteo Ceschi, die mehr von der Magie eines einmaligen Festivals erzählen als tausend Worte.>
I’m very proud to see the interview with CARSON McHONE (and the shots I took with my FujiFilm X30) published in the Plug n’ playJune 2019 issue. I’m equally proud to present on my blog the full series of b&w shots (and just one color frame) I took of Carson at Rough Trade East, London, during the Texan singer and guitarist’s showcase in early February 2019.
To enrich this post let me add Carson’s opinion on the role of photography in her career. As Carson told me: <If there’s this constant need for content then it’s important to think ahead, especially if you want some sort of coherent theme to your imagery. I am definitely not anywhere near where I’d like to be with this but recently I’ve started to really think about any photos I take or any photo shoots I do, to have some sort of unifying aesthetic or intent, so that when I do post these images to the rest of the world I can feel like it’s a representation of the art and not just cheap engagement.>