A series of black and white frames, taken during the last four years for different clients, explore my vision of the fashion world. Just a bunch of frames and words to let the imagination fly…
The series of frames entitled “Through. Speriamo che il tempo non sia in ritardo” (opening TODAY, Area 35 Art Gallery, Via Vigevano 35, Milano, 6:30 PM) helps the viewer to rediscover his/her peripheral vision. Just for one day, let the narrow social networks perspective go. Friend Federico Garibaldi makes us see through the black dots of trolley car windows other people and ourselves.
I took the b&w shots of Federico Garibaldi working from March to early May 2019 with my lovely Fuji X100.
MATTEO CESCHI, Milanese street photographer, essayist and journalist, he writes for several magazines and has exhibited his shots in various locations. His latest book, Un’altra musica. L’america nella canzoni di protesta, was published in 2018 by Mimesis Edizioni. He is a member of f50/The International Photography Collective. His latest projects were in collaboration with f/50 fellows John Meehan, Steve Coleman, Keith Goldstein and Peter Barton and with the Italian fashion brand Lucio Costa. He received a honorable mention at the 2015 International Photography Awards. In 2016 he realized with colleague Jim Marshall KO.existence, a photographic project exhibited in Sarajevo and in 2017 in Milan (with high-patronage of the Italian Embassy in Bosnia and Herzegovina). In 2017 he was curator of an exhibition of historic photos entitled Unseen Sixties at ExpoWall gallery in Milan. In Spring 2017 he launched with creative designer Federico Ramponi remoteclicking, a new shooting language that exploits mobile technology. He was the author of the “making of” of artist and director Federico Garibaldi’s short film, Un filo tra cielo, terra e acqua, winner of the Silver Dolphin prize at the 2018 Cannes Corporate Media & TV Awards.
In a recent interview, granted to f/50 member Matteo Ceschi, by Italian artist/director/photographer Federico Garibaldi, the latter talked about how he felt after completing an assignment. Federico described the feeling as “something in between a state of mind and a state of heart”.
This description immediately resonated with us and led us to consider how this notion of head and heart might exist in our own imagery. Here are our own responses.
SEE: STATE OF MIND/STATE OF HEART realized with f/50 fellows Steve Coleman, Keith Goldstein and John Meehan
How did you go from photography to film directing? The question needs to be asked now that you’ve won the Silver Dolphin prize at the 2018 Cannes Corporate Media & TV Awards.
I don’t know when I started photography, to begin with. I know even less when I started to film. I have a clear memory of myself looking at my grandpa, a cool – old photographer son of two wars, developing film or cutting and fixing the final version of a precious movie, the one we took together every Sunday, during the family field trip to the lake. I was five at the time, and I started to think that what matters is to mix. My mind started to give a meaning to the images, freezing single moments out of a movie, or imagining situations about a single pic.
I think I can tell you I never moved from one to the other. Only, my life gifted me with the chance to become a professional photographer, and I developed a personal technique to fulfill my goal: storytelling. Since then and there, the direction was very clear, and the jump was short enough to take.
As director you continue to use your FujiFilm GFX 50. How do you combine the use of video and still frames (of course you’re famous for multiple-exposures shots)?
I feel I’ve already answered part of your question. Referring to multiple exposures I’ll keep investigating the same area of interest. What usually remains, after a trip or after a job has been accomplished, is a complex true to life feeling, something in between a state of mind and a state of the heart. I don’t generally freeze single images, I rather like to freeze feelings, and try to reproduce them. Feelings usually mix themselves inside other feelings, that’s what happens in my stories. You also asked me about the camera I use. Though, obviously, when I direct a movie I’m not alone on the set, the choice of FUJI GFX 50 was driven by the consideration that that’s the only digital medium format to shoot double exposure, as I don’t like to over-manipulate my pics on the computer. The camera is fast, the task is easy. It does shoot a good video resolution, as well. So far it’s more than enough for what I`m working about.
Watching Reggiani a Thread Linking Water, Earth and Sky, one can appreciate a delicate fluidity in the visual storytelling. What was the idea that inspired this work and how did you attain your artistic goal?
The whole project investigates environmental sustainability. It’s of course a key moment in the life of the Company, and during my first conversation w/ Mr. Giovanni Reggiani I could clearly feel the enormous respect that he has for a valley where he’s spent almost all his life, and which represents his personal story and his family’s. The river is the center of all this, the great father of the valley, and the precious son of the mountain. Interpretation and description in this condition were going to be almost the same thing. The work was really very easy.
Was the short film you made for the famous Italian brand Reggiani S.p.A. your first experience as a director or had you already experimented with videos?
That was my first experience w/ an institutional video, with clear marketing and Adv purposes. Which suggests to me the opportunity to thank – very much – Mr. Giovanni Reggiani for the trust he has placed in me, and in the project. Before that, I realized some art projects, linked to different personal exhibitions, but that was more related to my artistic career. I also realized a small number of editorial video projects. Those experiences were truly fun.
For Reggiani a Thread Linking Water, Earth and Sky you collaborated with art director Roberto Pelizzoni. How was this join venture born?
Roberto is an old and really great friend ( and when I say old I mean young… ). To work w/ him is truly easy, indeed. He’s very demanding, at the same time he knows his way through. Roberto has a great knowledge of the ADV system. And he’s known my technique and my way of conceiving work for ages. We don’t need to talk a lot on the set. We talk a lot before. And after.
During the private preview presentation of the short film at Reggiani S.p.A.’s headquarters, in Varallo Sesia, you also chose to show the backstage shooting that documented your work. What did you ask for to the backstage set photographer when recording the “making of” the film?
That’s you! I feel it’s truly charming when people have the chance to see in-between all the moments of a job. It’s like a double exposure on life. Problem and solution, fighting and laughing, working and resting all become parts of one story. At the end of the day different feelings remain. And a cool story to remember.
All color shots © Federico Garibaldi
All backstage b&w shots © Matteo Ceschi
REGGIANI A THREAD LINKING WATER, EARTH AND SKY
(See the short film for the credits)
I’m very proud to have documented and recorded the “making of” of friend artist and director Federico Garibaldi’s short film, REGGIANI A THREAD LINKING WATER, EARTH AND SKY (Client: Reggiani S.p.A.; Art Director: Roberto Pelizzoni; Copywriter: Daniela Del Balzo; Producer: Wannaboo S.r.l.s.), winner of the Silver Dolphin at 2018 Cannes Corporate Media & TV Awards.
Backstage set photography offers me a range of opportunities that street photography doesn’t give me in everyday life. In the early months of 2018 I worked as backstage set photographer for the Italian brand Reggiani Stretch in Varallo Sesia and for Estro Magazine/Park Hyatt Hotel in Milan. In both occasions I’ve been part of friend photographer/director Federico Garibaldi‘s troupe. Two exciting experiences that allowed me to seriously test my favorite cameras, FujiFilm X30 and Olympus OM-D E-M5, in two different professional situations: the three-day making of a documentary/promotional video and a typical fashion editorial shooting session.
REGGIANI STRETCH, EARLY JANUARY:
ESTRO MAGAZINE/PARK HYATT HOTEL MILANO, EARLY FEBRUARY:
This series of shots was taken in two different moments, November 2015, during photo artist Federico Garibaldi‘s casting for Rendez-vous de la mode magazine’s cover feature and early March 2016. The March shooting session – the last two shots – was dedicated to the Lucio Costa brand – Garibaldi was one of the authors of the biographical volume SO LUCIO! (I participated in the book with a historical essay and a couple of shots). X30 was the ideal camera to record Garibaldi at work: its street DNA was perfect for documenting a photo session and the inner world of the fashion system. (Location: Area 35 Art Gallery, Milano – Paintings & sculptures: Fabio Valenti)