Pressure, expectations and hopes behind a successful shoot

Prior to a shoot, there is a tension dwelling inside me. I ask myself : “Will it be a good one? Will I be able to get a winning shot?”. I always have high expectations when I take the camera in my hands and start to work with somebody, even when I don’t want to admit it to myself. I feel thrilled but at the same time I am under pressure of what I call the “achievement factor”. I am really committed to be successful, to reach a satisfactory quality level and am always looking for some stunning shots from each session.

I guess this is normal, it stimulates and motivates me, pushes me to be pro-active and to develop my strenghts. However I realise that it is important to keep this winning tendency under control : all the elements have to be balanced (expectations & fears, reality vs ideas, projects vs eventual unexpected events) and I need to make the scales stable. What I find helpful, is to understand what project I am working on, who are the people I am working with and then let this process slide in the smoothest way.

I remember having a good feeling before meeting Ross & Lynsey’s family. I did not know them but wanted to give them a good impression and I really hoped they would like and trust me. The shoot had been planned a few months earlier. Heading back from a week-end trip with a friend on the west coast, we stopped in Lochgilphead and met Lynsey, Ross and their three beautiful girls : Milly, Ella and Pippa. We only had a couple of hours to spare and I wanted to make the most of it. I knew that they had a garden and it was a beautiful spring May day, sunny and warm, with a blue sky. I thought we could take the pictures outside, since the girls would have been freer and be at their ease. Once I got to know them, after a chat and a drink of coffee, my hopes and expectations came to reality. They were welcoming, uncomplicated and genuine people. The two older girls (the little one was 7 months old at that time) were well behaved, respectful, lively and spontaneous in their enthusiasm. They were excited about the idea that somebody would “officially” take their portraits. I felt like a truly “important” person, having the role of being their photographer. I asked the girls to pose for a couple of shots but most of the time I was following them, the camera in my hands, while they were having fun and playing with each other.

After editing the photos throughout the following days, I saw my work through different eyes. Instinctively there were some photos that captured my attention, they looked really alive, natural and unplanned and I saw the girls characters shine through. Two photos were accepted for publication on PhotoVogue’s website and when this happens, to me it feels like winning the lottery! I recently asked Lynsey which picture from the shoot she cherished most and she chose the one below I have attached, including her message.

At the start I felt hopeful of successful images, together with some tension. At the end, and this happens to me all the time, I experienced a beautiful and peaceful sense of accomplishment. And then I can tell myself : “It’s done, chapter closed. The people you have worked with and for, are happy. You handled it pretty well. Hopefully there will be an other shoot coming soon”.

About group portraits [Parma, 2020]

One of the things I find pretty hard to compose…well, it is a group portrait. The ideal shoot for me is with one or two subjects. Working with three or more people, this is a real challenge!

Based on my personal experience, creating a balanced, harmonic composition is not easy for the photographer for the following reasons :

you need to be patient and focused and have an idea of what you want from the subjects ;

– you need to be pro-active and explain what you want them to do (even if it is so much easier to leave the subjects free) ;

– you need to give a structure to the photo by creating a line of attention where the viewers will easily focus on the group, avoiding the sensation of chaos or emptiness ;

– always double check the colors of the clothes (you do not want a clash, if you are looking for something classic) ;

– when working with children, it may be appropriate to have a recurrent theme or a repetitive element ;

– when working with professional models, they may have a different opinion on the format from the photographer so mediation may be necessary ;

Just to make a few comments on my picture (it was taken in Parma, in the studio, in 2017) : the girls were super pretty and also quite cooperative during the session and the black background was a great choice to emphatise the faces and the white dresses BUT…

– there is a strong contrast between the vertical and horizontal line ;

– the youngest one is not looking straight into the camera.

On hindsight I would have tried to avoid these two criticisms but…if I don’t make mistakes, I will never learn.

About inspiration [Parma, 2020]

I wonder from where other people take their inspiration. For me inspiration comes from a reaction in my mind and is something more visual. Such a reaction is created from studying other people’s work.

I am inspired by :

– listening to photographer’s tips and interviews ;

– focusing on certain kind of colors ;

– looking at images ;

– walking in the nature or when lying in bed ;

– the solitude through the night.

The following photographers have had a huge impact on my hobby: Robert Doisneau, Martine Franck, William Eugene Smith; Jacques Lowe, William Klein, Eudora Welty, Walker Evans, Letizia Battaglia, Jane Brown, Horst P. Horst, Arthur Tress, Francesca Woodman, Oliviero Toscani, Ferdinando Scianna, Vaughn Sills, Hans-Peter Feldmann

You can only be inspired by other people!

Narcissus, Parma, 2015

My photo influencers [Parma, 2020]

It can be argued that either men or women had the greatest impact on the history and the development of photography. In my case I can say that I have been influenced more by male photographers. My early portraits were taken by Franco, a colleague of my mother who is a passionate photo amateur. All my technical understanding of the camera was explained to me by Carlo Urbani. Last but not least it was a couple of artist friends who suggested that I focus on children’s portraiture because the little subjects were quite relaxed, spontaneous, vibrant and empathetic. I realized that empathy is critical and it is the key to successful images. A big thank you to Corrado Sacchi and Stefano Cavazzini!

Children at the seaside, Livorno, 2011

This one was selected by PhotoVogue!

Elena seen by Michele Galloni [Parma, 2019]

In April 2019, I posed in front of the camera of a my friend and talented photographer, Michele Galloni in his studio. Back then, the most challenging and tumultuous time of my life had begun. Looking at these images now, these shots make me smile, as I relive my unawareness and somewhat naivety. Thank you, Michele, for these memories and long live to photography as a medium that won’t let us forget what we have been going though and achieved!