Home Edizioneed. Xmas Karma, the embankment and Peter Lindbergh – Alberto Buzzanca

Karma, the embankment and Peter Lindbergh – Alberto Buzzanca

by AdminAg

Written by Artemide De Blanc

The film begins with a young man who enters the study of his father who has suddenly passed away and discovers a fairy-tale world. Beyond the background of Narnia’s wardrobe are hundreds of books, pictures, paintings, but his retina fixes on a National Geographic booklet and a photography manual.  And that’s when the sudden thunderbolt strikes.

“My father’s world of art, books, photography, created a fascination for me. I took the cameras and flashes, went to the embankment, started clicking by turning the crank, it was like a rapture. I was quite a depressed employee, I quit my job and  I invested those  nine millions I in photography’.

Weren’t you afraid of the leap in the dark?

No, I have always believed in karma, in the power of coincidences. And then I was struck by what I had found in my father’s study. In particular a booklet of poems locked in a box. I was 23 years old at the time and I was wondering if my life should be spending hours in the company. There the answer came to me.

How did you learn, self-taught?

I used to spend hours in Mondadori and Feltrinelli reading about photography, I used to spend my Saturdays and Sundays understanding what it was. Then a friend who worked for Corriere della Sera and Focus offered me a collaboration on reportage. There I was strong, I had the courage to face certain situations.

“I remember when I disguised myself as a tramp when I entered with a member of the drug squad in the Bronx of Padua, in Anelli street”.

From reportage to glamour portraits is quite a leap…

I started when I saw that publishing was in crisis. In 2011, Fuji saw my work and identified me as a brand ambassador, so I started teaching photography techniques around Italy

Was it a commercial or a heartfelt choice?

I had to decide what kind of photography to do, bearing in mind that censorship then leads you to not be able to use certain images, however beautiful they may be. So I opted for sensual images, never vulgar. This path has led me to be loved as a photographer across the board, I have portrayed important people, and worked for companies like Bentley and Mercedes.

“Peter Lindbergh is always in my heart. He has inspired me a lot, helping me to shape glamorous images with just the right amount of sensuality.”

What was your worst experience?

One workshop years ago, I remember I paid 500,000 lire, we were in a circle and we had to photograph the model undressing. It made me realise that bad things are good…not to do them any more!

What is successful for a photographer?

A precise, authorial style must be created. Each person must be perceived at 360 degrees. By now I have a precise ritual, I study who I have to photograph. Experiences like the one of Miss Italy calendar have helped me, I have formed the background that leads me to take the photos I take today. Photography books have also helped a lot.

“I have over a thousand signed photography books, I like to go and meet photographers, I’ve made trips to New York, London just for this.”

How would you define your style?

Simple, beautiful, fast. I use ambient lighting. I also love the reportage style in portraits, often the photos look stolen. I have shot people like Ambra Angiolini, Justine Mattera, Negrita this way.

What’s one of your dreams?

Five years after my father’s death, I felt the need to dedicate something to him. An art critic suggested I photograph artists in their place of work and inspiration. I was inspired by Arnold Newman who invented the set portrait, I have been shooting artists for 20 years and I have reached fifty people, spending about 50 million old lire. When they see themselves in photos they are amazed, it is like a second life. My dream is to enhance this material.

Today we tend to dream less with this phone in our hands. Instead of looking up and imagining, we pick up the phone.

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