I draw my portraits with light, to the photographer of the Pirelli calendar

When my American agent was here for the first time, she said: It ‘s nice to know you took all those photos in this little room, he told Rovers to a newspaper in his small photo studio. He has not left him since 1981.

It is not because his studio is in the center of the metropolis, that he would share in the okzal belt of the district. I know this place with my heart. With my heart I know the light, its reflections on the wall. Although I conclude, I understand that the room was covered by a cloud, he explained.

In those words there is intimacy, emotion, devotion, patience, certain eternity. First of all, his valuable photographs are.

Provinn Ital v Pai

He was born in 1947 in Ravenn, Italy, and became interested in photography when he was on holiday in Spain at the age of seventeen. Immediately after returning, he built a makeshift darkroom in tandem with a city room at home in the cellar. And began to explore the world of photography.

To this day, he does not consider his first shower to be his first pension or the first photo on the face of a prestigious magazine. The first shower? That was when I took my first photo. V pt rno. I spt so proud! vzpomn.

And never, in the day of the conversation about her arrests, she forgets to talk about the teachers who took her photos. I have a good reason. We paint according to other paintings. Peme books according to other books. One of my greatest lessons is: find your great masters in one conversation. And in another, he adds: I never went to a photo round. I used to work with light as an assistant. I learned by researching for the master of photography and painting for the old master. Never completely grind, invent, just carry the influences of the giants before you.

His teacher was first the Ravenna photographer Nevio Natali, he was an apprentice to him. Pot Peter Knapp, French version of Elle magazine, who invited him to Pae’s visit. It was in 1973. It was like a dream for a provincial Italian to get to Pae, he still carries his feelings to this day. He had never left since.

His third teacher was the British photographer Laurence Sackman. Drop master, hard wheels. Rovers also remembers that the photographer’s preparation had a dark militaristic approach, that he never did the same thing and that most of his assistant ran away from him in a week. He remained a devt msc. He learned patience and creativity. Oi and the head have to stay free, that’s what Sackman taught him.

He first started in Pai as a photographer for a news agency, and the insole of his compass led him to a small photo. Mda si m nala. I became a photographer, I wouldn’t even choose it. My star led me there, k. And then for the character of Dior. The world has never left her since then, his clients include Yohji Yamamoto, Guerlain, Comme des Garcons, Christian Dior, a regular contributor to Vogue, Vanity Fair, and W Magazine.

He became the stlic of the world of photography. Lettering with its own, murderous and unmistakable handwriting.

Him who speaks with light

Its characteristic, characteristic feature is the feeling for light. he often quotes a French photographer from the nineteenth century known under the stage name Nadar: he said something that is very important to me: It is very easy to learn to take a photo. A very difficult bag is to learn the feeling for light, to understand light.

He learned that at the beginning his work with the light was stiff, if he was careful as the light bleached. And he tried too hard to show the world how much he could work with light, how he could pull it out, actually narcissistic. Today, my relationship with light is more relaxed. I am much more humble, I prefer to hide what my light has long, he explains.

And he admits that beneath his best friend is a natural light that streams into his strip studio from the spacious windows facing north, which, inside it, with an aura of green coffins. His relation to light has a nboen tnina. It’s an arrest for him. And the sun is full of arrests. When I use the light from the window, always in my mind, what a long journey he had to make, did not reach his object, he reveals.

Don’t hide that his technique is not rational. My studio is a place for a coincidence, for a dream. A space where imagination prevails. I’m not having as much space as I can, k.

How would that even be mon? L, when a model, an assistant, a visitor comes together in the studio to bring a different mood. One is happy, someone is skinny, someone is melted, the one I eat is asleep. Even if you have an exact idea of ​​what to do, you can’t be crushed. All punch with very dark other energies and you have to deal with darkness first. Never know what will happen in the end. A to mm rd. I don’t want life to enter photography, and I don’t want creativity to flow, l.

Nepidvm. Ubrm, odldm, I reveal

And photography connected with life, photography of a personality with himself in the space and with great patience. Long exposure is another important slogan of Rovers’ dictionary. I can’t explain it technically, but with a very long exposure, the photos of a person become more intense. She is stronger, deeper, in her aue, her and something is. Mon e to vchz do o due, he thinks.

What he wants to achieve requires patience and concentration. He actually creates an empty space and Rovers’ interest, his various communication with photography fills him. Without that empty city, it is not possible to clarify, to reveal what is real. It’s like silence. Emptiness or silence, repent as you wish, but you need it to reach another dimension, k.

And he sums up that photography is not a reproduction of reality, but a revelation, a revelation of it in depth. He wants to move the person in the photo inside and bring it out. Whenever I wear a mask, a murderer who sees, smile, you are scared.

That’s why he talks about all his pictures as portraits. And these are really portraits, or mdn photos, or perhaps pictures of a tree, subject. Mda depicts the mood, the spirit, the attitude that the model interprets, but her photographs are a portrait of the fantasy we create together. Nah photos only capture a person and their body, they are also very intimate portraits, but not so different. For me, it’s a portrt. When I take a picture, it’s a portrait of a bottle, when I take a picture of a kettle, it’s a portrait of a teapot. It’s always a portrait. And it’s always the relationship between me and the photo shoot, k. Yes, he considers all his photographs to be an autobiographical wall.

A look I can write where, but only someone

For many years, the Polaroid 8 × 10 film was its hallmark. It first got into his hands in 1980, when Polaroid asked him for his demonstration. After ten seconds, I fell in love, remember. He was fascinated especially by the possibility of having photos in hand immediately after the photo was taken. He immediately shows them to his co-workers, he sticks them in place on the board. He laughs that for the first time he has most of his original photographs at the top of a pendulum.

The technological jet prepared the bag for the beloved form. No, Polaroid 8 × 10 films grew to be made, he bought as many as he got. Not everything he had left was a test of time in its original quality. If the bag goes, fot on n dl as long as m.

According to him, the world of photography has become chaotic, due to the advent of digital photography. It did not fail j. Always km, that the photo does not just look at n, you can touch it, pivont kn, read it. There is a problem with the digital mm, because you can see the photo, but nothing. The images are just sla on the monitor, do not touch them, do not sniff at them. I’m very traditional about that. Photography for me is not a picture floating on the monitor, but an object that something you can wipe in your pocket, into your wallet, into an album, k.

And the world that the digital photo shook upside down is chaotic for him. According to him, if he is a photographer, even if he is not. Photography is a real language, and there are many illiterates around it. And just as many people can write a view, only a few people can, as well as only those who have used it can take pictures.

Paolo Roversi pod ije in Pai. For two reasons. When you take two of your balconies to the Eiffel Tower and your Cuban cigar, you think it’s a big, world city. And for me and for me, it is the center of the universe, the judgment. And under the fact that photography does not have to be a bundle, an obligation. Photographers are and should be seen as freedom, k.