Image Credits: Angela Bartolo © Luca Vantusso
A photographer who is always ready to improve herself
Her humility and her willingness to compare herself make her a photographer who is always ready to improve herself and go into methods and beliefs.
I started as a naturalist and travel photographer under Fabrizio Pavesi’s guidance, at AFLO Sud (Work Training Agency), in San Donato Milanese.
I actively cooperate with Milan’s Blue Note, for Musica Jazz, JazzIt and Muz Rock Magazine.
I have cooperated with Cube Magazine, Friends4Arts and Soundgrapher Magazine.
I was official photographer for Ecojazz, Ah-Um Jazz Festival, for Novara Jazz, for the “Atelier Musicale”, as well as among the official photographers for the event “Italian Jazz for the regions hit by the earthquake” and for JazzMi 2017.
When I was studying I was interested in events and ceremonies, and then, almost casually, I focused on theatre; after some time, the curiosity for experimenting pushed me towards music and, in a period of my life that was particularly difficult, I tried to join my passions, photography and music, so that I approached jazz and, sometimes, rock and pop. I am aware of the fact that in jazz I more easily find my dimension, I believe this is mostly for an emotional feeling; in my opinion, nothing can be disconnected from emotions, neither music nor photography.
I remember with particular pleasure Renato Sellani. He didn’t have a driving license so he used to ask me to take him around and take pictures of him, when Gabriele Romagnuolo, who was a great friend of his and his usual “driver”, couldn’t give him a lift. Renato loved to chat about past times, so he talked about his travels in America during Fascism, when he smuggled records to Italy, by hiding them in the luggage for Romano Mussolini, that otherwise couldn’t have those records, and then he talked about how fascism used to translate word for word the names of American jazz players, so that Louis Armstrong became “Luigi Fortebraccio”. Then, one night, when we arrived to the “Salumeria della Musica”, before getting off the car, he told me: “Do you find it unsuitable if we call us by our first name?”
Being a photographer is a profession, which unfortunately is poorly acknowledged and very underestimated. People normally think that a very sophisticated camera and a lot of post-production are all they need, but this isn’t true. It’s actually necessary to study a lot, because the basic rules of lighting have not changed and, as it is for all professional activities, being a photographer requires a lot of knowledge and skills, continuous updating and maybe more than other professions it needs a lot of passion. Last but not least, it needs ethics, a thing which, too often, young generations ignore because they probably think this is a “shortcut”, so that the idea people get of real professionals and profession is often distorted, as it is easy for them to put everybody and everything on the same level.
I always used Canon cameras, except probably when I was a child, when I had a Kodak. Until now, I have owned all the 5D’s, from I up to IV.
Miles Davis in Anton Corbijn style. The care for particulars, the eyes, the face, the hands. I think that there are some shots by this great photographer that are absolutely a milestone of musical photography.