Talk with Paolo Della Ciana
Why do you photograph?
I could give you a thousand different answers, but in the end, I do it because it makes me feel good. When I take pictures, I enter a different dimension, which alienates me from reality. It is a sort of therapy.
What do you want to communicate with photographs?
There are no particular messages I want to convey, but I'm glad when the viewers remain intrigued by my photos: if they questioning themselves, if they imagine stories, if they are encouraged and stimulated to seek meaning, it means that the pictures are good.
The risk of producing banal images is always there unfortunately, that's why it's important to recognize and discard them in the selection phase.
It is important to underline that I hardly photograph on commission unless the subject is of particular interest to me; therefore, I have no obligations and this leaves me the freedom to act without any compromise, even if there are topics that for various reasons I have not yet addressed properly.
How important is it to you to use digital or to use analog?
I started with digital but quickly moved to analogue photography, particularly polaroids. In absolute terms there are no better or worse solutions; everything depends on the type of photography you want to take and the relationship you have with a certain type of technology.
Obviously, there are advantages and disadvantages to each approach, but everything can be functional to the result you want to achieve.
An example of this can be the use of the Polaroid Lab, a tool that allows you to transfer images originally obtained digitally to Polaroid film.
There are photographers who consider this technique a sort of deception towards the observer, others who use this possibility to create magnificent works. I'm on the second side.
Why polaroids or instant images?
Because I find this mode of taking pictures very close to my nature.
There are several reasons that justify my choice:
-First of all, I've never loved the digital post-production phase; on the contrary, I love spending time in the darkroom even if I don't have the opportunity to do it very often. With instant photography, I don't need any postproduction, unless I want to modify the photo afterwards with creative techniques, but this is another matter.
-Another reason is the desire/need to have the photo printed and not just on file or negative. I realized that I need to touch the photos, to move them into space, to pick them up again after some time, to hang them on the walls. Indeed, there is always the possibility to go to the printer, but how about the simplicity of having them ready (almost) immediately?
-Another reason is the fact that the Polaroids force me to focus on the shot; today every single Polaroid costs around 2 euros and although the new emulsions have achieved good reliability, there is always the risk of having some defective packs (which is not always a bad thing, indeed sometimes it is a real blessing) or to shoot wrongly. The high cost is one of the reasons why wasting images is a mortal sin and this forces you to evaluate every possible variable several times before pressing the shutter button; as a result, you are forced to reflect over and over again on what you are doing.
- The unpredictability of the film: as I said, even if you shoot with the maximum attention, you cannot know if the shot is good or not, if there are imperfections or if the photo is to be thrown away until the film is developed.
Sometimes, totally unwanted effects make the image even more interesting. Those minutes that pass from the moment of shooting to the complete development of the film are always fantastic, every time they replicate the emotion of a child who unwraps gifts on Christmas Eve.
I also find a strong analogy between this unpredictability of the Polaroid and our life: you can plan and plan everything in the best possible way, but totally unpredictable external factors can always intervene, contributing to upset the plans, sometimes in a negative way, but other times, in a wonderful way.
Have you ever been in a moment when you couldn't shoot because of economic problems? What did you choose or how did you react?
It happened. Fortunately, I also love to draw, so in those moments I took a pencil and paper and focused on new projects to do whenever possible
What made you choose to continue towards the use of photography in your past?
I’ve always been fascinated by visual art. When I was a child I attended a painting course in the studio of a local painter, then I stopped to pursue my sports carrier.
Around the age of 30, I experienced a sort of identity crisis and I completely changed the direction of my life, getting closer again to the world of art and creativity. At that moment I was lucky enough to meet people who guided me towards photography and slowly, I realized that it was an activity that completed me, which I could not live without. From that moment, I’ve never stopped.
How important is where you are for the development of your photographic projects and how do you benefit from it?
It's important. I am very attached to the area where I live, also because it is where I have spent most of my life. When you are immersed in a place for a long time, you cannot fail to be influenced by its history and the people who populate it.
When I choose a theme, I try to discover if and how it has already been faced by other photographers before, especially those who have my own cultural references. It is Not always possible but this allows me to avoid unnecessary replicas and to work with greater awareness.
In my opinion, the development of photographic projects contributes to creating the true authorial dimension of a photographer and for this reason, I consider it a fundamental step.
How do you think photography can develop with the current stage of COVID19?
The difficulties we are facing during this period have produced two macro effects on the activity of photographers: some have suffered a sort of shock, a crisis of creativity linked to the heavy climate we all breathed. Many others have had the opposite reaction: the limitations related to the Covid have led them to find alternative solutions to continue shooting and producing magnificent works. Many have turned to the observation of the microcosm of their homes, while others have looked to more experimental techniques and I see it as a positive sign. I'm sure that when we go back to living our lives without any constriction, we will see an explosion of creativity and new projects.
After all, art cannot be stopped, it cannot be put in a corner, it is one of the things that distinguishes us as human beings, it is a primary need.
How do you perceive yourself through photographs? What role do self-portraits take in this world where 99% of people are used to looking at themselves constantly?
We could talk about this for hours. I believe that the instinct to create images of ourselves is something that goes beyond the contemporary, something that resides in our dimension as social animals, the history of art teaches us it. Over the centuries, many artists have included self-portraits within their works, such as Raphael and Velasquez, while others, from Rembrandt to Freud, have built an essential part of their production on this genre. Unlike just 10-15 years ago, however, the technical difficulties have been eliminated and it is so easy to show off what is believed to be the best version of oneself. Unfortunately, the lack of a widespread image culture has created the spread of the so-called selfies, which have nothing to do with a self-portrait. Selfie and self-portrait are two polar opposites, even from a philosophical point of view: one is direct towards the inner side of ourself, the other towards the outside world.
As for me, I started taking photos in the pre-social era, at a time when I lived alone and very often used my body as a subject to test and investigate the possibilities of the tools I had available. I had no authorial intention or a particular purpose, I was just a model of myself. From matters of pure necessity then I moved on to investigate myself in a different way, starting a path of inner discovery through my self-portraits, many of which remain unpublished.
When you look back at images taken in the past what feelings do you have?
It is an exercise that I don't do very often in order to avoid the addiction effect though I try to repeat periodically. Usually, I am destroyed by this practice, because every time I realize how I could have better managed certain choices, however, this leaves me wanting to learn and improve further.
Do you photograph or have you often photographed your parents? How do you deal with situations where relationships are very close? And how do they react as subjects?
Yes, it happened. I have to say that I am more comfortable photographing people I know rather than complete strangers. This allows me to be more natural and to relate more directly to the subject in front of me. Regarding my parents, my mother does not like to be photographed and every time with her it is a challenge, on the other side my father is always flattered. Honestly my favourite subject among my close relatives, in addition to my partner is my grandmother Teresa, whom I photograph whenever I have the opportunity; she's shy, but she loves spending time with me, so when I tell her I want to photograph her, she never says no.
If I tell you Photographic Illiteracy?
It is the same speech that reconnects to self-portraits. We live in an image-driven society, but incredibly, most of us have no basis for visual culture, to the delight of marketing experts and political communication strategists.
I don't know if it is right or wrong, but I am sure that in the next few years we will see great news from this point of view, also thanks to the technological revolution we are experiencing; images and photographs will play an increasing role, although at the moment I'm not sure this is good.
Has there ever been a story that completely displaced you, and that you didn't have the courage to photograph?
Fortunately I have never been in this situation, but in general, I don’t like taking pictures of people with difficulties. Photography is not my job and consequently, I decide without any pressure the stories I like to follow, without forcing of any kind.
In this time in history where photographs fill our lives, how do you get in touch with their physicality and materiality?
I have already partially replied earlier when I explained the reasons why I love Polaroids.
Photos must be printed, only at that moment they really come to life; anyone who has had some experience in the darkroom knows what I'm talking about.
I love touching paper, moving images, finding new combinations, creating diptychs and triptychs; moreover, the materiality allows you to read them in a different way, to concentrate on details that often escape video, especially on the small screens of tablets and smartphones.
Recently I started experimenting a lot with Polaroids, working on them with different creative techniques and there the materiality of the supports becomes essential. It is an activity that gratifies me in an incredible way and that I will continue to pursue.
Are there colors, lights or tones that you are particularly drawn to?
The natural vintage tones of the Polaroids are very close to my taste.
I am also particularly fascinated by nocturnal urban landscapes; the contrast between darkness and artificial light is something that has always fascinated me. Blacks naturally guide the eye towards the subject and counterbalance the artificial lights. I find that the gaps are fundamental for the success of a good photograph.
I certainly don't like hyper-realism and excesses in postproduction processes.
How strong is your cultural identity within your way of perceiving the world? And why?
Being born in Italy and growing up between Umbria and Tuscany means being immersed in naturalistic and cultural beauty, you cannot escape it in any way. Obviously, it is important to nurture and cultivate this fortune, but it is undeniable that what surrounds us in the first years of our existence shapes our tastes and our ability to see the world. I grew up among the frescoes by Perugino, the works of Renaissance masters, the works of Alberto Burri, the rolling hills of Val di Chiana and Val D’orcia, dispensers of the most sought after smells and flavours in the world. These elements have been handed down for generations and are part of natural imprinting present in all people born in these places. When I became aware of it by attending the workshop of Maestro Marroni, an artist from the village where I was born (Città della Pieve), I immediately had the instinct to cultivate this interest.
Today I am open to the most diverse cultural influences, from Japanese minimalism to Northern European rigour, from South American warmth to African tribal traditions, nevertheless, I will always remain strongly attached to my roots.
Are you working on new projects, research? Can you tell us about them?
There are some long-term projects I'm working on, in particular the one related to night urban landscapes called "Esterno Notte". It is a project that started by chance, but which has grown over the years and that I would like to publish in the future.
Recently, however, I started working on the polaroids with various types of manipulations; in this period I am working on a series of "boiled", or portraits that are immersed in boiling water. The film is deformed, with unpredictable effects. This dimension recalls our physical decay. I am trying to govern this process to still obtain a pleasant aesthetic effect, creating a parallel with the same mechanism we live in real life: we age, our body decays, but we strive to always remain presentable to the best of our ability.
Would you be willing to publish an independent fanzine with our project? Yes, I’m always open to interesting projects; it will be a pleasure
How much time do you dedicate to the construction of a project?
I don't always follow the same approach, in any case from the moment of the idea I always try to plan a path that clarifies the goal and the ways I want to carry it forward.
In some cases, little time passes between the idea and the realization of it and I remain fairly faithful to the original project. In other cases, the series takes a long time to be produced and this can lead to a revision of the original idea, perhaps even to its complete distortion.
When you work on a project, do you start with the idea, or do you simply leave this opportunity to create something in the moment of selection and editing?
Most of the time I try to start from a very specific idea, but it may happen that by looking at images taken at different times and situations, I find common traits that make me want to develop a particular theme; at that point, I start working on it until I get the desired result.
How do you think your role in the world of photography can make a difference?
I would be presumptuous to think I could make a difference in the world of photography. First of all, I photograph for myself; as I told you before, by taking pictures I find a sort of inner balance.
At the same time, I must say that photography has also allowed me travelling, meeting interesting people and living experiences that I would hardly have had the opportunity to experience otherwise.
Photography has given me more than I have given to photography. I’m in debt.
How many photos do you usually take before you get to complete a project?
It depends on the project, but for a series between 10 and 20 images, there is a triple number that is discarded. It may seem like a large number, but those who take pictures know that in reality, it is a minimum waste. Also, considering the cost of the films, I try to shoot as carefully as possible.
Tell me about "Theta."
“Theta” is one of those series born in retrospect (a posteriori), by analyzing photographs taken at different times.
They are photos that bring back to a parallel dimension, of a dream, in which the images in our mind create visions far from reality.
I have always been very rational and while staying away from drugs and alcohol all my life, I have always nurtured curiosity for the states of alteration of reality given by substances external to our body. With Theta I tried to translate this dream dimension into images, experienced in strictly personal terms since the only subjects represented in the series are me and my partner Beatrice.
Tell us about your experiences with festivals and editorial productions.
I love festivals, they are a great opportunity for discussion and exchange, both with visitors but above all with other artists. Thanks to the internet I met and made friends with several photographers around the world, but be present in person is always something exciting, which leaves you with a sense of completeness and makes you feel part of a group.
During 2020 I was supposed to participate in events in Barcelona, Cologne and Paris, unfortunately, all skipped due to Covid. I hope that in 2021 we can return to travel regularly.
Regarding the editorial aspect, I had the pleasure of having my photos published in various collective publications and in catalogues of exhibitions.
How do you experience your relationship with the women you portray? What attracts you so much to wanting to photograph women?
I've always been attracted to female beauty. When I started taking pictures, portraits were one of the first things I did, with poor results actually. During the time I spent in London, however, I had a better chance to experiment, asking friends to pose for me. I am much more comfortable shooting with people I know than with complete strangers, also because the relationship between photographer and model always carries a certain tension that must be well-governed.
This is why I always like to explain to models my ideas and what I intend to do so that they can trust me, especially for nudes.
In recent years, the main subject of my photos has been my partner Bea, with whom I have a deep feeling; when she sees me taking my camera in hand, she already knows what I want from her and I'm lucky because she still hasn't got tired of posing for me!
Last but never least question.
What is your relationship with death and time?
Time and space are concepts that intimidate me, I find them immensely large to be understood. In the same way, even death scares me, but since it is a fate common to all of us, I try to remove the nihilistic instincts and focus on the luck we have to be alive, enjoying as much as possible any single moment.
Paolo Della Ciana