leggi il numero 2 - DOM la cupola del pilastro

Anche per questo il digitale non esercita alcun fascino
su di me e continuo a scattare su pellicola. Certo
per molti professionisti il digitale è importante,
fanno una foto e due minuti dopo possono inviarla
a New York, a Mosca. Ma io sono un privilegiato che
può permettersi ancora il lusso della pellicola, e poi
sono un fondamentalista dell’analogico!
Col digitale oggi si scatta a caso, moltissime fotografie
che poi si buttano per metà.
Qualche anno fa c’era una grande società giapponese
che faceva questa pubblicità con dei manifesti
che dicevano: “Non pensare, scatta!”.
Io ai miei allievi dico: “Prima pensa per due ore e
poi, eventualmente, scatta.”
• •
Thirty short stories
A conversation with Gianni Berengo Gardin
• Bruna Gambarelli
((( Bruna Gambarelli: I think that this reportage of yours at the
Pilastro district is very important to narrate this neighbourhood,
that only a few people in Bologna really know.
((( Gianni Berengo Gardin: For a serious retelling of the
neighbourhood I should have stayed here a month, not three
days. Because of this, I’ve found the solution of photographing
families, because that was much quicker. You need to have
a quite interesting, and not superficial at all, point of view
because we visited houses where different families were living
- from different social classes, in different situations, from
singles to groups of 12-13 people, from bourgeois, to the elderly,
to the working class up to a Rom family. So, finally, I believe
that these images, taken together, may have something to say
about this neighbourhood.
((( BG: You chose to take pictures of these families inside their
houses, as if it was a family portrait. Something that makes
me remember how ambulant photographers, many years ago,
arrived in villages and took the typical staged portraits.
((( GBG: Yes, it has something to do with how our grandparents
used to take pictures. When, in the past, they organized
the family group and studied every position. It’s not exactly
my business, but that’s a way of referring to the origin of
photography, as if to say. I deeply respect the culture of
photography and the great foreign masters that made its
history.
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