The following is a conversation between photographers Carlo Ricci and Francesco Ridolfi (now known as Felix Reed). The conversation was kindly translated from Italian to English by Carlo. While both are from Bologna, Italy, Carlo moved to Canada (by way of Australia) years ago. Having friends in common as well as a hometown, Carlo was interested in learning more about Francesco and his work as a photographer in Italy. After getting them in touch, the two proceeded to have an interesting Skype conversation about life, photography and Italy.
Carlo: Ciao Francesco, a pleasure to finally talk to you, after just emailing we finally get a chance to “virtually” meet.
Francesco: Ciao Carlo, same here.
C: Yeah, I remember a friend I studied engineering with introduced us when I was in Australia and you were considering moving abroad. But you didn’t end up doing it, what were you thinking?
F: (Laughs) Actually, at the time I was just curious to know how your experience had been, but right now I’m seriously thinking about it. Probably not on the other side of the world. I’m thinking Brussels; my brother works there and it would make me feel a bit more grounded having somebody I know. I’ve been there a few times and I really liked it. Plus, with the parliament being there, English almost became the main language. So you can get around without speaking French or Dutch. What about you, are you back in Vancouver?
C: Yeah, I’m back here after being on the road for almost a month shooting a project. In the beginning, I thought it would have been cool to chat from the van somewhere remote, but it ended up being quite hectic. Let’s say not too many showers and comforts available…
F: (Laughs) When you’re on the road, that’s the right way of doing it.
C: I don’t know if you know, but in 2011 after leaving Australia, we drove an ’84 VW van all the way from Argentina to Canada while stopping in various locations to shoot documentaries. So I should be used to that kind of life.
F: The Motorcycle Diaries.
C: I get that a lot, but I only watched the movie after deciding to do it. Anyway, going back to what we were talking about in the beginning, when I heard that Wonderful Machine wanted to do interviews between photographers, I immediately thought of you. There were always a lot of things that I wanted to know about you career and how you started. I mean, we’re both from the same city in Italy (Bologna), exact same age. But you succeeded in what I always thought I would have failed: building my career in my home country. I always wanted to know how you started, how you promote yourself, how you deal with clients, how you feel about working in Italy, etc.
F: And of course the interest is reciprocal, I’ve always wanted to know your experience and story.
C: I’ll start by asking you how you started; did you study photography?
F: Not really. My dad is an amateur, so I always had cameras around. In particular an Olympus OM1, but it was more relegated to travel occasions. The turning point was in 2006, after graduating in biology, during a trip to South East Asia. I was with my girlfriend at the time and I really got into shooting film. She was the one that really saw something in my work and she bought me a D70 Nikon as a graduation gift. Digital was really the turning point for me.
C: That’s incredible, we have a more similar beginning than I thought. My dad collects old film cameras. I always kept myself far away from it though, until 2007 when I started shooting landscapes of the country-side around my hometown with an Olympus OM1! For my friends, it’s almost a joke that this is my job now. Anyway, I remember looking at your early work and I always felt it was way more “professional” and clean in a sense. How did you develop such a professional aesthetic so quickly?
F: It was a very natural process for me, it just kind of happened. The clean style that you’re referring to, I believe, is a natural consequence of me as a person. And sometimes I almost think of it as a limit. I have a very clean approach to my work and this approach is reflected in my overall aesthetic.
C: In fact, I wanted to ask you if you’re a clean person, but maybe the question just sounds wrong.
F: (laughs) I definitely think that it comes from an appreciation of a certain aesthetic and a balanced harmony. I’ve always had it since I can remember. In fact, I remember seeing it in my drawings as a kid.
C: Any particular photographer that inspired the first phase of your growth?
F: The first one definitely was Steve McCurry, especially because it all started with travel photography. However, as I evolved I moved away from him and started appreciating other photographers that might be unknown to the general public, but belong to the modern professionals.
C: Somebody that right now really inspires you?
F: Apart from Avedon, who is always a master, I’d say Martin Schoeller. I love his work.
C: 100% agreed. Nadav Kander, maybe? I just saw some of your most recent work, particularly a portrait of director Tornatore and it reminded my of Kander’s portrait of President Obama.
F: Yeah, Nadav Kander for sure. Erwin Olaf as well.
C: Have you ever assisted?
F: No, and this is something I regret. I feel like in the beginning I ran before knowing how to walk. Looking back now, I feel that at the time I wasn’t probably solid enough. However, and this might answer a few questions you might have, while I was working as a researcher, I started shooting some stock photography and uploading the work on stock websites. I’ve always felt it was a very democratic process: you shoot some work, you put it out there, if somebody likes it, they buy it. And I started to sell quite a lot of work, up to the point that I felt good enough going into photography full time.
C: Respect. Stock is something I’ve never embraced. Not because I feel it’s undervaluing my work, not at all. I just never thought that it would be profitable unless it’s your main focus. However, I think that in Italy, budgets for advertising are much lower in general. Unless you’re shooting fashion for top clients. Maybe you would think of stock differently if you were elsewhere.
F: Absolutely. Anyway, the majority of my stock is still life and work that I feel belongs there. I would never put up for license personal work, or work that has a lot of artistic value for me. It’s also an ethical thing.
C: How much of your first body of work that got you started is still part of your current portfolio?
F: I’d say almost nothing, except for some of the athletes, but at that point I already went pro. I think that majority of my first work feels very dated now.
C: Yeah, it was nice though in the beginning when anything new you shot was a huge step ahead from your previous work. It’s hard now, so damn hard.
(both laugh and shake heads)
C: Meanwhile, this Skype recording is becoming huge. The file is something like 20GB. Is it recording it in 4K? (laughs) Actually, talking of video, do you shoot motion as well as stills?
F: No, and this is one of the questions I really wanted to ask you since I know you do. Also you present yourself as a photographer and director.
C: Well, I gotta pay bills too right?
F: Is this something that developed recently?
C: I’ve always been interested in film, much longer than I have in photography actually. It’s just not something that I’ve ever really considered as a career path. You know, you go to high school, then at university you study engineering (that’s what mum and dad want you to do), blah blah blah… I’ve never thought I could do it. When I bought a 5D II and I realized that I could apply a lot of what I knew from being a photographer, I just went for it. It all started in Australia. The studio that sponsored me employed a young film producer who had a business with another very talented director. I started working as DP for them on music videos, TVCs, etc. However, directing is something which relates so much more to what I do as a photographer. The majority of what I love about my work is storytelling, that’s what I feel I really want to be doing.
F: How big a part of your business is motion now?
C: 50%. I’d probably still make a living if I only did photography, but it would be a much poorer life.
F: How did you start getting this type of work?
C: I shot several motion projects in Australia and then, in South America, I focused only on film documentary work. That built up a body of work that I could turn into a demo reel, which I brought along with my printed portfolio to agencies. Then calls started to come.
F: Do you personally think that this is what the future holds? Do you think that the demand for photography will slowly decrease to make space for video? Or do you think that there will always be a demand for photography?
C: In general, I believe there will always be a demand for photography. However, I feel that, especially commercially, the two mediums will end up intersecting more and more. Up to the point that you could probably only do photography and make a living, but you’ll lose opportunities because they’ll prefer those who can handle both. That’s what I don’t want to happen.
F: What holds me back is the much bigger size in terms of production and crew that you’ll need to face.
C: That’s 100% true. You’ll probably need to enjoy producing a bit, especially in the beginning. But you’re definitely capable. Looking at the corporate shoots you produce, I can see a similar skill set.
F: I don’t mind doing it, I have to, so I just do it and I think I’m pretty good at it. Also, my brother is a director so there’s that.
C: There you go. The Ridolfi brothers conquer the world. Brussels here I come.
F: (laughs)
Check back Monday for Part II of Carlo and Francesco’s conversation!
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