Researched by Roberta Pastore
Professional photographer. He’s born in Rome in 1968 and he lives between Berlin and Rome. Founder in 2010 of the Scuola di Fotografia 42mm Arti Fotografiche(School of Photography 42mm Photographic Arts).
He’s been invited speaker for different italian shows, as street photographer: Photoshow (Milan and Rome), Fotografica 2012 (Milan) and at the “Festival della Fotografia di Pesaro” in 2013.
He’s the curator of the blog “Fermo Immagine” on the italian news television (RAI) website (http://fermoimmagine.blog.rainews.it)
His website: http://www.stefanocorso.com
Going back in time how was your passion for photography born and how did you start in the professional world of photography?
I think I have always had a camera in my hand, the first film cameras I had I am still using them nowadays after many years and I am still actively collecting them. I have always aimed my approach to photography to capture moments that surprise me, the technique took a secondary importance and it got better over time on its own. I have always considered technique important only, as I think it should, if it is at the service of the result. I did arrive to professional photography in unaware way, I started receiving assignments from people that had seen my pictures over the internet, so much that I started considering the hypothesis of leaving my old job to take on photography full time.
Considering your works, which ones marked your entrance in the world of real photography?
I would not describe them as “jobs” as personal way to look at reality. I was born as a Street Photographer and the street has always been my photographic gym. Of this genre of photography, I always liked the possibility to alter the perception of reality, extracting from it, unique sensations and emotions, showing stories that appear to be different and surreal, without building something new but simply giving a new reading interpreting by simply changing the point of view. Two people that do not know each other or two anonymous objects, put together can tell a story that does not exist in reality. With this type of photo, I was first published on magazines and books. I still can remember the emotion for the first photo purchased in Germany to be a cover of a book.
How do you manage colour and B&W?
I do not prefer B&W to colour, I have found out that each single photo has the final treatment already inside since the shooting phase: I have discovered that I am using B&W for the photos that I consider “without time” and the colour for the more “contemporary” ones.
Which kind of camera do you use?
Several, my working camera is a Canon 5D Mark III. However, since I am collecting cameras of different ages, I do use for fun the film cameras, in the 35 mm as well as the medium format; the latest purchase is an old wood camera from the early 900, without shutter, for which I had a friend build a new holder to use the 4×5 films on sale today. I develop and print the film personally. Obviously, with this camera I do not do any street photography. I must add that, strangely, I love to take photos with Instagram, especially when I am travelling.
What determines if a photo is “good one” or not?
I think that a photo “accomplish” something if it has its own content and if such content is understood and seen by the photographer and then the rest of the world can share and understand it . I have discovered that my attention is drawn by photos that hint to a story, to something that started before the photo was shot or that will continue after it, such photos will hasten memories, feelings and emotions. A photo can achieve something when the vision of the photographer manages to be communicated, felt and experienced by the viewer. We have a great power such as photographers; we can stop reality, and while interpreting it therefore change its understanding. We can crop it into a rectangle, excluding parts of it that have a life beyond the event as it unfolds.
When you are shooting, do you have an image in your mind? Do you build the final photo before shooting it or are your images also a result of a post-production phase?
When I shoot, I feel something that can be experienced or known, simply because it has already been lived in the past. With photography, I try to take it out and make it visible, first to myself; I think most photographers shoot for themselves and to understand their own original way of perceiving the world. The post-production is just one more step that can be used to interpret this feeling, but as I said before most of the time is already inherent in the idea of the photo.
What training did you follow? Who inspired you?
My inspirations have been and still are many, I believe that the contaminations between photographers enrich and stimulate creativity and originality; like many little challenges that you take to constantly improve yourself. In addition to numerous classics of the past, from Doisneau to Erwitt, I owe much to two people. The first is the photographer Peter Turnley, a photojournalist for numerous international publications and when young an assistant for Doisneau, met by chance in New York, which unconsciously started myself with my idea of photography. The other, a friend photographer, Hughes Leglise-Bataille, which unfortunately died a few years ago, by who I was inspired and with who I compared and “played” photographically for years over Internet. His series “A stroll in Paris” continues to be one of the foundations of my way to see photography.