Roversi soon apprenticed himself to a local photographer in to hone his craft further. Once home, he set up a darkroom in his cellar with the help of the local postman Battista Minguzzi.
The Italian photographer’s interest in photography was sparked as a teenager during a family vacation in Spain in 1964. His haunting, unguarded shots consistently strip away the facade of his subjects and draw out their raw selves, offsetting fashion’s tendency to conceal and recast. Paolo Roversi is one of the most saught after photographers in the fashion industry for his minimalistic approach to portraiture.
The veteran photographer’s high-contrast portraits, full of drama and intrigue, have made him a household name. ” Centered on the grieving experience of a young ballet dancer from the Paris Opéra who decides to retire after the sudden death of her father, the movie took home the prize for best performance by an actress in a leading role bestowed upon Astrid Bergès-Frisbey at the 2020 edition of the Taormina Film Fest, which closed in the Italian seaside resort on July 19.Light is Life - The Photography of Paolo Roversi Most recently, Roversi trained his photographic skills on director Charlotte Dauphin de La Rochefoucald’s debut movie titled “The Other. The name of the studio references the photographer’s fascination with lighting, which has forged his unique style that combines realism and illusion and has defined his cinematic and misty body of work. Roversi’s arty technique was in full display in the Pirelli 2020 calendar, for which he reinterpreted Shakespeare’s “Romeo & Juliet” and created the concept of “Looking for Juliet” merging photography and, for the first time, film.īorn in Ravenna in 1947, Roversi moved to Paris in the Seventies, working in his “Studio Luce” ever since. Paolo RoversiĪ selection of images from his latest editorial work and from the 2020 Pirelli calendar will complete the exhibit, which will coincide with the publication of an eponymous tome. Naomi Campbell for Vogue Italia, Paris 1997.
0 kommentar(er)
