Traveling with Linda Pezzano’s shots

Traveling with Linda Pezzano’s shots

Giulia Guido · 12 months ago · Photography

A silent journey away from chaos. Discovering Linda Pezzano’s photography was exactly like that.

Born in 1992, Linda studied a lot, first at the Centro Romano di Fotografia e Cinema, then at DOOR, specializing not only in photography but also in directing, as her short film “Basta Poco” of a few years ago attests.

Today, Linda Pezzano works as a freelance photographer and video-maker and often her projects take her on long journeys, in cold countries like Iceland, always armed with a camera.

A selection of her shots will be exhibited from November 27th in Turin, for Ph.ocus – About photography in the section “Please, Stay Home” and for the occasion interviewed her.

How did you approach photography?

I was born in Trani, a small village by the sea, on June 05, 1992. 

The sea was everywhere; a few meters from the balcony of our kitchen or when I used to accompany my mother to work.
I saw it every day, for many years. It changed color all the time. I began to wonder more and more often what it was like to enclose and ” freeze” all those colors, but nothing more.

One day, after reading the book “Ritagli di cielo”, I started taking pictures with my eyes, together with my mother; we would sit on the balcony in the evening, with our eyes pointing towards the sky and, clutching our eyes, click, we would take a picture. And, in the end, when I had my first camera in my hand, my mother was the first person I ever photographed in my life, it all started with her.
For the rest, I also grew up taking pictures from an old Canon of my father’s on our many trips. There isn’t a thing that I haven’t documented during our childhood, I think he took pictures in an almost obsessive way.
I took my passion for art and travel from him. 
And he bought me the first disposable Kodak.

What do you like to tell through your shots? 

There are moments when I look at something and I just need to observe, stop that moment in my eyes, in my mind. Of these years, I carry a lot of photographs with me, but many I have taken only with my eyes.
Until taking a photograph, it almost becomes a need, like a hurricane that overwhelms you, arriving in a natural and unexpected way.
I see the self-portrait as a cure (on the other hand, photography has saved me quite a few times). Photographing myself and the people I love is the thing that I have always done best together with landscapes.
This is because I need to create bonds, to immerse myself in things and not stay on the surface

For example there are places where there is a deafening silence and you see the light filtering through the trees: there for me it’s time to take a photograph. There are places and people that leave their mark inside us.
Mine is a way of saying that there is so much beauty in the world, but personally I photograph only what touches me closely, in a “direct” way.

A few years ago for the project “Til Norðurs” you took a road trip from Rome to Reykjavik, documenting everything with your camera. What are the main obstacles for travel photography? What is the necessary equipment? 

Yes, Andrea Roversi and I left from Rome by jeep to Iceland, passing through Austria, Germany, Denmark and the Faroe Islands. On our return, the odometer was 10510 km. It was a beautiful trip. Take and leave without knowing who you will meet and why, which places you will see, accompanied by a wind that gradually becomes more and more icy, I think it is difficult to explain in words. Among other things, there are places that you can try to tell through a photograph, but that should be seen and touched with your fingers to understand how wonderful they are. This is completely subjective. Personally, I have not encountered any kind of obstacle. Every person we met along the way literally left us a piece of themselves.

Let me give you an example: one day we were in Funningur, a small village near the highest peak of the Faroe Islands, where it is said that the Vikings docked their ships and founded the islands. I started walking and I met a gentleman who was feeding his sheep.

We started talking, but not much, as I was having difficulty understanding him. But in the end, we still managed to communicate. He took me to a house, one of the first-ever built on the island, to let me see it, leaving me the keys so that I could warn Andrea too. He would return quietly to his work, with the only request to leave the keys under the door, once we were gone. Well, I don’t think that unfortunately, this is something that happens every day now.

Personally, I have always used the Canon 6d and the 50 1.8 and with this same equipment I left. Together with a polaroid and my father’s old camera.

From a creative and working point of view, how did you experience the lockdown period?

I spent the months of lockdown in L’Aquila, with Filippo, my boyfriend (who will also be my husband next year). And they were months in their own way strangely almost beautiful, slow, accompanied by a very sweet piano music in the background. Covid fortunately did not directly touch us: we experienced what happened by observing it from outside and seeing it on the skin of someone who was close to us. This was fortunate. I started taking a picture of the same mountain I saw from the balcony, every day: with snow, sun, pink clouds, rain and fog. I began to photograph Filippo, in the most hidden moments, but not with the camera, but with my eyes, I began to observe him slowly.

In the end self-portraits with Filippo were born, they were almost a necessity. They arrived in a natural and spontaneous way; we tried to recreate the world we had built for us, in a photo.
We wanted that in those photographs we could perceive the slowness, the sense of letting time go, the sense of letting everything go, in general. And when I speak of slowness, I am not referring to this word in a negative sense, on the contrary.

«We wanted that in those photographs we could perceive the slowness, the sense of letting time go…»

We are always in a hurry, often we don’t even stop for a moment to look at what is around us. We look in front of us, but almost never raise our eyes to the sky or turn to those around us. Filippo taught me to stop, to breathe, to shake hands a little more, to stretch the time that is not infinite, but you can well try to stretch it, why not.
And I am grateful to him for this, more than you can say in words.
In fact, I decided that every amount of time I will take my self-portraits with him. I would like this to become a larger project. Continuing to take pictures of myself and Filippo would be a very simple, real and natural way for me to continue to tell a story.
I started to be grateful, despite the pandemic. I thought I would return, in spite of everything, to the ranks of the lucky ones. The secret is to think, every time, that there is someone who does not have what we have. That what is bad luck for us is even worse for someone else. That as long as we have the sky above our heads, we will always be free.

Anche lavorativamente, ovviamente, è andato tutto a rilento.
Even in work, of course, everything has gone slowly. And I won’t hide from you that the moments of discouragement have not been lacking, even later, in front of an Italy that encloses theaters and cinemas within “free time”.

When in reality the ranks of this “free time” are moved by thousands and thousands of workers, by young people and human beings full of dreams and hopes, eager only to spread culture. This, in reality, makes me angry and not little.

It’s hard sometimes to remember to be there and almost to demand an acknowledgment that in reality should not exist, because art itself is a simple thing and should be lived without any complication.

If you had to choose a photograph to which you feel more attached, which one would you choose? Why? 

This one. This is my mother.
I have a thousand other photographs of her and with her, but this one is different for me.

I remember everything about that day; we were on the balcony of the house in Trani, we were talking, she didn’t want me to take pictures of her, she was moved by a long story and I took this picture a little later.
It was not a day like any other, or maybe it was, but for us it was different.

It is part of a project, Echo, about my non – feeling and my way of interpreting and living the world (I have a bilateral sensorineural hearing loss since birth).
I need it to remind my mother that for many things it is not her fault, unlike what she may still think.

Traveling with Linda Pezzano’s shots
Traveling with Linda Pezzano’s shots
Traveling with Linda Pezzano’s shots
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Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022

Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022

Giulia Guido · 5 days ago · Photography

On a Monday unlike any other, I was walking along a small Florentine alleyway, dimly lit by the sun, until a marvel appeared before my eyes. Piazza della Signoria welcomes me with its beauty, and no matter how many times you have been to Florence, it always seems incredible to think that a place like this can survive the passage of time.
It is here, in the Camera d’Arme of Palazzo Vecchio, that I take my place to discover the new Lavazza Calendar 2022

Last year, Lavazza presented the Calendar under the banner of The New Humanity, inviting us to imagine a future based on a new humanity at a time of uncertainty and fear like few other times in recent decades. It is perhaps in this concept that the theme of next year’s Calendar, I Can Change The World, has its roots. 

In a way, it is as if Lavazza is telling us that it is not enough to imagine and dream of a different future but that we must take action and fight to build it. So, what better place than the city that was the birthplace of Brunelleschi, Lorenzo de’ Medici, Dante Alighieri, Machiavelli, but also Guccio Gucci, Oriana Fallaci and Tiziano Terzani to show how never change will come until each of us dedicates our lives to this cause.

As in any self-respecting battle, we need captains to follow and imitate. Lavazza offers us six of them, six outstanding personalities in their field, six young people who have managed to combine their passion with all the values they believe in. 

The street dancer Shamell Bell, who fights against racism, the marine biologist Cristina Mittermeier, who documents the advancing destruction of the oceans with underwater and other photographs, the Afghan refugee rapper Sonita Alizada, and the musician Ben Harper, who has always been committed to fighting social inequality and climate change. The sextet is completed by Shilpa Yarlagadda, a jewelry designer who supports female empowerment, and land artist Saype

To direct and photograph these six activists, or artivists – as Francesca Lavazza called them when she presented the project – Lavazza entrusted the task to the best director of photography ever, Emmanuel Lubezki


I held my breath, and with me all the press present, as he took the stage. Just a few words are enough to understand that the purity and sensitivity of the images he creates and that we are used to seeing on the big screen are just a reflection of his personality, something I was able to ascertain during the minutes we spent together after the conference and perhaps the main reason why he was chosen to tell the story of the claim “I Can Change The World” with 12 shots. 

Shots that want to, and can, only give the LA to the change we wish to see in the world and of this Chivo – Emmanuel Lubezki’s nickname – is aware. “It would be too pretentious to think that a calendar can change the world”, he tells me, adding “the only thing I can do is amplify the voices of these artists. Each of them is working really hard to change the world. They are deeply optimistic and when you are optimistic you really live your life, believing in what you are doing, and they are doing it. In this case, my job is a humble one and I put myself at their service to tell them who they are and what they do in the hope of setting off positive vibes in those who discover them.


I can sense from the way he talks about it and from the shiny eyes that sometimes betray him that the bond created with the six protagonists of the Calendar is real and deep. Finding out that each of them was shot in different places on the Planet that show both the impact of climate change and the beauty the world we live in has to offer, and that Chivo experienced them all alongside the young activists, even being directed by them, only confirmed my thoughts. “I spoke to them,” he tells me, “we talked and I immediately understood that I shouldn’t work as a photographer, but more like a director of photography, letting myself be directed by them and also being guided by their ideas. This is why we have portraits in close-up, but also photos where the landscape dominates.” 

At this point, it really only takes one look at the photos to understand how the 12 shots create a more complex and structured narrative. “From the desert chosen by Sonita to the Caribbean Sea where I photographed Cristina, all the landscapes we worked in are endangered and shooting these six young people immersed in the beauty and fragility of these places underlines their profound optimism that I mentioned at the beginning. I tried to create a journey through the calendar, through the different places, but also through light“. 

This choice should not come as a surprise, as Lubezki is internationally recognized precisely for his meticulous and perfect use of natural light. “Well – he confides – I have to say that the use of natural light came from the directors I work with, in particular Terrence Malick, who called me to work with him to make a film entirely with natural light. Thanks to his knowledge of the behaviour of natural light, but also of photography, we were able to make four films together using only natural light. For Revenant it was different and I think it was interesting for Alejandro to explore this world and understand how to move and work during the day with respect to light. But it wasn’t me who had the initial idea.” Nevertheless, this stylistic imprint has now become his signature and we can find it within the Calendar as well, in fact he added “In this particular case, I incorporated natural light into the Calendar because I thought it would give a purer result, which would help me incorporate the characters within the landscape, although sometimes I used flash. For Saype, for example, I had to. His picture was taken between three and four in the morning in Alaska and it was so dark that I had to use lights“. 


As mentioned a few lines above, the one created by Lavazza and Emmanuel Lubezki is a voyage of discovery of the world we occupy for the short time of a lifetime and which we are taking too much for granted. To some, the choice of entrusting the production and art direction to a cinematographer used to working in the film industry may raise eyebrows. If, however, you dig deeper and look at Chivo’s Instagram profile (you can find him as @chivexp, the name given to him by Steven Soderbergh), the circle is closed and all doubts are cleared.
As one of the 500,000 people who follow him, I couldn’t help but take the opportunity to ask him what he thought of Instagram, suddenly finding myself talking to a 56-year-old person who probably understands better than me and many young people what the right use is. “I started using Instagram both because I wanted to know what it was about, but also because, having two daughters, I was worried about the effect it has on young people. Gradually I began to discover an encyclopedic aspect and it became a place to find incredible photographs, dancers, choreographers, painters, musicians, artists. Finally, it also became a place to meet people, Saype I met through Instagram.”

Our meeting concludes by agreeing that smartphones have, to all intents and purposes, changed the way we take photographs, but that if the result is to live outside the screen of a phone then you have to rely on other tools. “If you’re going to print photos, say the size of those for the Lavazza Calendar, you’ll probably need a higher quality camera“. 

I take my leave with the knowledge that I have just had one of those once-in-a-lifetime encounters and one phrase keeps ringing in my head, “I Can Change The World”. 

Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
Three-time Oscar winner Lubezki signs the Lavazza Calendar 2022
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Erotic and sexy photography by Joshua Rhodes

Erotic and sexy photography by Joshua Rhodes

Buddy · 4 days ago · Photography

Joshua Rhodes is a Californian photographer present on Instagram with the accounts @fuzzyaxolotl and @fuzzyanalog.

His images are charged with solar eroticism: pin-up style models, portrayed with irony and sensuality, with a vintage style that seems to echo the editorial taste of Playboy and a certain 70s erotic cinema.

The statuesque bodies of blonde models shine in the sun on perfect beaches, emerge from the water of the ocean or crystalline pools.

Natural shots, delicate and glossy lights.

Check out a selection of his shots here, follow him on Instagram and on his personal website.

Erotic and sexy photography by Joshua Rhodes
Erotic and sexy photography by Joshua Rhodes
Erotic and sexy photography by Joshua Rhodes
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The world’s best nature photography of 2021

The world’s best nature photography of 2021

Tommaso Berra · 4 days ago · Photography

After the ranking of the best astronomical and microscope photographs of 2021, these days the best wildlife photos of the last year have also been awarded. The Wildlife Photographer of the Year is a competition organized by the Natural History Museum in London, now in its 57th edition.
There are many aspects that make extraordinary the 100 photos in competition, taken by professional photographers or amateurs and selected from 50 thousand proposals. On the one hand, the technique used and the patience in waiting to take the perfect shot, unrepeatable in many cases. On the other hand, the unusual point of view, which brings viewers closer to unusual natural events or animals that are difficult to approach, such as the shot of the spider as big as a human hand or the “selfie” taken by a grizzly bear in front of the carcass of a deer in the United States.

The Wildlife Photographer of the Year contest is divided into 19 categories, from which the two winners have been announced. Laurent Ballesta, who specializes in aquatic photography, won the Adult Grand Title Winner with an image capturing some camouflaged groupers in French Polynesia emerging from a cloud of eggs and sperm. It took the French photographer five years of night diving to capture this moment, which occurs only during the July full moon period.
The other winner of the wildlife photo contest was Vidyun R. Hebbar, just ten years old, who was awarded the Young Wildlife Photographer of the Year for his image of a spider wrapped in its web, taken in Bangalore, India.

foto naturalistiche |
The world’s best nature photography of 2021
The world’s best nature photography of 2021
The world’s best nature photography of 2021
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Female portraits by Marat Safin

Female portraits by Marat Safin

Giulia Guido · 4 days ago · Photography

Women are the protagonists of the shots by Russian self-taught photographer Marat Safin. Lonely women, women in the house, in the kitchen or lying on the bed, women immersed in nature, free among the high grass, women looking in the car or immortalized in spontaneous poses. 

Marat’s female portraits convey a sense of calm, intimacy. 

The warm light that we find in all her shots immediately gives the family atmosphere, giving us an air of home, of familiarity. 

In our gallery you can find a selection of her shots, to find out more go to the Marat Safin’s Instagram profile

maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
maratneva Marat Safin |
Female portraits by Marat Safin
Female portraits by Marat Safin
Female portraits by Marat Safin
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