Every year I made the habit to go to the Carnival in Venice, Italy, and take pictures. It is not necessarily a pleasure considering the impossible commotion that is created at this event.
There are hundreds of photographers looking to make a mask immortal and among them I hope to make some room and try my best to capture that extremely right part of the people behind the mask so my photos would capture that extraordinary which makes them unique.
My pictures describe more of a state of mind, a space in time, coloring the memory of the town’s history and tend to capture the sadness of the world we live in rather than the blunt, studied beauty of a porcelain mask.
My Venetian Masks are a collection of the most expressive masks that ever walked in the San Marco Square creating for me that perfect spot to bring into the world more than beauty but with it the feeling of amazement and the smile of a treasure captured in digital framing.
I was looking for the same thing in other large cities. I was tempted to find a central, elevated position, able to capture that part of the people which is able to make them smile or cry, not in reality but because of the way the light crushes on their expressions.
I have succeeded due to a group of young students able to focus their attention on my designing points and make the masks of their real faces compete with the stillness of the Venetian Masks.
I tried my best to use a classical camera but also the digital technique. Last year, for example I used Canon 1 DS and zoom 70-200, but also Sony Alpha 700 with a Fisheye Zeiss. In 2009, I used Nikon D3 and 2, objectives 24-70 and 70-200, all with a 2, 8 luminosity.
The printing technique I use for these amazing photos is the best quality fine art print. Fine art implies by definition color accuracy and a precision execution.
First time I found out about this printing system in Düsseldorf where I studied the esthetics in photography and that helped me to be able to separate the fine art from ordinary photography.
There are different materials you can print photography on in order to offer it value not only through the emotion it generates on sight but also through the stability of the item.
This is how I have reached the conclusion that my images representing Venetian masks would be more suitable for the canvas print transforming photography in a Renaissance painting.
In conclusion, after testing, I printed on professional equipment Epson Stylus 11880 using the Epson, Ultra Chrome Vivid Magenta K3 that offered me the certitude of quality; the support being water resistant matte canvas of 380gr/mp also from Epson. Such a print has a 70 years warranty and it is absolutely fascinating for the eyes.
Looking at it you would say it somehow transcended from the brush of a maestro and that is exactly the reason why I tried so hard to take my creations out of the ordinary and into the masterpiece.