Stefania Rosini is a brilliant Italian photographer who has decided to make her dreams come true, without ever stopping. More determined than ever, she has decided to bring her Italian DNA overseas, her shots are magical because they are able to excite anyone. Her photos are spectacular because they contain the soul of the one who goes beyond a simple shot, the one that holds unique memories, emotions, feelings, and moments of life. Her style is contaminated by the life of the sets of Los Angeles, the undisputed capital of world cinema, in Italy she shot for Zero Zero Zero, Summertime, The Hunter and not only. In this exclusive interview, we have the pleasure of meeting you to find out much more about you.
How and when did your interest in photography develop?
I became passionate about photography, I think when I was about 8 years old, seeing the then-boyfriend and now husband of my cousin, taking pictures of the inhabitants and glimpses of my country. I think I was shocked when for the first time I saw the image emerge from the paper in the darkroom. It was a kind of magic and from there I realized that I wanted to take this path.
First time on a movie set?
The first time was in the second year of DAMS, in the short films of my classmates. Very first ever, Provaci Ancora by Marcello Vai, where Michele D’Attanasio (now an established director of photography) held a thousand tasks on the set, from the machinist, electrician and even catering. But let’s say that I made the real first sets when I moved to LA: thanks to my best friend Pierluigi Malavasi I worked on the History Channel TV series “Nostradamus Effects” while my dear friend Bret Roberts introduced me to Hollywood indie cinema.
Each camera has different characteristics, which ones do you prefer to work with and why?
I have always been a Nikon user and have never abandoned analog, but let’s say that for my work, still photography, at the moment Sony has the best mirrorless cameras, silent so you can shoot even while shooting. In particular, I use two Sony A9s and a very powerful A1.
How much discipline does it take to be a good photographer?
You must have the fire that burns inside, as in all jobs anyway, because you must be willing to make a thousand sacrifices, both economically and personally. Especially in my field you have to be willing to work for many hours often is not entirely ideal weather conditions, always keeping up the enthusiasm.
What is the funniest part of your job?
Certainly freedom of expression also because I am my supervisor. And the possibility of being on film sets, my other great passion. And then definitely travel.
Entering the cinema through a goal was in your dreams. How did it arrive?
Yes, when I was at university I realized that I could combine my two great passions.
Does photography have a specific purpose/task?
For me, I’m not good with words… “Photography is the story I fail to put into words”.
Tangible memory. Photographs, for example, when you lose someone, are the most tangible memory you have left.
When you notice a situation or a person you want to photograph, how important is improvisation and how much, instead, is the study of the image and light?
The element of light is always fundamental, but surely capturing the moment is always the central interest. Spontaneous things in general, even in life, I much prefer them to staging, unless it is that of the set.
How important were the iconographic and figurative references for your work?
Very important! You have to look back to the past, and know who came before you. Studying the great photographers is essential to have the mastery of the construction of the image. If I had a position of power, I would certainly implement image education in compulsory schools.
Who are your favourite photographers? What about your favourite cinematographers?
Quickly mentioning the greats of the past from Robert Frank, Doisneau, Bresson, Weegee, Mary Ellen Mark etc, the contemporaries I adore are Mark Salinger, Anton Corbijn, Danny Clinch and above all Peter Lindbergh: while not loving fashion, I think his way of photographing it was something that went further.
Among the stage photographers, on the other hand, my colleagues from the Society of motion picture still Photographers (SMPSP): Jasin Boland, Hopper Stone, Niko Travernise, Marie Wallace, Frank Masi, David James, Ralph Nelson, Douglas Kirkland, etc …
We’re the image company. Do you think that this inflation of images on the web and in all the media takes something away from those who dedicate themselves with passion and seriousness to photography?
Social media has certainly contributed to a lowering of standards in general, where everything is considered art and has lost a little awareness of what is really a beautiful image. Just a filter and it’s done, all photographers, devaluing so who, really devotes himself to a search and dedication for this work.
How do you define yourself in your work?
Determined, passionate and fierce: I will never stop bringing my enthusiasm into my work.
Future projects?
The next project is to return to Los Angeles, take the green card and join a trade association (which in the United States are called “unions” part).
Interview By: Gabriella Chiarappa