Exposed - JRC FotoCineClub
Transcript of Exposed - JRC FotoCineClub
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explorationmovement: stage or play
reportageSicily, Mount Etna
explorationart, space and me
feature articleimpressions from dilated times
meet our membersFederico
fotoclub historyventidue anni nel fotocineclub
Vol. 5, July 2020JRC fotocineclub’s journal
Exposed
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Editorial
Dear photo friends,
Current and past history are dominant subjects in this fifth volume of EXPOSED.
The corona virus COVID-19 has changed our lives drastically. As our club members
could not meet in person, we held weekly virtual meetings to share and discuss
photos, discuss technical matters and present photographers. Not being able to go
out, we turned to macro photography and artistic exploration. In a joint article, we
share our quarantine life impressions with you, as well as some of the photos we
took during this extraordinary time.
The FotoCineClub has been in existence almost as long as the Joint Research Centre
itself. We knew very little about its past so we contacted former FCC presidents.
Roberto Tilio, two-time FCC president in the 1990s, was kind enough to write an
article in which he sheds light on the early days of FCC club life. He was helped by
former two-time president Antonio Bandirali and former FCC photography teacher
Sandro Maffei. Roberto’s summary is both interesting and it can serve as inspiration
for future activities.
EXPOSED is developing nicely. We ordered professionally printed copies of volumes
#3 and #4 and we aim to continue printing future issues. We keep receiving
attractive and interesting contributions and we now have a steady team, but we still
need your feedback for motivation and we want to include articles by even more
contributors. Join us!
A big thank you to all contributors and especially to our editors Rudolf and Eva!
Ralf Steinberger
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Emilio Vedova (1919-2006) was an Italian
artist, who was born and died in the same
place (Venezia) but who, in his long life,
incessantly travelled, worked, taught and
made exhibitions in many different parts of
Europe and the world. His education roots in
figurative painting but he embraced abstract
art when he was still in his twenties, and
starting from then he explored different ways
of expressing himself. Each of the routes he
took would have made him a great artist,
his continuous quest makes him a reference
figure of the XX century artistic landscape.
When analysing his work retrospectively, the
thread that has guided him throughout his
artistic career, the common denominator
of all his works appears evident: energy.
Powerful brushstrokes, bold colours, large
sizes, enhanced geometries, hard materials.
Sala delle Cariatidi is a large hall in the Royal
art, space and me
Palace of Milano, that was transformed
in 1774-1778 into a majestic neoclassical
ballroom for the emperors of the Habsburg
dynasty. During WWII, in 1943, it was
partially destroyed during the bombing of
Milano. The ceiling fell down, the stucco
decorations were broken, the frescoes lost
forever, the 40 caryatids decorating the walls
survived the fire by losing arms, legs, faces.
After remaining exposed to sun and rain for
four years, nothing more than ceiling and
roof were rebuilt, and the hall, with all its
scars, started to be used as exhibition space.
It became famous in 1953 as the place
hosting Picasso’s Guernica in one of its
very few trips outside US, where it was on
temporary loan in view of being transported
back to Spain. Picasso had accepted because
the location was fully in line with the
message conveyed by his masterpiece, the
scream of humanity about the tragedy of war.
Towards the end of January 2020, I went
to Palazzo Reale to visit an exhibition of
impressionist painters, and on my way out I
stopped and quickly visited the exhibition in
the nearby hall. I knew there was an Emilio
Vedova exhibition there, and I was curious
since twenty years had passed since I had
last seen his works. I entered the hall and
I was struck by a burst of energy. I felt it. It
was coming from the works exposed, the
walls, from below and above. I was deeply
touched by what I saw and since I did not
have much time to fully enjoy the artworks,
I went back a second time. The best time
to visit an exhibition in Milan in the pre-
Covid era was on Sunday mornings. If you
arrived as soon as the galleries opened,
at 09:30/10:00, you had approximately
one hour to spend almost alone enjoying
art, before the crowds arrived. The photos
published in this article were taken at that
moment, and do not aim at commenting
Emilio Vedova’s work, but they rather focus
on the dialogue between the contemporary
and the past.
exploration
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When I stood in front of the artworks I had
the clear feeling that not only the artist
was present, talking to me in that precise
moment, but that each piece was like an
organism, a monad, a monolith endowed
with its own secret message. At the same
time, I assisted at the dialogue between
the pieces and the caryatids, who were not
simply watching as external observers, but
seemed to have found someone who could
understand their story. I had the feeling
this had not happened many times since
Guernica was there. This inspired encounter
between Past and Present was a catalyst for
energy amplification, taking me to another
dimension for the time I remained in their
company, and leaving me afterwards with a
sort of nostalgia for that special adventure.
Maria Luisa Paracchini
“In quella luce rossastra assistetti con gli occhi
sgranati a un miracolo: lentamente sulla
superficie lattea delle mie lastre emergevano dei
contorni scuri, quelli da cui si sarebbero formate
le mie prime immagini fotografiche da me
realizzate” (Philipp Halsmann, 1920)
Nascita del clubParlare del Foto Cine Club (FCC) e delle sue origini a
distanza di tanto tempo dalla sua nascita non è una
impresa facile. Mi è stato riferito che fu fondato nel
1964, non so chi ebbe l’idea di crearlo ma posso
immaginare che, in quei tempi, la fotografia destasse
un grande interesse e avesse molti appassionati.
Il Centro di Ricerca Europeo, che allora si chiamava
EURATOM, era nato da pochi anni, esattamente nel
1958, e accoglieva un numero crescente di esperti
provenienti dai vari Stati europei aderenti alla CEE.
Erano principalmente giovani con culture e abitudini
diverse tutti accumunati dal desiderio di condividere
una esperienza unica nel suo genere: partecipare e
contribuire alla ricerca scientifica della “appena
nata” Comunità Europea.
Il Centro di Ispra è situato in una località di indubbio
fascino, in un contesto naturale ancora intatto ma
decisamente isolato e lontano dai grandi centri
abitati. Per tale motivo, e per venire incontro alle
esigenze del gran numero di giovani ricercatori,
vennero allora creati organismi socio-culturali che
potessero aiutarli ad inserirsi in questo nuovo
contesto. Importante era dare loro occasioni di svago
sia di tipo sportivo che culturale creando strutture
non lontane dal luogo di lavoro.
Venne creato un Club House come luogo di ritrovo e
fu istituito un Comitato Culturale che, con le sue
diverse sezioni, doveva essere in grado di soddisfare
gran parte delle esigenze sociali della comunità che
operava nel Centro.
A queste iniziative di tipo istituzionale si aggiunsero
poi associazioni nate dall’iniziativa di singoli individui
e dedicate ad interessi specifici e, tra queste, nel
1964, nacque il “Foto Cine Club EURATOM”.
Il primo presidente del Club fu Roberto Colombo,
fotografo dell’ufficio relazioni pubbliche del Centro.
Il mio ingresso nel fotoclubLa mia adesione al Club avvenne nel 1981, un anno
dopo il mio ingresso al CCR e poco dopo l’acquisto
della mia prima reflex. In quel periodo la carica di
presidente era ricoperta dal Sig. Bielli. Il Club, in quel
periodo, aveva una funzione prevalentemente di
supporto ai soci a cui, a noleggio, forniva macchine
fotografiche, cineprese, pellicole in vendita a prezzi
scontati, la consultazione gratuita di riviste
fotografiche italiane e straniere e l’uso della camera
oscura situata nei pressi del Club House.
Cerimonia del 30o anniversario del FCC, dedicata ai 200 anni di moda e seguita da una sfilata con un concorso fotografico.2a persona da sinistra: presidente FCC Antonio Bandirali.
history of our photoclub
ventidue anni nel fotocineclub racconto dell’ex-presidente Roberto Tilio
Per poter usufruire di questi vantaggi bisognava
ovviamente iscriversi. Non ricordo quanti fossero gli
aderenti del Club quando vi entrai a far parte, ma
rammento che le riunioni, che avvenivano durante la
pausa pranzo in una saletta situata all’ingresso del
CCR, non erano molto frequentate.
Per molti anni il Club continuò ad avere la
caratteristica prevalente di supporto ai soci e la sua
attività era rivolta quasi esclusivamente all’interno
del Centro.
Il club si apre all’esternoCon l’ingresso di nuovi soci e di nuove idee,
lentamente si ebbe una apertura del club verso
attività che consentivano un contatto con l’esterno e
questo nuovo sviluppo si manifestò compiutamente
nel 1986, con l’elezione a presidente di Antonio
Bandirali.
In quel periodo io entrai a far parte del Direttivo e
cominciai a dare attivamente il mio contributo al
Club.
Da quel momento i fondi che il COPAS (Comitato
Paritetico per le Attività Sociali) elargiva
annualmente al Club, vennero indirizzati non
solamente all’acquisto di materiali da noleggiare ai
soci, ma anche al finanziamento di eventi, mostre e
incontri. Questi si svolgevano principalmente al Club
House ma in seguito agli accordi presi con le
amministrazioni di alcuni Comuni limitrofi, il Foto
Cine Club iniziò a programmare iniziative pubbliche
in luoghi accessibili a tutti.
L’intento del Club era quello di mostrare, alle
comunità locali, le fotografie realizzate dai funzionari
europei creando la possibilità di interscambio e
collaborazione con gli appassionati di fotografia
locali.
La funzione iniziale del Club, quella di “noleggio
materiali fotografici”, era oramai diventata di scarsa
utilità per cui si decise di dare maggior impulso ai
corsi, ai workshop, alle gite “didattiche” a cui poi fare
seguire mostre ed incontri.
Alla scadenza del suo mandato Bandirali mi cedette
l’incarico per due anni (1990-1991) per poi tornare
presidente per i successivi quattro anni (1992-1996).
Premio Arte, Cultura e Scienza, organizzata dal FCC nel 1994.Da sin: H. Holtbecker direttore JRC, C. Fontana, direttore teatroalla Scala di Milano, A. Migliazza rettore Università IULM diMilano, F. Ogliari, direttore del museo della scienza e tecnologiadi Milano e direttore del museo Europeo dei Trasporti e AntonioBandirali presidente FCC
Locandine di mostre e proiezioni diapositive del FCC
Collaborazioni con il Comitato Culturale, Comuni limitrofi, l’Amico Computer Club ed ETM Europa Terzo Mondo.
del critico Alberto Pellegrino e con il patrocinio della
Provincia di Varese.
L’iniziativa ebbe un grande successo di pubblico e di
critica e credo costituisca una degli eventi fotografici
più importanti realizzati nella provincia di Varese.
Dal 1996 al 1997 fu Fernando Dos Santos a ricoprire
la carica di presidente mentre dal 1998 al 2002
subentrai ancora io e di quel periodo conservo un
bellissimo ricordo.
Il club come promotore di eventiSi deve a Bandirali la brillante idea di investire parte
del fondo del COPAS nell’acquisto di un sistema
sonorizzato e a dissolvenza incrociata dedicato alla
proiezione delle diapositive. All’inizio il suo utilizzo fu
limitato a proiezioni delle immagini dei soci al Club
House e quindi rivolte esclusivamente al personale
CCR ma poi, visto l’alto gradimento, le proiezioni
vennero riproposte in contesti aperti alle comunità
dei Comuni limitrofi.
In quel periodo una collaborazione molto importante
fu quella con il Museo dei trasporti di Ranco, con cui
vennero organizzate diverse iniziative.
Nel 1994, in occasione del 30mo anniversario della
fondazione del club, il Direttivo decise di organizzare
una mostra di un fotografo di fama internazionale e,
su mio suggerimento, venne contattato Mario
Giacomelli, uno dei maggiori fotografi italiani del
‘900, il quale si rese disponibile ad inviarci cento foto
che rappresentavano lo sviluppo del suo percorso
creativo fino a quel momento.
Fu designato dal Direttivo un comitato organizzatore
della mostra costituito da me, Fernando Dos Santos
e Paolo Franchini.
La mostra antologica “Mario Giacomelli –
Quarant’anni di fotografia” venne allestita nei
suggestivi spazi del Chiostro di Voltorre, appena
restaurati, con un bel catalogo contenente il testo
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Nello sfogliare le
fotografie
stampate nella
camera oscura
durante notti
insonni non posso
che provare un
senso di nostalgia
per quel tempo in
cui la fotografia aveva ancora una sorta di “aurea
magica”. Naturalmente devo fare un grande
ringraziamento a tutti coloro con cui ho collaborato
e che hanno contribuito al successo delle nostre
iniziative. Sono felice che il Foto Cine Club, a
differenza di gran parte dei Club nati agli albori del
Centro e che sono purtroppo scomparsi, sia ancora
vivo e vegeto e in grado di produrre tante belle
iniziative come questa bellissima rivista EXPOSED a
cui faccio i miei più grandi complimenti.
Si ringraziano Antonio Bandirali e Sandro Maffei per
la collaborazione.
Lista dei presidentiColombo (1964-?) / (…) / Bielli 1980-1985 / Bandirali
1986-1989 / Tilio 1990-1991 / Bandirali 1992-1995 /
Dos Santos 1996-1997 / Tilio 1998-2002 / Paracchini
2003-2007 / Hanke 2007-2017 / Breitenbach 2017-
2020
Roberto Tilio
Rimini, Aprile 2020
Presidente dal 1998 al 2002Era il periodo in cui la fotografia digitale stava
sostituendo quella analogica per cui il materiale a
disposizione dei soci diveniva di giorno in giorno
obsoleto e la camera oscura sembrava un cimelio
del passato. Il Foto Club, per sopravvivere, doveva
quindi adeguarsi a tempi e il Direttivo decise di
mantenere i corsi di fotografia tradizionale tenuti da
Sandro Maffei a cui però aggiunse corsi di
elaborazione di foto digitale a cura di Gerard De
Vries presidente di “AMICO COMPUTER CLUB” con
cui si iniziò una bella collaborazione.
Oltre alla parte didattica venne poi dato sviluppo
alla parte “organizzazione di eventi” e a partire
dall’autunno del 1998 iniziò una proficua
collaborazione con l’assessorato alla cultura del
Comune di Angera con il quale si dette origine ad
una rassegna dedicata alle foto di viaggio, da tenersi
nel mese di ottobre, che riscosse grande successo.
Una serie di quattro o cinque proiezioni di
diapositive in dissolvenza, sonorizzate a volte anche
con musica dal vivo, che divenne un appuntamento
importante per tutta la zona circostante il Centro.
Agli inizi degli anni 2000 si intensificarono le
collaborazioni con il Comitato Culturale, l’AIACE,
ETM Europa Terzo Mondo, i Semestri europei e si
crearono interessanti iniziative con la Casa di riposo
Don Guanella di Barza e con l’Ospedale di Cittiglio.
Le proiezioni prodotte dal FCC vennero proposte in
vari circoli fotografici nella provincia di Varese e
Milano e il reportage “Antartide“ di Georg Hanke
venne presentato nel 2002 al Museo Nazionale
dell’Antartide di Genova.
La fine della mia esperienza con il clubNel 2003 la presidenza del club venne affidata a
Maria Luisa Paracchini che continuò a mantenerne
alto il livello delle proposte. Alla fine dello stesso
anno lasciai il CCR per la raggiunta età pensionabile
e il mio rapporto con il FCC lentamente si ridusse
fino ad estinguersi. Questa esperienza resta per me
indimenticabile e rappresenta un tempo formativo
e creativo molto importante.
Vecchio logo FCC
Celebrazione dei 30 anni del Foto Cine Club con Sfilata di Moda nel 1994 - Foto prese dal libro di Francesco Ogliari: “Riassaporiamo il Tempo. La Memoria nell’Immagine Fotografica. Due Secoli di Moda, dal XIX al XX Secolo”
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“May you live in interesting times” was the title of the Venice Biennale Arte 2019. I found such title
extremely stimulating and challenging, what is deemed to be interesting is in fact subjective, exactly
like seeing the glass half empty or half full. In his preamble the Biennale President, Paolo Baratta, refers
to challenging times, menacing times, to the need to consider the course of human events in their
complexity and avoid oversimplification. It’s not an easy title, but for sure offers plenty of possibilities since
beauty and tragedy are equally part of it.
At the Biennale the theme was analysed from multiple points of view and at the end of the day it was
clear that the approach of art to such a theme is an anthropological approach. The role of women, cultural
colonialism, racism, the relationship with traditions and with technology, were themes largely present,
that one may not expect to find in an art exhibition. However, art is grounded in the present, this is its
essence and if one takes the time to see, learn and in trying to understand, through art he or she can
acquire a much enhanced and even synthesized view on current and past societies.
At the JRC FotoCineClub weekly meetings, members of the club show and discuss photos they took during
the week. During the Covid-19 crisis, as lockdown weeks unfolded one after the other, the meetings were
held remotely through videoconferences, which gave an increased opportunity to appreciate each other’s
photos. It was extremely interesting to see how individual sensibilities were exasperated in such a special
condition, and how each of us developed his or her own perspective on what was an unprecedented
situation, which –before 2020- could only be imagined as a science fiction scenario.
In the same way as the curators of the pavilions at the Biennale developed the theme individually, and
by visiting the exhibition the visitor could acquire an overarching view on what are, for current society,
interesting times, the JRC FotoCineClub is presenting the individual view of its photographers on the
current crisis. Nesting on the thread of a tragedy, the eye of the photographer has been exploring facets
of reality: homes, gardens, surroundings, first travels during partial lockdown, in colour or black&white.
Individual contributions are here proposed as part of the collective effort to document the struggle to
go through the unknown, to notice what was before invisible to our eyes, to find a sparkle of hope. To
describe the “interesting times” we are experiencing.
Maria Luisa Paracchini
feature article
impressions from dilated timesCovid-19 quarantine narrated by the JRC FotoCineClub
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Photography was a good
companion during this difficult
lockdown period, helping me
to keep a curious and creative
“mood” either by studying new
topics or exploring photographic
possibilities in the house and
everyday life.
Rosana Grecchi
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the permanence of beauty
During the lockdown we have experienced the world
shrinking and becoming our house, the external
borders of our lives becoming visible and equating
to the fence of the garden, the rest of the tangible
universe disappearing.
But an infinite number of places continued to exist
despite not being experienced by humans. I am
interested in the permanence of beauty when no
human is contemplating it.
The baroque gardens and palaces on the Borromean
Islands have an existence of their own, they were
there before our generation and will be there after
us. Visiting them right after the first ease of the
lockdown, being most of the time the only visitor,
was a way to fully enjoy beauty without disturbing it, like
an invisible breath of wind.
Maria Luisa Paracchini
I took a lot of photos during the lockdown. Picturing birds, insects, plants and some other things from within the
borders of our confinement, I quite literally was able to focus on something else than the overall depressing situation.
Here are some more or less explicit details of plants in our garden and two photos taken on the Gotthardpass
during my first travel to Germany since February. Stay safe! Wolfram Woehler
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During the Corona lockdown I felt that our world was as if it was turned
upside-down and at the same time at a stand-still.
Masks and gloves will most likely play a major part in our lives from now on
for an indefinite period of time.
Gabi Breitenbach
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In difficult and worrying times,
which place question marks
behind so many aspects of
our normality, I have found
joy and tranquillity observing
wildlife in our garden.
I cannot believe how much
diversity I have overlooked
in all these years. Starting
in early spring into summer
I could follow the breeding
cycles of mammals, birds
and insects, with all of the
multitude of sound, colour
and shape. This period
really has taught me that
spending more time in one
place is so much richer than
visiting hundreds of places
superficially.
Rudolf Hummel
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Quarantine was about work, family, keeping fit and drinking fine wine.
Konstantinos Gkoumas
Quarantine was about work, family, keeping fit and drinking fine wine.
Konstantinos Gkoumas
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I ask myself if I needed to have a lockdown to realise how lucky I really am?
Difficult circumstances do help to bring sharpness in life’s outlooks.
Daniele Ehrlich
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Inside the house: time to concentrate on photography;
learning through tutorials and courses; creating two
photo booklets; putting order into my analogue
photography collection while delving into the past;
watching films. It felt like the forced vacation I had been
waiting for.
Outside: social distancing; closed shops; empty
streets; face masks; temperature measurements at the
supermarket; people shying away when you get too close;
me realising that I start shying away when people get
close or do not wear a mask; death announcements, be
they related to COVID-19 or not.
First impressions when we were allowed to leave
the house again: military-type protections at Sesto
Calende market; masks as fashion items; excitement
when experiencing my first nature walk and my first art
exhibition in months (both with masks).
Some of the few photos I took during quarantine
isolation: withering peony flowers, representing
transience.
Ralf Steinberger
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I found that staying at home was a good experience for being undisturbed for a few
weeks! I discovered lots to learn, photographically, on YouTube, had time to read, sort
out the house, and experiment with some different image making techniques. No time
to be bored but an occasion to take advantage of the possibilities to become more creative!
I tried macro-photography with flash, long exposures with movement (by using an ND
filter), in-camera multiple exposures, layering images in Photoshop, and studio lighting
techniques (although this became boring with only myself as a model!).
Kevin Douglas
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Report cave tour in Southern Italy, part 2
Sicily, Mount Etna experience two seasons and lava caves
The hidden treasures of Mount
Etna are its caves, which are just
spectacular. There are over 200 caves
on Etna which are formed whilst the
lava flows. Outer parts solidify while
the inner part continues to flow,
creating a tunnel.
The white smoke billowed out of
the snow covering Mount Etna like
a chimney into the blue sky. At the
same time a strong wind threatened
to bring the clouds quickly making
Mount Etna disappear completely
into the white.
A professional photographer was in our group, who was very interesting to watch, especially in the caves where the right lighting was
very important. In my case, all the photos were taken with my cell phone. I did not want to use my equipment in such a rough terrain.
Our group visited two caves: the
Grotta Serracozzo and the Grotta dei
Ladroni. Two days before there was
a heavy snowfall, so we had the bad
luck not to be able to visit the famous
Grotta del Gelo in the higher part
of Etna, but we did experience two
The snow was completely covered by
a very slippery surface and the cold
was unbearable. The icy wind forced
us to descend quickly, gradually
diving into a beautiful autumn
landscape. The wind calmed down
and eventually we warmed up.
seasons on Mount Etna. In the upper
part we experienced an icy cold
winter landscape and in the lower
part a beautiful autumn landscape.
In the golden hour all the warm
tones showed up and I was able to
photograph these very beautiful
landscapes.
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An orchestra of
colours: lava, autumn
trees (white birches),
snow, blue sky and
the warm colours
of the earth are the
instruments here.
Nature has created
for us a masterpiece.
Only a few people
were strolling around
and my thoughts
were that this was
the most beautiful
time and I was
so very happy to
have been there
to photograph this
beauty.
The lava caves form more
of a tunnel and they have
a vault and a floor. At
the vault you often find
stalactites, which are also
called dog teeth because of
their sharp shape.
The lava caves are
very young. The Grotta
Serracozzo is one of the
most visited caves on Etna
and was created in spring of
1971, only 49 years ago!
At the beginning you enter
a huge black hall, where the
light falls through a small
opening and creates an
atmosphere, as if you were
standing in a Cathedral.
Continuing on into the
tunnel it gradually became
smaller and narrower.
Finally at the end I laid on
the sand and lingered for a
while. I then made my way
back.
Ute Stips
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exploration
movement: stage or play
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Everything is in permanent motion. The photographer captures a moment destined to die before it was born.
The photographer is not part of the story. He has chosen sides: he is an observer. Yet his presence at times defines the
story. Without forethought, he influences the developments.
Whether it is a theatrical stage or a fitness ground, the quick movement carves a story immortalised in a photo. A dead
story.
Konstantinos Gkoumas
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meet our members
Federico
Despite having a crazy amount of photography equipment, I have never really
considered myself as a true photographer. For me the picture in itself is not the most
important aspect of this activity, probably though it is the most frustrating as I rarely
am fully satisfied with the result.
Taking pictures is my way of being there with the elements, participating in the events
unfolding before me, interacting with nature not as a simple spectator but part of a
complicated process involving a subject and me linked together to create something
new. It is not about reproducing the reality but rather express a sensation about it.
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From macro to landscape, I invest myself in many aspects
of photography with a mix of excitement for the beauty
before my eyes and fascination for the technology
involved.
I like to carefully plan my shootings and previsualise
the end result, this is part of the pleasure as well as of
the process. Wandering about in search of that magical
elusive moment is not really my thing.
I like the hard work involved in shooting with the camera,
trying to frame the best angle of view and put in harmony
all the elements within a picture. So many variables and so
many selections to be made.
I like the days where I look at the outcome in front of my
computer and extract from the unprocessed images the
story or the message I chose to convey.
Finally, I like to print them. There is something special
about holding them in my hands.
My pictures are rarely shown to anybody; I consider them
as part of my intimacy and I only share them with those
who value and understand how much joy this activity is
bringing to me.
So here it goes, I am extremely happy to show you some
moments of my life.
Federico Fraschetti
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FotoCineClub
FCCThe FotoCineClub (FCC) is a COPAS-supported club at the European Commission’s Joint
Research Centre (JRC) in Ispra, Italy. We invite all interested persons to join our activi-
ties and meetings, as well as our email distribution list and the WhatsApp group. Paying
members can additionally participate in group decisions, use the club’s equipment
including our photo studio, receive photo journals and participate in courses (additional
course fees apply). Membership fee for the year 2020 is 30 Euro.
committee: Gabi Breitenbach (president); Rudolf Hummel (vice-president); Eckehard
Rosenbaum (treasurer); Ralf Steinberger (secretary); Kevin Douglas, Rosana Grecchi,
Katja Neugebauer, Ute Stips (consiglieri).
administrative contact: [email protected]
email to reach all club members: [email protected]
membership form: http://fotocineclub.weebly.com/registration.html
#jrcfcctag your photos in social media
about this issue
contributors:
photo on cover: © Gabi Breitenbach
page 2: © Gabi Breitenbach
page 14: © Ricardo da Silva
page 34/35: © Gabi Breitenbach
page 54: © Ralf Steinberger
the photos in the articles are © of the respective authors
art, space and me: Maria Luisa Paracchini
storia del fotocineclub: Roberto Tilio
impressions from dilated times:
Rosana Grecchi, Maria Luisa Paracchini, Wolfram Woehler, Gabi Breitenbach, Rudolf
Hummel, Konstantinos Gkoumas, Daniele Ehrlich, Ralf Steinberger, Kevin Douglas
Sicily, Mount Aetna: Ute Stips
movement: stage or play: Konstantinos Gkoumas
meet our members: Federico Fraschetti
editors: Rudolf Hummel, Eva Grammatikaki
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JRC Foto Cine Club
http://fotocineclub.weebly.com
JRC FotoCineClub
Foto Cine Club