AN INFINITE COMPRESSION PRECEDES THE OUTBREAK – Gaze nourishment exercises

Photography by itself has no meaning, it is, on the contrary, a signifier. A multitude of linguistic signs which, through the act of photographing, allows one to overcome the “classic” problems such as framing and technique, for example, and leads straight to the first, absolute foundation of photography: the gaze. It doesn’t matter which camera we use, which focal length we have at our disposal, what really matters in photography is the ability to “feel” the smells, sounds and moods of the territory we travel through, whatever it may be. A shot that we can define as “good” takes place in the gesture, but first, through a series of exercises of imagination and identification. The photographer is hardly objective because his photographic mindset is a direct consequence of his diet which originates from sensations related to literature, music, the territory we live in, ideas and even utopias. So, if not for purely technical and aesthetic reasons, photography doesn’t come from photography.

The gaze needs to be nourished.

The gaze must be detoxified.

The gaze must be sensitized.

The gaze must be recognized and cultivated on a daily basis. So let’s imagine that we have dynamite in our hands and we don’t have the means to detonate it. Feeding, through a multiplicity of stimuli, our personal “feeling” day after day, we will have such warmth in our hands as to allow the shot to come out by pure instinct, for an impulse that allows the photographer to identify himself so much as to be invisible , in a constant play between the outside and the inside of the scene that we intend to portray, always remembering that a good photograph, the one that allows our soul to vibrate, is not the result of our gesture, but rather it was given to us and the only merit that we can attribute to ourselves is to have RECOGNIZED it