What type of printing do you prefer?
Fine art printing, for its ability to render an exceptional tonal range in both shadows and highlights.
What comes first, the idea or the fascination with the material? In other words, does the artistic/photographic project come first, or is it inspired by particular techniques or processes that strike you?
Photography always comes first, understood as a photographic shot; the development process of a file can sometimes be influenced by the type of print you want to make.
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Do you have any Masters you look up to and feel close to?
I look at the work of all photographers with interest. The further their style differs from mine, the more interesting I find them.
I am moved by Salgado’s photographs, even though I have never photographed in black and white. I am following with interest Milos Nejezchleb (@nejmil), who constructs photographs by combining colours and shapes artificially in a way that I would never be able to do.
His photographic production, so varied and heterogeneous, maintains intact a particular way of interacting with light that we always find, from still lifes, interior photographs, to reportage shots and landscapes.
In fact, I noticed an “area dust” to use a definition by Leonardo da Vinci, according to which the atmosphere was rendered by color, treated with evanescent notes capable of underlining the depth of field, of suggesting masses and volumes without resorting to deep, drastic and violent chromatic detachments.
A delicate and Renaissance light, applied to contemporary themes and modern compositions.
The same clarity that I found in the prints he is preparing these days at Newlab, where he turned to participate in the group exhibition “The Call of the Trees” which will be held at the historic Galleria dell’Incisione (BS) until April 30th.
These new images, printed on Torchon paper, are reminiscent of zinc chalcographic matrices, due to their graphic refinement and attention to detail.
Can you tell us something about this upcoming exhibition?
In reality, my attention is almost always drawn to a particular contrast rather than the subject itself. I’m interested in the light and dark, the tones through which one passes from light to shadow.
I recently saw some work by a German photographer, done about ten years ago, and was fascinated. I tried applying his technique to my own photographs of forests (a subject I love and have been exploring for years), and found the results immediately fascinating.
I focused on the subject, delved into it, explored it, and it intrigued me deeply. By chance, Chiara Fasser of the Galleria dell’Incisione was setting up the exhibition “The Call of the Trees.” I showed her my work, and she welcomed me into her beautiful gallery.
Future projects?
I have been working for forty years now and I still enjoy working.
I photograph products by collaborating with interesting clients who manage to stimulate my mind in the search for results that satisfy them but also me, and as long as this remains the case, I will continue to do what I love: photographing, in the studio or on location, indoors by building the light or outdoors by adapting my point of view to the natural light and contrast conditions, day and night.
I also hope to continue traveling to discover ever more fascinating places and people.
Biography
Octavio Tomasini
I photograph
Octavio Tomasini
Light is the key element of my work. Organized and constructed artificially in the studio or captured in space and time as if coincidences could exist.
My work reflects my history as a professional photographer and my more personal story as a tireless traveler and explorer.
I was born in 1958 in Orzivecchi, in the province of Brescia.
I attended the European Institute of Design.
In 1982 I opened my studio and began working mainly as a commercial photographer in the advertising field.
Alongside my studio work, I indulge my interest in travel and exploring the world by using a view camera for shooting.
The images taken during my travels through Europe, Africa, Asia, Australia, North and South America will illustrate publications, calendars and monographs.
Having abandoned the old 10×12 and 13×18 cm chassis, I converted to digital, appreciating its lightness, flexibility and the possibility of following the post-production phase first hand.
In 1990 I began a collaboration with the production company Albatrosfilm as director of photography, a collaboration that is still a significant part of my work today.
I also made six documentaries that tell the story of the adventures of extreme athlete and friend Aldo Mazzocchi through Alaska, Australia, Mali, the Yukon, Kamchatka, and Tanzania.
In the meantime, I married Maria, who is still by my side. Together, we had three children, who are now scattered around the world expressing their talents.
From La Scuola Editrice to Pedrali, passing through Paghera, Barozzi, Ocean, San Giorgio, Candy, Hoover, Innova, Technogym, Rivadossi, Richard Ginori, Emu, Valtur, Bisazza, Ikea, Platek etc., I have had the opportunity to work with companies and above all interesting people who have forced me to grow, to update my photographic style to their needs.
Anyone exploring my website ottaviotomasini.it, which features 9,000 photographs, will clearly see my passion for my work: whether documenting the work of an artisan or the production of a multinational company. A piece of jewelry, the portrait of a chicken, the infinity of the desert, or my own garden.