Working on 'Marmomac 2018' editorial project, I've visited several production sites across Italy where artists and skilled professionals work with stone in many different ways all contributing in taking our country at the top of the industry.
This is the place where modern and ambitious design genuinely challenges manufacturing technologies drawing new paths toward the future of the marble industry.
From my photographic perspective, I am captivated by the world of natural stone because it really offers unique shapes to work with, along with a fascinating working environment. I always get engaged with high-end subjects as they deserve decent lighting to be depicted down to their fine details such as color nuances, shapes, textures, and angled surfaces. On top of it, I love the feeling of having a responsibility in creating images for great design.
On the other end of the same editorial concept, the industrial background of Italian stone manufacturing is something unique that worths to be shown at best.
When the project curator came up with the idea of having marble creations photographed 'as they are' right out of the gate of the production site, I was dazzled by the opportunity to shoot on location and use light occlusion to balance the subject-to-background ratio to the desired level
This is the place where modern and ambitious design genuinely challenges manufacturing technologies drawing new paths toward the future of the marble industry.
From my photographic perspective, I am captivated by the world of natural stone because it really offers unique shapes to work with, along with a fascinating working environment. I always get engaged with high-end subjects as they deserve decent lighting to be depicted down to their fine details such as color nuances, shapes, textures, and angled surfaces. On top of it, I love the feeling of having a responsibility in creating images for great design.
On the other end of the same editorial concept, the industrial background of Italian stone manufacturing is something unique that worths to be shown at best.
When the project curator came up with the idea of having marble creations photographed 'as they are' right out of the gate of the production site, I was dazzled by the opportunity to shoot on location and use light occlusion to balance the subject-to-background ratio to the desired level
Having the new Lighttools UltraSoft Egg Crates available to my lighting arsenal I fully enjoyed the opportunity to work with occlusion preserving a flattering transition with natural light dominating the backgrounds.
Client: Marmomac 2018
Art direction: Raffaello Galiotto
ProductionManager: Andrea Mescalchin
Photography: Matteo Mescalchin
Crew&equipment: digitalmovie.it
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