Michele Dolci
TIFA 2024 Interview with Michele Dolci
1st Place winner in Analog / Film, Non-Professional, “Aldo Rossi”
Q: What drew you to the specific genre of photography you specialize in? Was it a personal experience, a mentor, or something else that sparked your interest?
I don’t consider myself specialized in any genre, I have more predilections towards a photographic representation that tells in the most poetic and true way possible that particular moment, be it landscape, portrait, still-life, conceptual, or documentary. Everything is clearly filtered by my experience, by the formative experiences I have had and the curiosity towards every aspect that surrounds me. Even the great authors, not only photographers, but painters, sculptors, illustrators, anyone who has in their own way left traces of their art, are for me a source of admiration, stimulation, and inspiration.
Q: How do you approach a new photography project? Can you walk us through your creative process, from ideation to execution?
A new project sometimes comes almost inexplicably and suddenly in my head, maybe from a detail, which brings my mind back to other images seen previously and everything begins to fit together in my head, which, together with the essential heart, reworks and creates the shot. Then the set is created, and the photo is actually taken. Other times, I like to improvise, when there are many uncontrollable variables, I “listen” and let myself be guided almost entirely by the feeling.
Q: Your winning project stood out to the jury for its unique perspective. How do you ensure that your work maintains originality and authenticity in a competitive field?
It is difficult to answer this question, but I can certainly say that in this specific case of my shot, “Aldo Rossi,” I tried with the framing to make clear both the place so surreal and the way of designing of that great architect. Certain perspectives and angles from which you look seem to come out of a painting by De Chirico.
Q: As a photographer, how do you balance technical expertise with artistic vision? Do you rely more on one, or do they work side by side for you?
Technique is certainly an integral and important part, it must be studied and learnt, it must be tried and understood, it must be assimilated and made an integral part of ourselves, but I believe it must be, in the end, at the service of the artistic vision, it is the vehicle that ferries our feelings into the shot.
Q: What role does post-processing play in your work? Do you consider it an extension of your creativity, or do you aim to keep your images as natural as possible?
Post-production is definitely necessary, whether I shoot digitally or analogically, but I try to keep the images as natural as possible. Of course, I also experimented with creating slightly more surreal images and mixing analog and digital together.
Q: How do you stay inspired and motivated in an ever-changing industry? Are there specific sources (books, movies, or other art forms) that fuel your creativity?
As I said before, I am fundamentally curious about what surrounds me, so anything could be a source of inspiration for me, whether it is seen in a magazine, in a film, reading a novel, a poem, listening to a melody, walking, talking, in short, many things can be evocative and light a flame in us. The desire to know and to explore must always remain alive without making too many mental superstructures. By doing so, that flame burns with more vigour.
Q: Winning this award is a significant achievement. How do you plan to use this recognition to further your career or make a bigger impact on the world of photography?
Winning an award, especially such an important one, is certainly for me, but for anyone a reason of satisfaction and pride. For me, it is also certainly a way of comparison to understand if my visions and my way of working are going in the right direction. Seeing that in some way my photography has struck strangers and such an important jury is the greatest recognition.
Q: How do you approach connecting with your subjects, especially in projects that require a deep level of trust and intimacy, like portraits or documentary work?
Portraiture is one of the most complicated photographic genres because it really puts two people face to face. I look at the subjects of my photos as if we were two waves in the same ocean. Two unique and unrepeatable waves, each one that is born, develops, and then dissolves like no other.
Each has unique and unparalleled characteristics. And at the same time, both are water, the ocean, the same thing. When I shoot, sometimes I recognize something of myself in the person I photograph, other times I am amazed by how different we are. If I pay attention, in addition to capturing an aspect of that person with my camera, I have the opportunity to discover something about myself. This is one of the great privileges of being a photographer. And it is also one of the reasons why I photograph.
Q: How do you think photography can influence social change? Have you worked on projects that aim to raise awareness or support a cause?
I think that the image is the most powerful art form ever because it is immediate and now accessible to everyone. I remember an interesting article that started with the philosopher Descartes, who said, “those images whirling in the air that have so tired the imagination of philosophers and that strike our senses,” giving an almost exclusively psychic meaning. Today, however, images are central to all our experiences, we give shape to them through our senses, and we share them again in a matter of seconds, very fast processes. Here we enter the field of visual communication in marketing, and it would really take a long time to go into it. There is no doubt that visual communication is particularly effective because it is based on a universal language that knows no linguistic barriers: the message arrives immediately, arouses emotions, and is internalized and memorized even unconsciously without wanting to. This is the power and the might of images. I happened to approach some awareness projects, and they left me with a lot on a human level.
Q: What advice would you give photographers on how to find their unique voice in a crowded industry? How can they stay true to their vision while appealing to a wider audience?
As a teacher, I have always considered myself terrible, however, I believe that there are no magic formulas to find your own way or to be appreciated. It is a process that requires time and dedication; you have to explore yourself through photographic genres, never stop learning and experimenting, and never debase yourself to please or be pleased. With humility and on tiptoe, we enter to explore ourselves first, and through what we create, we enter into the lives of others. If we manage to convey something that we like and that interests us, our feelings will also come out sincerely, and this will somehow affect some of our interlocutors.
