Interviews for

Interviews for

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product_thumbnail.phpInterviews about my 1th Book “9 visions instantanées” on

(CS), Rome, October 25, 2013 – For the occasion of the book “9 visions instantanées” by the photographer Walter Fantauzzi, we offer our readers an exclusive artist interview conducted by Laura and some special preview image.

You can find the book for sale on and or at the following link
Happy reading and happy viewing!

You can buy the book on , or at this link

Happy reading and happy viewing!




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In your introduction to the book you talk about the film and music inspiration: how these have influenced the arts in your photography?

They have played an incisive and visceral. I often listen to music while traveling between office and home, in the shower, and when I work (in this case, each set must have a appropriate soundtrack ). Among other things, I am a former musician in a band for which the music is part of my artistic skills. As for the cinema, the film “Wings of Desire” is entered into me like a hammer. I had seen it years ago, losing the essence, and ultimately I’ve see it again and again (in a moment of my life very delicate) has opened my mind up about a shooting unconventional. This was the trigger that made ​​me leave for Paris where I created a series of unique shots.

What are the fundamental concepts of this work of yours so important?

It’s a retrospective of myself at a certain time of my life. The side of the photographer enters the scene even if you do not see. Sign violently in every photograph … It exacerbates the lines and concepts that photo sequence … By creating simple but never boring. I used the face of 9 women to express personal concepts, and as can be seen from the picture is quite different in style and in the canons of my previous work.

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We see that there is something personal in this book, and it is not easy to express yourself through a camera. I got a special preview and I found much more than a mere display of images. So I wonder What’s feelings you have made ​​this book?

Feelings? More like a “mare magnum” of emotions … not sure on the whole positive, but full of hope. I do not deny certainly a great fear in having had to deal with an “I” rather than elements of photographic technique. Accept that state of mind first, and then turn it into a work available to everyone.

Can you tell us what the criteria you have chosen the city in which you made various shooting? It has a special meaning for you?

Yes, very special. It is there that in 2003 for the first time I have been in contact with a photographer / artist only in his great humanity. From amateur photos I was fascinated, and it is there that the development of this great passion for images. Everything then had a natural evolution, until 2009 when I decided to attend the schools of photography to one day become a professional. And is therefore, for a pure law of the case (here I use an ironic tone), I found myself ten years later, in the same city as the guest of my dear friend photographer Mitko Androv, to start from scratch.


I noticed, at first glance, a symmetry and attention to detail in the photographs. Am I wrong or was all planned by you? There appears to be a study that behind every picture, however, has the particularity to not look too artificial.

You have taken away the essence of this project perfectly . It took me three months to plan everything to the fullest to avoid mistakes or oversights . There have been many chat with the models to make them feel part of this unique idea , the idea of being themselves.

Much work has been done on interpersonal relationships , and a lot on the choice of locations, each with a special meaning. I did not want a Paris foregone nor even unbalance weights of visual information . For example, the Eiffel Tower would have eaten too sharp (given the emotional impact of the structure on our subconscious ) the entire set or even the entire job. I wanted to perceive the environments and the location , keeping them confined in a place that was not more than a “fifth visual .” I wanted the viewer had a total natural in view of the photo , as if he were in her at that moment. So I avoided compositions in favor of such structural and architectural elements , availing myself of them just for a few references to the city.


Some photos are daring enough. Have you ever had to deal with criticism about it? In particular, the images of this book? And what they want to communicate the models in addition to the passion?

Very bold, I think. But it all served to create quell’altalenanza of emotions in precise intervals. The sequence of pictures is not left to chance. Everything has a rhythm and a metric.

Yes, I am often criticized in general for this type of picture. But what about the book, there have been no negative criticism, even by the publishers who have viewed. In fact the whole thing was accepted with great harmony. There is no image in the vernacular, although very strong in some places. As for the models, they transmit the facets of the feminine universe: eroticism, love, sensuality, delicacy, passion, sadness. Elements, therefore, quite natural but stronger than the mastery of which only the woman has the reins.

There is a thread that covers the various sets, though each of them is divided with a proper title?

Certainly, visions are 9 snapshots. For this reason, each chapter is opened by a Polaroid camera (which by definition is the snapshot universal), linked by a common thread: the personal emotions. If one day I were asked my portrait, this book would be the immabile more in focus.


Laura Cannistraro –


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