Category: NCMBianchi

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How we filmed two trailers (and I shot instant pictures for backstage).

Back in March this year me, my girlfriend and some other cinema-loving friends filmed a teaser trailer for the new theatre show produced by the amateur company iBirbanti – company founded by some high school friends  and in which I also help  as a technician. This is the second year since attending the Civica ‘Luchino Visconti’ cinema school in 2016 during which we have the chance to write, produce and shoot a short movie. Satisfied with our previous results, we attempted an even bigger challenge: making two different trailers, with different tones and styles, in order to fit them into the promotion campaign. Giuditta and I were in charge of the first one, and I decided to test out during the shootings both my vintage Polaroid instant cameras (i.e. Spectra Full-Switch and SLR680) for some backstage candids.

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How I spent my winter holidays in Paris with my girlfriend (and a total of 5 cameras).

Ahead of this trip, I went to Paris only few times and did not manage to create enough memories of it: the first time was about 20 years ago, so I was too young to fully comprehend the experience this city gives. The second time was for just one night in 2014, while driving back from our theatre company’s show for the Camden Fringe Festival. Therefore this can be considered my first proper visit in Paris – and its beauty stunned me nonetheless. Looking down on the city from midway to the top of the Tour Eiffel and from the verge of Montmartre, and viceversa getting glimpses of the sky through the glass vaults of the passages: not something easily done anywhere.

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How two friends and I went (along with heat and typhoon Noru) on my third trip to Japan.

I suggest reading the article listening to this great piece of japanese jazz – to sync your mood with what we felt during the trip.

Since any of my first two trips to Japan (i.e. in 2012 and 2015) were not enough to satisfy my hunger for experiences in that amazing country, I decided to head back to the narrow streets of Tōkyō and other cities once again. As I did during my previous trip, I went with people I care a lot about and with whom I can share my interest for the country. We chose a wide array of cities to visit, and added Kanazawa and Aomori to my usual tour plan. Moreover we all went on the trip with cameras – and a total of 25 rolls of Ilford HP5 and 10 cartridges of I-type instant film to shoot in a 24-days trip – so everything pointed to it being first and foremost a photo-voyage.

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How I had (a rough time choosing 15 pictures for) an exhibition with a friend.

Back in June 2016 me and a friend, Pietro Consolandi, decided to consider making a joint photo exposition – focusing on the pictures we took during our respective trips to Japan in that same year: I went with a friend for new year’s eve holidays while he went later in spring by himself.

We both had also previously been to Japan – my first trip was by myself, his in a group – and we shared the belief that a certain degree of knowledge of a country is required to enjoy it. I don’t mean that one has to have a complete understanding of the place one is travelling to, but the aim of the trip should not be just discovering it: it should not be solely history and social matters, but even just the everyday dimension of how the inhabitants live their own streets and country.

Speaking for myself, I tend to try being invisible – not to catch what they wouldn’t want to show a tourist, but just to be perceived as one of its own by the country itself, the shops, the streets and the poles, being given the chance to experience the same calmness and silence one feels when at home.

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How I managed to print pictures in my bathroom (against all odds).

Feel free to advance any critique, as all the images included in this article are taken by me. Only two are not, and the author is cited.

It’s been more than two years since I first decided to only shoot film [ITA], and things are yet to be completely mastered. On my way to pursue a personal creative style, I started developing film in bigger batches, and on a steadier routine. I experimented with more developers (i.e. HC-110) – and more will come (i.e. Caffenol C-H) – while I moved to another home. Until the day one thing came: a Durst M605.

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How I have been experimenting with (and through stashes of expired) instant film.

I recently bought the ImpossibleProject I-1 camera, the company’s attempt to provide an instant camera updated to 2010s’ technology: a Bluetooth-connected app can give access to manual controls over an otherwise extremely simple and fully automated handheld camera.

Although having some minor technical issue – it doesn’t expel the black cover, so I have to remove it myself – I am genuinely loving this camera. Such issue is restricted only to my camera, and the customer support has proven kind and available at all times.

UPDATE (July 13th 2016) The customer support had me send the camera back and immediately sent a new one. As expected, they are extremely keen and competent.

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How I ‘hiked’ (but mostly ate) my way through Japan in 15 days.

All the images included in this article are taken by me, therefore feel free to advance any critique.

I first went to Japan in 2012. It was by myself and some of the trips I had were part of organised tours: I deeply enjoyed my experience, but also felt that I failed to get the whole experience that the country had for its visitors.

Last summer I finally managed to organise another trip to Japan: I wouldn’t have been by myself, it would have been for 15 days – instead of just 10 – and we would have also visited Hiroshima – other than Tōkyō and Kyōto which I already stopped at in 2012.

Me and a close friend of mine wanted to get in touch with the rather subtle realm of what we think Japan is like. Such an idea usually involves mostly food and temples, while it rules out the imagery of Japan as a land of dark ages’ warriors, modern buildings and anime. Speaking for myself, the country lays between those extremes, and it resembles what’s depicted by photographers such as Moriyama Daido, Shomei Tomatsu, Nishimura Junku and Hashiguchi George. I think of Japan as a land of narrow alleys, unglorified open spaces and publicly open people.

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How I sailed (and slept) through a storm in Croatia.

All the images included in this article are taken by me, therefore feel free to advance any critique. The photos can also be found on behance.

I have longed to make a boat trip with my friends since I got my sailing license in 2011, but my desire wasn’t accomplished ’til this summer. A good friend of mine was already used to spending his holidays with his childhood friends and his parents while growing up, and he spent even more holidays with such peers once he became an adult: most notably, they drove to Cape North in 2009. Even I went by car with the same group of friends to Corse in 2012. We spent an entire week going around the island clockwise and they proved to be amazing travel companions. One complained about the other’s snoring, the other slept on the beach and woke up drenched, but we all camped together and shared the experience.

This once, we all decided to organise a two-boat sailing trip across the Croatian islands: me and four more people booked Orion – a 37.9 feet boat suited for six people – while other eight people went for  Klementa – a 41.9 feet one for eight people. They were just two random boats given us by the cheapest charter that we managed to find, but gave us no problem and just  pleasant memories. We left from Sukošan on August 15th and got back there in seven days.

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How I drove to (and through) Istanbul with two friends.

All the images included in this article are taken by me, therefore feel free to advance any critique. The project can also be found on behance.

Back in August 2014 I was in either London, Brugge or Strasbourg with i Birbanti – the amateur theatre company I work for as a technician – and my friend said “Let’s go to Istanbul for New Year’s Eve”. Either, as I cannot recall exactly where and when he made such a proclama, since it was not indeed considered much weighed as a proposition; it is even hard for me to locate ourselves through our trip to London for the Camden Fringe Festival when my friend foresaw what he would have then neatly planned once the state of soberness had welcomed him back in Milan, as such an exclamation sure seemed an ideal mind image of his, depicting what would have been our ‘next breakaway from ordinariness’. Nevertheless it first grew to be a desire – contagious among the three of us, who grew together for almost twenty years – and then a proper plan.

We would have driven through Slovenia, Croatia, Serbia and Bulgaria to land in Turkey, resting online twice – in Zagreb and Sofija. We longed to visit hammams, the Grand Bazaar, hooka bars and any place that could provide us with food, but I myself mostly wanted to roam the streets with my camera.

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Convenience and spontaneity of zone-focusing.

All the images included in this article are protected by copyright on behalf of each respective author.

Many thanks to Gillian Bowman, who reviewed this article.

When turning the pages of a photography volume, whether it is by Yosef Koudelka, Lee Friedlander or Alex Webb, one can immediately identify how these photographers have made sapient use of the two major technical elements of photography itself: focal apertura and the effect that it has on depth of field.

Although I am fascinated by the expert use of a shallow depth of field to isolate the portrayed subject, every situation requires a careful evaluation of the specific technical settings that might harm the final outcome. The presence of several elements in focus predispose the viewer to interprete the space within the bidimensional medium in which it is located, enabling the imagination to expand the dimensions of such space beyond the physical limits of the real world: the subject is plunged in and absorbed by the background, embedding itself within in and enriching it. The eye is not fooled, but the perspective is only secondary to the narrative function of that is portrayed.

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