The Morning Light
In the study of history of photography it’s easy to see how light is fundamental, in fact photographers of every ages have been able to create atmospheres, communicate sensations and show the movement of surfaces through more or less intense contrasts of lights and shadows. Even in the observation of reality we realize that even most common objects get particular visual aspects thanks to light. I studied the theory of shadows, application of descriptive geometry that deals with effects produced by light on an opaque body, giving its scientific explanation (the theory of shadows recalls the theory of oblique projections, given by G. Mone). To make these still lifes I always took pictures in the morning, and only if there was the sun, which I chose as bright source, that projected shadows on a definite support plan. These pictures are a middle way between a strict geometrical synthesis and an imaginative compositional study. These pictures are a middle way between a strict geometrical synthesis and an imaginative compositional study. The shapes crossed by the lights seem to vibrate and become evanescent. For the choice of objects of my compositions I privileged contemporary and linear ones. The potentiality of ambient light let me accentuate contrasts and make all the drama emerge from shadows. The most difficult thing to face was the speed of execution because of the sun, because it rotates rapidly, changing the conditions of light. We know well that we need time enough to focus every single detail of composition and light to make a good still life. Besides, I was conditioned by weather: if sun was covered, I could not work…
