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The oblique look and the City



Walking around Rome with a camera is undoubtedly a privilege, and it’s not the first time I’ve said so, but the question is: what kind of gaze to use?
One can certainly look directly at the object of interest of the moment, and portray a documentary image, or one of social denunciation.

Otherwise we can make postcards of famous places or monuments trying to give our own original interpretation, but often creating only the umpteenth image already seen.
We can also put ourselves at the center, increasing the endless series of useless selfies.
Or, more profitably, at least for me, we can look at what surrounds us with a slightly squinting eye, careful to catch at the same time the usual aspect of things and people, and the moment in which this patina of normality begins to wrinkle and fray.

The glassy gaze of a seagull, four oranges in a row on a windowsill without any reason, or a huge styrofoam head in a tourist souvenir store are enough to reveal a certain degree of stunned absurdity.
In this way, in an ironic or tenebrous key or how else you want, the resulting photographic image gives back to the City its complex ambiguity.

Little seagull and the Satyr. Via del Babuino, Rome, June 28th 2021.
The lost look of a styrofoam emperor. Via della Conciliazione, Rome, September 8th 2021.
Run of the decapitated chicken. Via Sforza Pallavicini, Rome, May 4th 2021.
Cross and seagulls. Piazza S.Pietro, Rome, July 11th 2021.
M and G have been partying. Piazza Adriana, Rome, August 3rd 2021.
Totem. Via della Conciliazione, Rome, September 24th 2021.
Glassy gaze and cocktail. Piazza del Popolo, Rome, May 13th 2021.
Four oranges. Via dei Delfini, Rome, June 13th 2021.
Postcard with creepy presence. Via della Conciliazione, Rome, June 4th 2021.
Metaphor. Via del Babuino, Rome, April 20th 2021.
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Pietro Coppa

Nato e vissuto a Roma, fotografo per antica passione.

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