In the framework of a photography exhibition the author should always suggest visitors an interpretation key to his “Work”. In presenting this subject picture section I certainly can’t escape this obligation although, I must say, no particular interpretative conditions exist in this case. The prerogative of these pictures resides with their simplicity and strength and in the respect of the three basic rules of photography: technique, form and content. On a number of pictures man is always in the spotlight against unreal or mundane backdrops like, for example , the fisher of “Antichi Mestieri” moving on the surface of a lake that does not actually exist; or the unmistakable face of Totò peeping from behind a curtain in “Locorotondo”; or “Testimonianze”, taken in Castelluccio di Norcia, right beneath the Monte Vettore where in a snow-bound landscape a tool may be glimpsed; and, finally, the scrupulous quest for efficacious chromatisms in dream-like cities such as “Landshut”. Conclusively I might sat that visual communication may sometimes be more effective than too many words.

Roberto Masserelli