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"Carlo simply photographs—he 'captures', he sees—whether his beloved Milan is within reach of his lens, or his reporter's steps carry him to a Spain still dreaming of the ‘matar' and bearing the traces of Francoism, to a New York scarred by the bitter legacy of Vietnam, by the desolate subway to Coney Island, or to a Berlin where the Wall has been 'tidied up' for Kennedy's arrival.
In these images, Carlo seems freed from the long-standing obligations imposed by his profession—fashion photography, photography as a means of living, and, we must say, living well. Freed, he gives way to creativity, always finding an ally in imagination, in the clever detail, and in the taste for sublimating reality.
This photographer of instinctive shots is just as valuable as the one who carefully constructs atmospheres.
But, if I may whisper it — I prefer the former."
(Guido Vergani, "Luoghi, persone: fotografie degli anni '60", 2005)
"Carlo simply photographs—he 'captures', he sees—whether his beloved Milan is within reach of his lens, or his reporter's steps carry him to a Spain still dreaming of the ‘matar' and bearing the traces of Francoism, to a New York scarred by the bitter legacy of Vietnam, by the desolate subway to Coney Island, or to a Berlin where the Wall has been 'tidied up' for Kennedy's arrival.
In these images, Carlo seems freed from the long-standing obligations imposed by his profession—fashion photography, photography as a means of living, and, we must say, living well. Freed, he gives way to creativity, always finding an ally in imagination, in the clever detail, and in the taste for sublimating reality.
This photographer of instinctive shots is just as valuable as the one who carefully constructs atmospheres.
But, if I may whisper it — I prefer the former."
(Guido Vergani, "Luoghi, persone: fotografie degli anni '60", 2005)
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