The portraitist essentially is not just a photographer, but is constantly looking. The end of his research is man, and he should try to know as much as possible, through all that his imagination and inventiveness create or metabolize from the outside world: books, clothes, songs, films, smells, words, gestures . Every human detail for the portraitist is a source of enrichment, a little step further, towards a new knowledge of man, his desires, his needs and his dreams.
There is nothing superfluous, indeed he often exploits the superfluous to further characterize the character of people. A good portraitist in fact does not stop at the appearance of things, does not follow roads already beaten, but tries to analyze the man in the continuous confrontation with the I and with the you, all in all, is the form of man to him more usual, however mysterious. And it is often precisely the mystery of the ego that pushes it into this confrontation, in which it tries to make sense first of all to itself.
At first it can be said that for the portraitist every portrait is a self-portrait, in which he tries to extract from the person who has in front of the lens those emotions that he feels as his own patrimony: the subject therefore as an instrument of expression, as an instrument of meeting with the infinite…