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Capsule Photo

Capsule Photo

Massimo Magistrini: IN - Collana CAPSULE PHOTO di Gente di Fotografia

Massimo Magistrini: IN - Collana CAPSULE PHOTO di Gente di Fotografia

Author: Massimo Magistrini
Texts: Laura Manione, Massimo Magistrini
Pages: 84 + endpapers
Languages: Italian/English
Month/Year: July 2025
Formato: 180x260 mm
Binding: Swiss paperback hardback spine, book block glued to back cover
Printing run: 100 copies

ISBN 978-88-88290-12-6

€ 65,00

It is around grammar that Massimo Magistrini's work revolves, like the needle of a compass.
The very title of the book is entrusted to a preposition, In, which later becomes a prefix to introduce the internal sections. With a daring move, a simple particle takes on the task of deciphering a complex work, articulated in several series that, when considered as a whole, provide a precise vision of photography and the natural world.
Behind the camera, the author adopts the attentive gaze of the hiker who moves through minimal environments but knows how to imagine boundless realities, scrutinizing and consulting woods, herbs, wildflowers, moss, and ancient nautical maps. [...]
In-canto (TN: en-chantment) is the chapter that opens the book and transports us into the woodland dimension, into an archetypal place where exuberance and mystery dwell. It is the double exposure in-camera - not in post-production - that gathers them both, giving life to a process of sedimentation and transformation that alludes to the physiological and symbolic implications of forest regeneration.
In-colto (TN: un-tended), which follows, instead interprets the idea of a garden, a well-protected hortus conclusus, well guarded by the edges of the image and populated by common yet extraordinary specimens. Here, in addition to the double exposure that emphasizes various combinations of elementary botanical forms, it is the black and white that synthesizes the entire sequence, converting it into a gallery of sophisticated tapestries.
In-esplorato (TN: un-explored), lastly, contains two fantastic maps created with images of mosses and conifer leaves, to which a third map is added, built with details extrapolated from an ancient portolan chart. [...]
(Laura Manione)



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iara di stefano: di Miele e di Fiele - Collana CAPSULE PHOTO di Gente di Fotografia

iara di stefano: di Miele e di Fiele - Collana CAPSULE PHOTO di Gente di Fotografia

Author: iara di stefano
Texts: iara di stefano, Laura Manione
Pages: 84 + endpapers
Languages: Italian/English
Month/Year: June 2025
Format: 140x190 mm
Binding: Hardcover, sewn, square spine + ochre headbands, cover on Assuan fabric with powder pink screen printing
Printing run: 120 copies

ISBN 978-88-88290-11-9

€ 30,00

Honey and Gall—two substances with opposing sensory profiles, often entwined in symbolic contrast. “Mel in ore [...] fel in corde” (honey in the mouth, gall in the heart), reads a medieval Latin proverb; “in corpo fiele, in bocca miele” (gall in the body, honey on the lips), wrote Pirandello in The Man, the Beast and the Virtue.

With this title, Iara Di Stefano invokes an ancient dualism to frame the narrative of a pivotal year - a turning point in her own life. The book unfolds through contrasting materials and shifting registers, creating a rhythm of fracture and recomposition. Yet from these apparent disruptions, a kind of organic unity emerges - almost biological in nature. The photographs act as surfaces upon which both sweetness and bitterness accumulate, like traces left behind by experience.

(from the presentation text by Laura Manione)


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Silvio Canini: UMBRATILE - Collana CAPSULE PHOTO di Gente di Fotografia

Silvio Canini: UMBRATILE - Collana CAPSULE PHOTO di Gente di Fotografia

Author: Silvio Canini
Texts: Sabrina Foschini, Loredana Cavalieri, Silvio Canini
Pages: 60
Languages: Italian/English
Month/Year: March 2025
Format: 182x210 mm
Binding: 3-panel cover on Fedrigoni Materia Terra Gialla 250 g - Packed bare spine, visible thread gray

ISBN 978-88-88290-10-2

€ 25,00

It was common in the 1960s, and perhaps even earlier, to rent out one’s home to vacationers who came to spend their holidays by the sea, in order to earn some extra money. Meanwhile, we would sleep in the garage, where we had managed to set up a bathroom.
The less fortunate made do in the shed.
Tourists would stay for the entire season, bringing the whole family along, including grandparents. Only the father sometimes had to return home to work — unlike today, when even managing a weekend away feels difficult.
My parents owned a haberdashery on the main avenue and didn’t have much time to look after me, so during the summer, I became the child of the tourists and a sibling to their children. I often ate with them and spent the whole day at the beach, making the most of the sun until it disappeared.
I remember that towards the end of the day, we would search for the last rays of sunlight to finish our sandcastles, as those giant concrete buildings cast long shadows.

(Silvio Canini)


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