Michele Pero is an Italian photographer with many irons in the fire. He runs a blog, is a founder of a photography school and works in a variety of processes.
From: Città di Castello (PG), Italy
Shows: Ambrotypes, Cyanotypes and Vandykes.
Michele Pero, who this guy may be? Former war and commercial photographer. On the field since 1992 as a full-time photographer. First steps moved into the darkroom in 1984. Crossed digital technologies for his work, from photojournalism to product photography, from architectural to portraiture photography. Returned to analog photography with salt papers, wet collodion, and so on.
Michele Pero has had exhibitions around Italy and Europe and has published two books and a magazine. He runs a blog of photography techniques, both on his website and on the one for the school of photography he has founded, ‘TheDarkroom Academy’.
He was inspired by French humanism. The ‘straight photography’ movement is what he admires the most. Despite the stories of people being the core of his art, at the present times, he has turned his camera towards still subjects where people do not appear that much.
Michele Pero likes to depict the presence of humans without showing the presence of them. Landscapes, buildings, and details of an object are representing his vision on the World in these latest times.
“Despite the stories of people being the core of my art, at the present times I have turned my camera towards still subjects where people do not appear that much. I use to depict the presence of man without showing the human presence itself. Landscapes, buildings, and details of an object are representing my vision of the World now. “
He has given up sharpness and pixel size choosing to print on self-coated unseized raw papers, often using a brush. He looks for depth of soul and straightforwardness of the subject’s message, rather than accuracy.
These concepts are well represented by his latest production, mainly made on wet plate collodion and printed on salt paper, cyanotype, or Van Dyke brown. He likes the way old printing techniques allow a less objective interpretation of the subject while they yield to a broader breath of the art piece.
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