Photography is among our most common daily activities, yet depending on the tone, position, subject, zooming we want to give, every shot can have a different meaning.
Still, there are artists out-there who can see beyond and give a rationale meaning to their shots, exploiting them to communicate to the world.
Photography can be the most saturated market to compete. But Giacomo De Franchis, Italian photographer, seems to defend himself really well, turning his child-hood passion in a truly creative outlet designed somehow to shape his surroundings.
IF not clear, Giacomo is a naturalist photographer documenting the intersection of wilderness, human journeys, and conservation in the most immersive way possible.
When I asked him, What is your first application for photography? How your passion for photography was born?
He replied. I started really young, in 4th grade. I had an amazing Science teacher, Prof. Tombi, who assigned us with a bird watching project. Together with a class mate, actually the most famous naturalist photographer in Italy, we got passionate about nature.
Being educated with a strict education, I got used to stay outdoor and easily I could get closer to nature and animals. I spent most of my adolescence, from 11 to 16een, learning about the enchanting world of nature and animals. Together with my friend, we studied our surroundings in a more detailed way until at one point, we started documenting what was under our lenses.
I was 13een, when I first received my brand-new camera, and I started using it mainly for shooting local events and raise money as well.
Overall, my passion for photography was born as a result of an urgency to acknowledge and consequently document what was studied.
At first, it was born from a scientific approach, tied to the naturalistic world I was passionate about, then it eventually turned its attention to the cultural & travelling subjects.
I think I might be one of the few cases of photographers where aesthetics comes after the documenting action.
Then, I asked: As a naturalist and travel photographer, what do you try to communicate with your shots?
There are different things I am trying to say, he said.
Firstly, my first goal when shooting a photo is to share the documenting element, the urgency to share stories around the world following my own vision.
Nowadays, there are so many contents everywhere and photographs as well. Therefore, you might need to differentiate yourself to stand out.
Ultimately, it comes the storytelling element, meaning the skill of narrating and communicating something meaningful to your viewers about the photographed subject.
This is the main achievement which is all about enriching who’s watching, educating him or her about environmental themes, endangered spices and coexistence between humans and nature.
Simultaneously, it comes the aesthetic element, which I managed to refine through the years. I am learning to further define my aesthetics as well as strong light contrasts, shadows, precise lines, which is usually a common approach in urban photography rather than naturalistic one.
I dare asking Giacomo, In your photographs, you learned to be an aesthete, what is Beauty for you?
Beauty stays in its own unicity. IF I shoot an incredible shot of the Tour Eiffel at the sunset, you will find 100 thousands replicas of this scenario. I do not like to shoot when there is the perfect situation. Here it is why.
IF there is a photo that does not comply with my urgency, I prefer to enjoy what I see rather than photographing it. Indeed, I am really selective in what I shoot.
I look for a unique photo for the moment, unforeseen subject’s behaviour, unrepeatable lights conditions and worthy atmospheric conditions.
Plus, I said to him, Among all the shots you’ve taken, which one was the most difficult or time-consuming?
When practicing naturalistic photography, there is always the uncertainty theme due to the weather conditions mainly. You might invest time & money in a place where nothing happens and there is anything meaningful to report.
You will never have such certainty. This makes everything more challenging but even more charming when successful.
As for the most difficult shot, I thought about this shot of a horse taken few years ago in the Nubra Valley in Ladakh, northern India which is a striking example.
It was not the shot itself to be difficult, but the conditions were. I was 21 and had been touring Ladakh alone on my motorbike for two weeks. This photo was taken after safely crossing the Khardung La, one of the highest passes in the world (5,359 meters). Coming down the other side, you arrive in this stunning valley, and I remember being quite exhausted but seeing this gorgeous, solitary horse at some point, drinking from the lake. And there I shoot the shot!
Then, we deep dive into AI, and so I claimed, With the advent of AI, do you fear that it could “threaten” the work of nature photographers?
IF you are a photographer and you fear your work will be replaced by AI, it means what you do isn’t distinctive and unique enough.
Anyone can take a beautiful photo, but it’s limited to the aesthetic element. AI can’t replace the ability to tell a story, like you communicate with a shot.
For instance, I want to take a photo of two monkeys fighting. Therefore, I go to the zoo, take the shots, and post them on my website. Second scenario: I go to Madagascar, walk into the jungle, see a monkey that only exists in Madagascar, and return to Europe.
The second story is much more valuable because I’m experiencing what’s behind that shot.
AI may replace the aesthetic aspect but can’t do the same with the storytelling.
Almost at the conclusion, I asked Your recent trip to Japan and Korea allowed you to experience landscapes unlike anything you’ve ever seen. How does your approach in composing an image change when you find yourself in a culture where even emptiness is considered part of beauty?
I like to photograph everything. It is a positive thing for me as I am comfortable with what I like to photograph, but on the other hand, it penalises me as it is not consistent.
This may be a flaw in the way photography is shaped today and what’s the offering on the market. For me is different as I put out what I like, if it doesn’t please anyone, never mind.
On a trip like Japan or Korea, I shoot different subjects, with many beautiful stories to tell.
Still, I did not have a different approach: it was even more spontaneous photography.
Indeed, How has nature changed you—not as a photographer, but as a person?
Nature raised me and played a fundamental role in the person I am today- it leads me to experience the outside world.
Curiosity about what’s different is one of the lessons it taught me, shaping the person I am today, and giving myself that sensitivity and attention to what’s surrounds me, including animals and landscapes.
A lifetime wouldn’t be enough to study the numerous and enchanting dynamics that nature has.
Last one, How did it feel to be involved in a NAT GEO project?
I was lucky enough to get in touch with NAT GEO and develop my latest project with them, thanks to my long lasting collaboration with Fujifilm Italia.
Through a detailed article, NAT GEO reports the recent trip I made to Tanzania and Rwanda, looking for stories to tell.
During this special journey, I explored many different areas in these extremely touristy countries, still making the most unconventional experience out of them. For instance, I climbed a volcano that erupts carbonate, which only few people rarely have visited and I was allowed to share such journey through my own lenses.
I felt and feel very lucky at this moment of my career, being so thankful to Fuji Film for such opportunity, while contributing in the realisation of such great professional & personal achievement.
Fino al prossimo articolo,
I wish Giacomo best of luck with his own career, while Keep swimming!
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