GIULIA BERSANI is a photographer from Milan, Italy.
She shoots on films and doesn’t care about the technical result that much until she has an interesting, strong personality of the person she decides to portray.
It’s all about the intimate, real moments she captures because of her need to express herself, to have something concrete of a memory to share with others. Her style is defined by the imperfection she prefers above all of that kind of sham photography. She tries to take the pictures of a true story that anybody can read his way. Giulia would love photography to become her main and only concern.
Hello there! Where do you live, Giulia? Do you find it inspiring or you have plans abroad?
Hi Nina, I live in Milan, a big Italian city. I think it’s quite inspiring for different reasons.
Firstly it is my home, the place where I grew up; there is my family and the most of my friends here. And then you can observe a lot of different lifestyles and situations. You can find everything in such a big city.
Anyway I’m sure I will go abroad for a period sooner or later. I think it’s good to start again from zero in a new country where no one knows you.
Does traveling contribute to your art somehow?
I think the idea of traveling contribute to my art.
I still don’t travel a lot because I want to save some money for my future, I go just to quite near places for taking a look and tasting the travel sensations, but planning in my mind all my possible future travels is one of my favorite hobbies.
I think it’s beautiful to hold in your awareness the possibility to leave at anytime.
What is, in your opinion, the peculiarity that represents your photography?
I think the main peculiarity of my work is imperfection. I really don’t have a big control on my photos, it’s like they always want to tell something I still don’t know, and correcting and cleaning them I would mutilate them from their hidden stories and they wouldn’t be that interesting anymore.
What are you trying to achieve with your images?
I have no idea. From a personal point of view I just hope to explore new subjects and never lose my interest and instinct. From a professional point of view I would simply love to work with it; I don’t want to become rich, I just would like not to need other jobs I don’t like.
Who are the women you take the portraits of then?
It depends. Sometimes they are models, sometimes friends and sometimes they are models who have become friends. For me it is really important, both if they are unknowns or good friends, that they let me photograph their personal way to move and to feel. Even if I work with a model I would like to portray her as girl, not as model. It’s not always possible but I try to do my best.
What do you need to make the “imperfect” portrait? How does it look like?
I need a girl with a strong character, some days together and a lot of trust.
It looks like a screenshot from a film. You can observe that impressive situation and you know there is a story around it, but you don’t know exactly which one, you can just imagine it.
Do you think you could obtain the same mood without an analogical camera?
No, I don’t think so. Analogue is really functional to my actual kind of photos. Without films I could find another interesting mood but it wouldn’t be that one.
How do you choose your films? You take the one you need for a precise effect or you just buy some to experiment?
It’s really simple, I chose the cheaper ones since they work and I have no problems. I don’t care about little variances; I think when you capture a stunning subject with a beautiful light the film doesn’t make the difference. As you can see I’m not precise at all technically [smiles].
And why do you make self-portraits?
Because I’m always available as model and because I love quotidian moments. It’s easy, I’m having breakfast and I notice my kitchen is really messy and interesting maybe? I run to take my camera, I prepare it on sitting on a chair, I wait for the shoot continuing my breakfast and then, when I develop that film, I will see what I had in that moment.
What would you do if you couldn’t relate yourself to the photography anymore?
Oh, I hope it will never happen… but I guess I would find another way to express myself. I wouldn’t give up [smiles].
Text by Nina Sever