Carrying a heavy backpack on my shoulders has thought me not to rush too much, and to pause to look, while the curiosity to see beyond the end of the road, across the river, and meet yet another story has pushed me each time to continue my voyage. Crossing Africa, with a folding camera from the forties has helped me to shoot less and look more. Using sunlight and the human beings I meet as working materials has taught me to see the world as unfinished, open work, in whose creation is still possible to participate.
I’d like to satisfy the curiosity of those like me, when they have a photography book in hand, always go to look for some note on how the photographs were shot, but don’t always find it. Tired of being made fun and pitied by natives from my pre-war wooden graflex, with which in the past i had tortured mainly the populations of the shael, this time I decided to modernize, and I used a Speed graphics Pacemaker “model fp” from the early sixties.
The lenses, in addition to the intercheangeble 127 Ektar, are those optic and horologic jewels that Schneider has for some time made available to those who want to take photographs without rushing.
Film: Kodak txp 4 x 5 and Maco infrared, developed in hc110 |Lenses: 47 mm, 90 mm, 127 mm, and 210 mm.
In order to understand a world, one must adapt to its rhythm and peace. To portray a person one must know how to respect him, and rapidity in creation, in these cases, can be a real enemy. An ode to slowness and the search for unforgettable emotion that strikes whoever has seen the image of the subject in a plate as thought is arose from nothingness are, for Caramaschi, absolutely necessary moments for emphasizing the importance of a photographer’s work, which should never leave aside its dimension of craftsmanship
from the Preface of Roberto Mutti
This publication was supported by Boehringer Ingelheim Italia S.p.A.