Giuseppe IrrancaPortrait photographer, Alghero
IT|EN

Journal 1 min read

Why my portraits have no title

I almost always photograph outside the studio, or in front of a window, because it is the light that arrives on its own that tells the truth of a face. I choose real people, not constructed poses, and I work in black and white for the same reason: taking away colour means taking away noise, and keeping only what counts, a shadow, a contrast, someone's gaze in the instant they stop performing.

Black and white portrait of a woman in front of a wall with writing, raking light

You will find no titles under the images. It is a choice. A title would close the meaning, and I prefer to leave it open. What is melancholy to me may be contemplation to you; what I read as strength, another feels as tenderness. Every portrait remains a threshold onto which to project one's own life, and in this sense it is never finished: you complete it, as you look at it.

Then there is a moment that for me counts as much as the shot, and that is the print. A photograph, as long as it stays on a screen, is still a promise. It becomes real when you bring it onto paper, when it acquires weight, matter, a surface you can brush with your fingers. That is where the image stops being a file and becomes something to keep.

Look at them slowly. If one of these gazes says something to you, or if you would like a portrait of your own or a print, write to me.

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  1. How to read a photograph, and why not everyone can see oneA photograph is not judged, it is read. Why the same image moves one person and leaves another untouched, and what that reveals about the viewer.7 min readBlack and white portrait of a woman in black, arms crossed, on a dark background
  2. The screen forgets, paper remembersA photograph does not truly exist until you can touch it. Why the fine-art print is the last act of a portrait, and the most important.2 min readBlack and white portrait of a woman in a white shirt leaning against a stone wall, morning light