This year we returned with our group, following our carefully-deliberated absence at the 2017 edition (we explained our reasons here: https://www.rossinigroup.it/blog/euroluce-noi-non-ci-saremo-perche/) and the experience was an absolutely positive one. On the organizational side, it was a major commitment, involving all levels and roles within the group as well as the group’s external collaborators: from the conception on paper of new products to prototypes, from commercial choices to the new printed and digital documentation (catalogues, price lists, technical sheets, summary sheets, press kits, etc.), from setting up the stand to communications for our Ninetieth anniversary, using a wide range of printed and social media tools, now active on an almost daily basis, with a busy calendar of issues and releases, eagerly awaited by all our contacts. And after each important event comes the time to reflect and take stock, because the question we will hear most often now is: “how did the fair go?” Right from the outset, our impression was that there was more activity compared to the previous edition. The Rho Pero exhibition centre was almost fully occupied, with great attendance, well distributed over the five days of the event, all the catering spaces were consistently crowded, which everyone knows is a very reliable indicator! But joking aside, we can say that we recorded a high rate of interest for our new ideas in general (we discuss the products presented here: https://www.rossinigroup.it/blog/protagonisti-ad-euroluce-2019/) and, were we to draw up a league table, the award winners would be:

undoubtedly the “in&out” lamp collection, which with its broad range and depth (four different families, all wireless, rechargeable, for use both indoors and out) piqued the curiosity of colleagues, technical experts and the general public alike. The most photographed: Twin and Crystal. The former due to the versatility of our vintage-style decorative lamps, which are customizable, appealing and very trendy; the second thanks to its gorgeous micro-lasered screen and the magical transformation that occurs when it is switched on (from transparent, the screen becomes a solid white).

The most technological, and hence most appreciated by the techies was iGloo, with its magnetic attachment, allowing the body of the lamp to be rotated, freely directing its clean, clear beam of light. It also features a very complete family. The most “designer” piece was undoubtedly Terrazza Martini, brainchild of Chiaramonte Marin, with its fascinating combination of a technological LED core and the classic, timeless exterior form of a sphere, complete with vintage-style finishes. But the truth is that there were a great number of products to meet a broad range of different tastes, and they were all met with enthusiasm.

The stand was also a hit, perhaps because it sought to go a step further, proposing something extra in its concept and creativity, with its reference to the traditional courtyard tenements, a celebration of our ties with Milan, together with a tram that explored the most important moments in the history of our business.
Of course, we had our predictions and expectations, and although Euroluce has only just finished, and it may seem a little soon to talk about tangible results, we can say with undisguised satisfaction that every product comfortably met expectations. Perhaps for different reasons, but the work invested in proposing something new, enjoyable, useful and accessible was amply repaid right across the range of models proposed.
We would like to offer a final observation regarding the end consumers who were allowed access to the fair over the weekend. One fact emerged very clearly: the “public” is increasingly well-informed. People come in with clear ideas, undoubtedly they are happy to receive advice, but in the meantime they have already gathered a lot of information regarding their own lighting needs. They proved sensitive to the issues of sustainability and energy saving, and are prepared to take these factors into account in their choices, provided that these coincide with aesthetically pleasing products. They have an opinion which they can easily share and compare, thanks to the possibilities offered by the internet, often establishing a direct relationship with the producer, and bypassing the classic “middle man”, be that an electrician, light designer or specialist store. Thus, they seem inclined towards more well-thought-out choices, less easily sucked into the classic “impulse buy” in response to a desire rather than a need. Indeed, we feel we can talk about evolution right down the line: from producers and distributors through to retailers and customers, everyone essentially shares the same objective, which is to create a new relationship of trust and transparency, all on the same level, enjoying two-way conversations. This, perhaps, was the real new phenomenon at Euroluce.

Small houses, long balconies, tiny outdoor toilets and shared courtyards where the most fortunate could leave their bicycle, a veritable luxury in those days. It seems impossible, but near the Ghisolfa bridge, lilies were grown and taken to market, and not far away was the open countryside, with farms where you could buy eggs and fresh, still-warm milk.

And then, of course, the Duomo and the Galleria Vittorio Emanuele II, the disreputable neighbourhoods, the elite areas, the Sunday outings in your best clothes and a coffee at the bar as a special treat. At Christmas, people would leave gifts for the ghisa (municipal police) at the foot of the platform on which they stood to direct the traffic, because there has always been a lot of traffic in Milan, even before the economic boom of the seventies. The canals were crowded with vessels, and on the barges you could see crates bearing the lettering “A Ufo”, which stood for Ad usum fabricae: if the material was destined for the construction of the Duomo, then it was not subject to taxation, giving rise to the Milanese expression “a ufo”, meaning “freeloading”.
We could continue indefinitely on this wave of nostalgia for that serene and long-lost simplicity, but also about the struggle to make ends meet, and how people managed to scrape by. For the moment let us focus on the elements that inspired the plan and erection of our exhibition space at Euroluce 2019, which represents a major opportunity for us to get to meet so many people, those working in the sector first and foremost, but also the general public. Hence, we chose a setting inspired by the traditional courtyard tenement, with a tram as our symbolic means of transport through the Rossini world from 1929 to the present day.

We could continue indefinitely on this wave of nostalgia for that serene and long-lost simplicity, but also about the struggle to make ends meet, and how people managed to scrape by. For the moment let us focus on the elements that inspired the plan and erection of our exhibition space at Euroluce 2019, which represents a major opportunity for us to get to meet so many people, those working in the sector first and foremost, but also the general public. Hence, we chose a setting inspired by the traditional courtyard tenement, with a tram as our symbolic means of transport through the Rossini world from 1929 to the present day.
In these tenements, veritable miniature universes developed, where proximity strengthened ties, for better or worse. You would often hear singing, chatting, shouting… and privacy was not considered a fundamental concept at all. It was a world of sharing, of personal relations, of stories that were interwoven from one generation to the next; we felt that all this was very close to our own history. When you think about it, the life of a brand also includes transitions from one generation to the next, stories of ideas and products, people linked by a highest or lowest common denominator, there are special relationships built of friendship and work, as well of moments of discord, of course.
Around an ideal courtyard lie the exhibitive niches housing the product families; at the centre of the aggregation space and a display representing the famous balconies with their flower pots, the tables and chairs of the trattorias, and on the walls, the black and white images of city views. One key element of the setting is a map of Milan, already used as a “Made in Milan” marker in the latest TECH catalogue; then a picture of a classic tram, which to this day is one of the most popular ways of getting around the city – the locals are used travelling by public transport, and know almost all the stops by heart. On this map we see the milestones in our history symbolically meandering, a very personal chronicle highlighting the most important events and some interesting facts, taking in the people, products and innovations, which will be the subject of a separate article.

Here is what the designers from Lascia la Scia studio have to say:

“Our idea arose from a suggestion that emerged during a meeting with Rossini Illuminazione, and from a phrase found on the website: ‘Loving light since 1929’.
We wanted to create a home in which light lives, and where the history of Rossini Group develops. What’s more, in addition to presenting its collection at the fair this year, the company is also celebrating the major milestone of its 90th anniversary. So what better way to tell the story of living if not with a house? And what kind of building could be more traditional and typically Milanese than a courtyard tenement? In this way, we want to convey the elegance and spatially introverted character of this city, celebrating its urban structure of closed, hidden courtyards, waiting to be discovered.
The stand is developed around a courtyard, overlooked by the railed balconies typical of these tenements. Thus it becomes the perfect setting for the products of the outdoor collection, following an exhibition trail organized so as to present the new collections with the right amount of prominence, while also narrating the story of the company, not only focusing on thepast, but also looking forward to the future.
Milan is interpreted in its constant contrast between craftsmanship and factories, between innovation and tradition, with traditional materials set alongside new, technological ones.
The basiccolour palette selected for the stand and the use of materials both help to highlight the products on display: different colours identify the different applications and categories of the collections on show. With this project, we wanted to convey the solidity of this Italian group within its market of reference, deeply rooted in its history, but equally looking towards a future of increasing specialization and customization of its products”.

Let’s start with the “why”: we looked up the Italian word evento in the dictionary. Here’s what we found:

/ɪˈvɛnt/

noun
1. Afact or incident that has already occurred or that may occur, usually significant to an objective or subjective situation: to judge by events; to await events; to challenge events, to face danger and adversity with great courage; memorable event, a fact or occurrence of great importance, worthy of being remembered.

In our case the most fitting example is the last one: a fact or occurrence of great importance, worthy of being remembered.

Naturally, for all of us, the company’s ninety years are filled with so much history, in particular for the family, and so much light. A light that has brightened almost a century of moments, places and people that at different times and in different ways have contributed to create the Rossini (Illuminazione) we all know today.

So why celebrate? First of all, as an acknowledgement of those who first believed in the idea of starting their own business, and who carried on despite everything, including the war. So our thanks go to Otello Rossini, who on 4 October 1929 moved from the Veneto region to Milan and set up his trade, which within a few years became a store on via Melzo, with the first Murano artistic lamps.

Our thanks to Eugenio Rossini, and his cousin Angelo, who took up the reins and gave the “firm” new impetus, expanding its spaces, products and figures before handing the business on to Ruggero Rossini, Angelo’s son. To be followed by the new generations… but we’ll come to that later.

There are numerous reasons for our desire to celebrate this event. For example, we would like to view our Ninetieth as a starting point and not as the finishing line at the end of the race… That would be all too predictable, and would limit the plans, dreams and ideas that still drive us on. We see the concept of Ninetieth on a different level, not only as a piece of history for a museum, but as a push towards total and constant updating. If we were to talk about the result of so many years in business and the fortunes of three generations in increasingly particular markets, we might use this word: awareness.

Awareness is another important reason why: all that history, patiently built, bit by bit, today leads to a clearer, shared vision; the ideas are more defined, the vision broader, the choices, while they may not always be winning ones, all contribute to moving forward, learning from each lesson. This is clear to those leading the Group today: Elisa, Dario and Marco, a remarkable case of division of roles and competences between siblings, and an average age that has at times surprised people: “I never imagined you were so young!” It is thanks to them, too, that the Group is now so strongly immersed in the reality of the market, without ever forgetting the roots that are fortunately still deeply felt. It is these roots that lead us to think of our Ninetieth year as a watershed between the years spent “fine-tuning” a complex organization and the present, where each pawn is positioned – almost – perfectly.

 So, having established that this 90th anniversary must be dynamic, and never self-congratulatory, open to all of our world and very meaningful, what official name should we give it? What does the number 90 bring to mind? So many things! It is the highest number in the Italian Lotto, and we find it in astronomy, mathematics, chemistry, leisure and sport… the number 90 is always present, and it always has a precise meaning. But then we thought about the constant issuing of new updates in the digital sphere, and “Nine Point Zero” seemed like a great way to represent the link with research, technology and the future. From a static number to a dynamic one, destined to change, along with the Rossini brand and all it represents.

Come applicare quindi il concetto 9.0 alle attività dell’anno/anniversario? Con un progetto visivo che ci accompagnerà per tutto il 2019 negli eventi istituzionali, come Euroluce, e nella comunicazione social e commerciale interna ed esterna. Per prima cosa abbiamo voluto dedicare un marchio speciale all’anniversario, che potesse connotare un po’ tutto attraverso i numeri delle date. Poi abbiamo disegnato, non senza fatica data la mole di materiale, un percorso composto da tante tessere che (non necessariamente in ordine cronologico perché ci si dilungherebbe forse troppo), alla fine daranno un quadro dei momenti salienti a beneficio di chi è un po’ curioso e vuole conoscere non solo i fatti ma anche qualche aneddoto e qualche curiosità.

So how do we apply the 9.0 concept to the activities for this year/anniversary? With a visual project that will accompany us throughout 2019, at institutional events like Euroluce, and in our social media and commercial communications, both internally and externally. First off, we decided to create a special anniversary logo that would contain and convey everything using the key dates. Then we designed an exhibition trail, which was quite a challenging task considering the mass of material. It is made up of different puzzle pieces (not necessarily in chronological order to avoid making it too long), which all together give a snapshot of the key moments, for the benefit of those who are curious and wish to read a few anecdotes and interesting asides as well as the concrete facts.

For example, on social media, we will issue one piece after another, until we reach the final date, which will culminate in a veritable autumn festival, an opportunity to get together with colleagues, friends, clients and suppliers, partners and – why not – even some of our more stimulating competitors. Our website will include a dedicated section, where we will gradually put together all the stages in the journey through the Rossini world, with the recurring theme of our Milanese history and identity, because Milan was and is the city of reference for the Rossini family and its business: without forgetting their original roots, it was in Milan that they found the ideas and pace of life that enabled them to grow. And what is our means of transport on this metaphorical journey? A classic Milanese tram, of course! Still intact and handsome as ever after almost a century running along the tracks, to the rhythm of its unmistakable bell.

New models will be introduced into the DECO catalogue, with the full edition to be issued in September 2019: complete collections (with table and floor lamps, wall and ceiling lamps, and hanging lamps) each with its own distinct character, but all in line with current market trends. From a vintage style, with lots of the gorgeous brass tones currently dominating the décor world, to techno-lighting-style products using distinctive and stylish materials such as micro-lasered clear polycarbonate or special lenses.

And in addition to devices with traditional bulb sockets, which allow end users to add their own personal touch with our range of vintage and decorative bulbs, we also offer products with integrated LEDs for excellent lighting performance. Now allow us to present to you Terrazza Martini. You can discover the rest of the collection – iGloo, Karaoke, Crystal and Twin – at Euroluce!

Terrazza Martini designed by Chiaramonte Marin What better cocktail than a Martini with a tasty olive plunged into the cocktail glass? The plump olive inspired the shape of this luminaire, created by the designers Chiaramonte and Marin. Made of a smoked finish blown glass round diffuser with an internal LED soul in a milky white sandblasted glass cylinder. The internal diffuser encloses the LED boards fixed into an aluminium structure. Available as table and suspension lamp, with closing details in brass satin finish.

We mentioned our portable products for outdoor use, so that the light can follow us wherever we may go. So here is our idea of open-air lighting: the OUTDOOR collection. One of the most enjoyable parts, in addition to coming up with ideas for new models suitable for outdoor use, was giving them names with a summery feel. At last we can spend hours in the pleasant company of friends, or simply take some time to relax outside, lulled by the warm evening air, and leave the chill of winter far behind us.

Of course, nothing prevents us from using these same lamps anywhere inside the house, creating unexpected corners of light, thanks to the convenience of wireless devices, and they can also be extremely versatile in the catering field. The title of the brochure, “In & Out”, was not chosen at random! To give you a quick foretaste here, we will present Pic-Nic, while the other models – Siesta, Take Away and Take Away Sound – can all be found at our stand.

Pic-Nic LED table lamp (2700K), portable and rechargeable, perfect for terraces and gardens and why not for cheer up your pic-nic at the park. The wireless lamp following you wherever you go. Die-cast aluminium body with pretreatment finishing for outdoor (protection grade IP54). Touch switch, charges through a USB cable, 9 hours battery life. Available in three finishes (white, anthracite, corten) and two heights.

Finally, a peep at our contract collection: to pique your curiosity, we want to tell you about our blown-glass chandelier that can also be used in bespoke compositions (I’m sure you can imagine the potential for spectacular compositions). At Euroluce you can view it in two special finishes, but it will be ultimately available in the colours of your choice, as always, meeting interior designers’ demands for character, dimensions and customization.
All in all, this Euroluce will have so much to tell you about us. And the feeling, now more than ever, is that we have light in our blood, and we can’t wait to share it with you!

The concept lies in our intention to provide a wide range of new products (in this case technical products seeing as we are talking about the new TECH 2019 volume) which feature state-of-the-art LED technology, so we can provide the right light for every space. The result is a catalogue that represents an up-to-the-minute variety of products with high technical and quality standards, a useful tool for designers and planners as well as installers but that can also be used by end consumers.

Products are marked with the NEW stamp when they are new entries, and bear the RESTYLE stamp when the range has been expanded or they have been technically updated or restyled. A major part is dedicated to technological innovation associated with light control, which is paramount today when we talk about “bespoke light”. Luminaires that are dimmable or controlled using DALI or the Casambi App create light that is truly tuned to the user’s requirements. Lastly, the concept of being designed for a specific use. Products are no longer defined merely by their application (recessed, wall or ceiling luminaire, track or cable system, for indoors or outdoors), but also by the area they are designed to be used in. We have therefore used 9 symbols that identity the main areas in which you can install our products.

So we will find hi-tech luminaires, such as track-mounted projectors and recessed luminaires for the retail channel, for exhibition spaces, museums and sacred buildings; recessed luminaires and suspension systems featuring glare control for the office sector; projectors and hermetically sealed products that have been designed for the industrial sector but are also suitable for installation in large communal areas, manufacturing plants and warehouses. Without forgetting residential lighting, which features wall, ceiling, suspension and recessed luminaires in modern designs that offer optimum lighting efficiency, for use both indoors and out. Some luminaires are also suitable for urban areas as they feature strong resistance to impact and a high degree of protection against atmospheric agents. And last but not least, products designed for the hospitality sector, for both indoor and outdoor areas of bars, restaurants or hotels.

Still on the subject of logos, here’s our Made in Milano

From the little shop in via Melzo, to the extensive company premises in via Kennedy on the outskirts of Milan. It seems so near yet it was almost 90 years ago. Our love for Milan and our presence on the Milanese territory have always been a part of our history. Today this story is told through a logo, which aims to highlight the association of our products with Italy. Products designed, developed, manufactured and assembled entirely in Italy, which form a high quality range based on almost a century of tradition that few other companies can boast.

And to end, a reflection accompanied by a smile: whoever could have imagined that a “simple” catalogue would involve so much? It isn’t the first, and it won’t be the last. But one fact remains: to grow strong branches we need deep roots, and we, for almost a century, have been lighting up people’s worlds.

Let’s take the latest edition of the TECH catalogue. Now that it is in print and smells of fresh ink everything’s fine (at the most we may notice a small typo that escaped even the most attentive proofreading), but if we think for example of all the people involved in it, we realise it was a huge project. Who worked on it? First and foremost the Sales Management in close contact with Marketing and Purchases, then the designers and the Engineering department, the photographer and graphic designers, the printer. So how do we go about it? First we need to analyse the sales figures, understand which products need modifying, and which ones to extend the range of finishes and models of, remove from the range or, even more difficult, create from scratch… In short we need to respond to market signals and requirements, which are often complex and can vary from one location to another. In the lighting industry, a huge number of models need to be offered, especially in the case of a generalist company like Rossini Illuminazione, which has made the extent of its range one of its strengths. The TECH catalogue features many categories: LEDs, wall, ceiling, suspension and recessed luminaires, spotlights, ceiling lights, lamps and luminaires, modular systems and profiles, tracks and cable systems, table and floor lamps, office lights, lighting for outdoors, for the medical sector, the contract industry and so on. And every product, in turn, is available in at least several dimensions, finishes and colours, or even with different light sources (a traditional lamp holder or an integrated LED driver). It goes without saying that organising thousands of references into one printed volume that is easy to consult and provides clear information requires considerable experience, and at the same time we have to bear in mind who will be consulting it, whether professionals (electricians, wholesalers, designers and planners, architects), or end consumers.

The product list often changes from one season to another, in the same way that pre- and after-sales services change.  Printed previews may anticipate the main catalogue, as occurred with the June volume, which anticipated the new technical features, or the brochure featuring aluminium profiles and LED strips, which today can be customised down to the centimetre in 16 different types. So the main catalogue will also deal with these topics in depth, following on from the initial level of information. This means constantly working to provide customers with information.

But let’s get back to producing the catalogue: once the difficult job of selecting the products to be featured has been completed, the next stage is photographing them. We need to produce photographic material for the new luminaires and update the photos of products that are being re-proposed with new technical images. Then there are reports of lighting projects that have been developed, which describe where and how a specific model was used. So we need to manage and store thousands of files, not only of photographs, but also of copy (in Italian and English), which the graphic design office will need so that it can finally design the page layout. After the first dummy* is ready, many more will follow, with various types of corrections. The colours of the photographs and colour samples are optimised (if necessary they are perfected after production), corrections are made to the text and information sheets, the page sequence is decided – and will change many times along with the table of contents – before it becomes definitive. The table of contents… or rather the “tables of contents” which along with the introduction form page layout and copy work of their own. Then if it’s a more advanced table of contents, because it provides a whole range of information in the actual classification, you can image how much work goes into it.

The total number of pages must always be a multiple of 4, otherwise the printed material cannot be bound correctly. The last step before it goes to the printing machine is producing a prototype copy called a “blueprint” because before the advent of the digital age it was printed in blue. When the “blueprint” is approved with a nice stamp that says “print approved”, the work goes ahead. During the printing stage, the final result of each page needs to be checked to make sure that the paper reacts properly with the inks, because it may be affected by dry or damp weather. The printed sheets are left to dry and are then sent to be cut and bound using special stitching on the spine. The delivery of a new catalogue is so exciting! But the greatest surprise is managing to keep to the timescale.

And that’s the whole process behind a Rossini Illuminazione or Plexiform catalogue: lots of enthusiasm, lots of effort and of course… lots of light! By the way, stay connected, coming soon another article, which explores the brand new TECH catalogue by Rossini Illuminazione!

*a term used by graphic designers and printers to indicate a draft of the hard copy

We read in the data sheet of the manufacturer SEDIS: “The Photoglobe 4FA photo-goniometer (P4FA) consists of an arched structure, made of aluminium, powered by an engine that rotates around the virtual axis starting from the photometric centre of light source. The illuminator is positioned towards the arch and remains fixed during the execution of the photometric measurement. A hardware interface and a powerful management software allow to capture and process measurement values, via computer, fully automatically.”

And also:
. the light source is fixed for the entire duration of the measurement and can be mounted in any operating position;
. the photometer moves on the surface of a virtual sphere whose centre coincides with the photometric centre of the light source

Fascinating isn’t it? But, you will say, what is it for? In simple terms, we can say that it serves to create the PHOTOMETRIC CURVES, which are schemes indicating in which direction and at what intensity a unit will emit light. This is because a LED itself emits a light that varies depending not only on the characteristics of the LED, but also of the device on which it is mounted (the distance from the diffuser, the material of the diffuser used, the shape of the illuminating body and many other variables).

Why use a photo-goniometer?
First to allow the Research & Development Department to design with an advanced instrument; this means designing and optimising technical and aesthetic solutions checking immediately the answers of the finished product. During elaboration and design of a new model, the integration between formal requirements and aesthetic proportions with the functionality and performance of light is fundamental. In assessing prototypes from concept to their development, the use of this equipment allows faster setup of the final solution.

Finally, the availability of a photo- goniometer within the R & D corporate Department, allows to respond quickly to new evolving market demands and industry regulations.

Why photometric curves?
Intensity and direction of light shall be measured and “certified” to meet the conditions of use of the lighting design. One of the main reference standards for the lighting world is UNI-EN12464.

We highlight here below some general check parameters:

. luminance

. luminance distribution

. uniformity

. glare (UGR)

. light direction

. colour rendering index

. colour temperature

. flickering (of LED light)

. natural light control

In connection with the final context of use of the product, that is of its location, there are specific regulations and directives; this is also why the new Plexiform catalogue is divided into 4 main areas, an extra support at the stage of selection of our products for lighting design:

. architectural

. technical

. industrial

. Health & care

Architectural
In this area we can talk about rules but also about good advice: the light near the work surface of a kitchen is of course different from the dining area or the conversation corner of a living room. With Plexiform architects and interior designers can choose from a wide range of products, flexible solutions that combine light performance to the aesthetics of the design.

Technical
The world of lighting for workplaces and offices is governed by strict rules: a user’s visual comfort in a work space, where it is often necessary to mediate natural and artificial light, is in first place. Today we are continually stimulated by light sources of digital devices (computers, tablets, mobile) and even more so it is necessary to encourage the rest of the vision and the correct use of the devices, beyond their role of furniture.

Industrial
The lighting in factories, at production sites, in departments of the industries as well as in warehouses and superstores, require products with detailed features of solidity, safety, durability and of course lighting. In some environments there are special conditions for moisture and dust, or there is a need to respond to requirements of energy saving and cost containment, for devices that comply with the need for relamping.

Healt&Care
Designers specialised in assistance, care and hospitality know that lighting is key, because it aims to improve the quality of life of a patient/guest who requires a protected environment. In this case, light can improve the perception of the paths, the identification of specific areas and act positively on the alternation of periods of activity and rest (see article about circadian rhythm) with devices that manipulate the lighting in agreement with the various times of the day and that can overcome the lack of direct contact with natural light.

When did you start working with photography and when did you understand that it was a passion and/or a profession?
I have been interested in photography since I was a child: when I was 6, I had already a small Polaroid camera with which I took photos. Later on, in order to support this passion, I followed a path of artistic studies culminating in a degree in Photography. Therefore, I can say that I am one of those lucky ones for whom the profession came from a real passion.

Have you started soon as a freelance professional or as a photo studio assistant?
During my university years, I worked at a photographic studio in Brescia; once I got my degree, I worked in interior design publishing in Brescia and, thanks to this experience, I consolidated my interest and skills in what has become my field of expertise. The choice of the freelance profession came of its own accord precisely because it paved the way for new opportunities for personal and professional growth. The path has been uphill, but thanks to a clear corporate vision that combines the photographic aspect and the business aspect, I managed to make my way in this sector focusing on customer satisfaction and retention.

Is there any professional experience that you remember with particular satisfaction?
Surely, one of the greatest satisfactions was the publication of the first editorial in the magazine AD Italia, one of the most qualified magazines in the sector. It was a goal I had set myself, but I didn’t imagine that I would be able to reach it so soon and this made me very excited and gratified at the same time.

When and how did you meet RossiniGroup?
My collaborator and I met Marco and Elisa Rossini at Euroluce 2015. At the fair, my collaborator, Sara Cozzoli, who deals with marketing and communication, had selected some particularly interesting companies on the basis of our vision and mission, and these companies included Rossini and 929 Milan as well. We seized the opportunity and went to the stand to show a selection of my works and leave a presentation folder. Everything started from there; we held a second meeting, this time at the RossiniGroup headquarters, with Marco Rossini and Nicola Pallotta, responsible for graphics, and then we started the photographic collaboration.

What is your approach to photograph light? Do you let it inspire you or prefer to interpret it according to your own idea? But, above all, how much does light count in an image?
In my opinion, light in photography is even more crucial than framing. In interior design, I work preferably with natural light that, although it cannot be controlled or managed, serves as a source of inspiration, giving life to atmospheric photos with unique feelings. On the contrary, photos in a studio provide for artificial light through the flash; in these cases, the control of light must be optimal and it is, therefore, necessary to arrange the lighting according to schemes designed to enhance the subjects / objects.

What is the RossiniGroup product that inspired you most?
Ben wall lamp immediately struck me for its rigorous design and the originality of the superimposition of the shapes; having photographed it in the chrome version, I have to admit that the finish immediately inspired me on a photographic level precisely because of its reflective properties. I also found the satin Dynamica of Plexiform very interesting as, with its simplicity, linearity and cleanliness, lends itself to many sophisticated design solutions.

How much improvisation, reflection and sharing is there in your work?
I believe that reflection is essential for the creation of top-level images in the interior design and still life sector. It is important to weigh up the frames not only on the basis of technical skills and artistic inspiration, but also on the basis of an overall view that takes into account all the elements and characteristics. Clearly, the creative vein, refined by experience, can facilitate and speed up the recognition of particularly successful shots or interesting glimpses.

Ritual question: Who are your models in contemporary photography, or in the past? Do you have one or more idols?
Candida Hoefer above all, for her rational cleanliness of the image and totemicity conveyed by her photos.

What do you think about this moment, where the social networking sites invite (oblige?) to express ourselves through private images and not only? Where everyone play the photographer? Do you find that social networking sites such as instagram or pinterest or other apps, which allow you to rework photos with your smartphone, depreciate the photographer’s work or, on the contrary, create a renewed interest in the profession?
Ritengo che social networks e immagini abbiano in comune la comunicazione: da sempre le immagini sono state un mezzo di comunicazione e i social networks sono la versione 2.0 della comunicazione odierna. Il fatto dunque che i social networks stessi utilizzino vari linguaggi di comunicazione tra cui, sempre più, anche le immagini non mi stupisce; credo tuttavia che nonostante l’interesse eccessivo e maniacale della società non solo per l’immagine, ma anche per la condivisione, permanga un netto divario tra la professione fotografica e la realizzazione di immagini quotidiane a scopo di condivisione sociale. Innanzitutto le competenze tecniche e di studio alla base di una professione oltre che l’esperienza acquisita in anni sul campo impongono già una separazione, inoltre lo sguardo creativo che spesso distingue i veri professionisti del settore è cosa rara e non di certo imprescindibile per la realizzazione di immagini che attestano le proprie vicende quotidiane. Anche la conoscenza del photo-editing per un professionista è molto avanzata e sebbene siano sempre più presenti applicazioni di editing e filtri ad uso comune sono comunque soluzioni riduttive che si adattano più che bene per scopi social, ma che a livello professionale spesso fanno sorridere. Non credo tuttavia che l’utilizzo di immagini tramite social sia svilente rispetto alla mia professione, li vedo proprio come ambiti separati; altro discorso sarebbe da fare per chi si improvvisa fotografo e cerca di ricavare da un passatempo un guadagno, spesso sono proprio tali soggetti a svilire il mercato.

Qual è il committente ideale, che ti aiuta a dare il meglio? Riesci a coniugare le esigenze del marketing con la tua interpretazione creativa?
I believe that social networking sites and images have communication in common: images have always been a means of communication and social networking sites are the 2.0 version of today’s communication. The fact that social networking sites use various communication languages, including images, is not surprising to me; however, I believe that despite the excessive and obsessive interest of society not only in the image, but also in sharing, there is still a clear gap between the photographic profession and the realization of everyday images for the purpose of social sharing. First of all, the technical and study skills at the base of a profession, as well as the experience acquired over the years in the field, already impose a separation, and the creative look that often distinguishes the true professionals of the sector is rare and certainly not unescapable for the creation of images that document our daily life. Even the knowledge of photo-editing for a professional is very advanced and although there are more and more editing and filtering applications for common use, they are reductive solutions that fit more than well for social networking purposes, but at a professional level often make you smile. However, I don’t think that the use of images through social networking sites debases my profession; I see them as separate areas; another matter is when there is one person who play the photographer and tries to make a profit from a pastime; often, just this persons debase the market.

Which is the ideal client, who helps you to give the best? Can you combine the marketing needs with your creative interpretation?
Clearly, I have a photographic style that characterizes my works and the artistic/creative approach is certainly fundamental since it is a matter of making shots of objects or interior design, but I always have an open attitude towards my client. It is always necessary to listen to the needs of the client not only because of the needs themselves, which can give valuable information on how to prepare the work, but also because we must take into account that the client is certainly the one who knows his/her product or the interior he/she has made better than others, understanding strengths and weaknesses and being able to provide useful information for the success of the photo shoot. Of course, confidence and a certain freedom of action in my work, once I have listened to the initial directives, are essential for me because they allow me to express my qualities and skills in the best possible way.

In percentage terms, how much does post-production count in your work?

Photo-editing is certainly indispensable in my work, but contrary to what many people think, miracles cannot be performed, so it is always appropriate to start from a well-made photo. Probably, if I had to venture a percentage, I would give 70% importance to the shoot and 30% importance to post-production.

White, black or colour?   Colour

Renzo Piano or Zaha Hadid? Renzo Piano
Book o film? Film
Favourite film? Il cielo sopra Berlino di Wim Wenders
If it were a book?  L’uccello che girava le viti del mondo di Murakami Haruki
Sea or mountain? Mare
Diary or tablet? Tablet
Restaurant or trattoria? Ristorante
Favourite sports?  Tennis, running e yoga
Coffee or infusion? Caffè
Bag or backpack? Borsa
Which museum would you recommend? Metropolitan Museum of Art New York

A place that you have recently photographed and that has remained in your heart?
The Vendicari reserve, characterized by a landscape in continuous transformation: from the countryside, to the marsh and, last but not least, beach and sea.

What haven’t you photographed yet and would you like to photograph?
I would like to photograph Chatsworth, a historic residence located in Derbyshire.

How do you combine private life and working life, since Sara is your collaborator and partner?
It is not always easy because the risk of getting work to home and talking about it is always actual; on the contrary, the difficult thing is to carve out some free time. Moreover, even though each of us has his/her own area of expertise, we do not always agree on how to deal with certain situations and this can create tensions, but I must admit that we are both sufficiently aware that we are not influenced by work decisions in the private sphere. However, there is a great advantage that working in close contact with one’s partner entails, namely spending a lot of time together and being involved in the same reality by sharing experiences, new knowledge and even managing concerns together, thus alleviating stress and frustration.

Mattia Aquila

Keep it on your desk (real and digital), to stay informed about the novelties of the great scene by Rossini Illuminazione solutions.

Click here and download the catalog Novelties Rossini 2015

Download the APP on RossiniGroup iTunes or Google Play