Beatrice Capone is a talented Neapolitan photographer who will take FramePress readers to a new frontier: fashion photography.
Her artistic background started in high school, followed up by obtaining a bachelor degree in scenic design at Naples’ fine arts Academy, where she also completed a Masters degree in fashion and advertisement photography.
It was her education in scenic design that brought her to a photo set for the first time: she was aware that during classes she would have only studied theory or sketched on paper, so she obtained a job as a set designer in an existing accomplished photo studio.
Due to an unforeseen emergency of the studio owner on the same day of a photo shoot, Beatrice found herself completely on her own to deal with her first work : “ I was terrified I would do something wrong, but the fact that I thought that it would have been fun to do it…that I actually wanted to do it made it eventually pretty clear that I wanted to take photos!… Little by little I familiarised myself with the camera, the lights, I liked to see what people could transform into just by using a different light: it was like a magical world of pure expression, where you could create your own, personal fairy tale”
Even though it has been years since that first time, when Beatrice tries to define her approach to the camera it’s possible to perceive a passion that professionalism has not tainted: “ I think that personal taste changes as one grows up, so does the expressive urge and the way to approach things, sometimes even unconsciously.
I always try to look at my subjects reminding myself of that feeling that made me think about photography as a magical world, where the things you want can happen and you can frame them to pretend that for a moment they really existed.
So if I think about this, I believe that my approach is similar to a child’s, who tries to do well what she likes while having fun. At the same time yes, I do follow the styles, the influences, but I always strive to keep my identity intact, to express myself in my own way.
Maybe what I do it’s not so different from what you see elsewhere, but I need to be aware that what I propose starts from my input rather than from what is imposed in the world as new trend or a new vision.”
The challenge of fashion photography is exactly this: since its purpose is ultimately commercial, its function is somehow predefined. Surely advertisement needs to adapt to the culture and customs of the places where it is used, and Beatrice Points out that despite having certain obligations it is possible for fashion photography to embrace different things. “Oliviero Toscani” Beatrice tells FramePress, “was able, in his days, to break the established way of making advertisement by taking us a step further, pushing us even in a harsh way to look at what’s happening in the world and we need to start worrying about.
I want to mention the campaign for Benetton: for one of the shootings he took pictures of death row prisoners in the US. To quote another example that I also find very inspiring in its simplicity, there’s the beautiful campaign against racism with the three human hearts on the same surface, and the words ‘black’ ‘white’ ‘yellow’ on them.”
Beatrice is well aware that advertisement, in order to work and make people identify themselves what they see, needs to go beyond the stereotypes. She is the first to point out how this is already happening, and specifically, when it comes to her project EGOS it’s interesting to note how the mix of these photographic style with art becomes an element of both novelty and intimacy.
“What always struck me about Egon Schiele was how his feminine figures, even if lightly sketched, are extremely erotic and sensual despite their ungraceful poses. I tried to ‘filter’ his universe by creating a picto-photographic vision, trying to merge two things that in art have almost always been apart and never met. Actually, photography has often been seen as a a ‘minor art’, a mimicry of what painting was. I wanted to put them together to celebrate their importance.”
“I used the same ungraceful poses, the melancholy and some of the characteristic colors in Schiele’s palette being particularly cautious in not making a copy of it, but bringing out my personal vision. Actually, it’s our vision: I worked to this project with Paola Landolfi, who created the painting additions you see on the pictures. Then there is Nadja Scalzi, who is a dear friend of mine and a phenomenal make up artist , whose aesthetic vision I truly admire. Mirta Robiony is the stylist who was able to re-interpret in a modern way the garments portrayed by the painter, and also Adriano Esposito who produced a short spot about the particular atmosphere of this project according to his particular vision. I will also never stop thanking the models for their cooperation and the passion they put in this photoshoot: Federico Ricco, Olimpia Coppola e Beatrice Simion.”
Those who work in fashion photography never work alone, as we can infer from Beatrice’s words. Working with other professionals is for Beatrice something precious rather than hindering: “ Cooperating could be hindering if someone among the team wants to impose their vision without giving space for others professionls to express themselves…To interpret something doesn’t necessarily mean to distort the identity of the project: on the contrary often it adds precious ideas or adds an original point of view one may have not considered in the first instance.
As far as I am concerned, I love to ask to the people I wok with ‘how would you do this’? So that they feel involved and define the project better, so that our work is symbiotic.”
Beatrice Capone is currently working on another project which will once again thake inspiration from her artistic background, this time with references to an Italianm painter. You can follow her future work on: