Montura presents Bruno D’Amicis

A year has passed since the start of collaboration between Montura and L'Altro Versante. Here you can read the first presentation of the ambitious project. Over the coming months we will present, one by one, the four protagonists. A biographical note will be followed by some personal considerations about the involvement in the project from the author called into question, with a raid on the collective blog to grasp the technical and artistic aspects of different photographic situations. The presentation will be crowned by a gallery with a selection of the most significant photographs of the author, taken during the course of the project. Let's start with Bruno D'Amicis, from Abruzzo.


Bruno loves to tell of the first hiking in the mountains with his father and love for nature that has accompanied him since childhood, until to be today one of the rare professional nature photographers in Italy, recognized and awarded abroad. But how we can turn this love into a profession? What could be the right way to "stop" the emotions experienced in nature? Where does the scientific rigor come that makes so solid his shots, always supported by an ethically sustainable approach? Part of the answer is in the honors degree in Biology, now in the drawer. This was only a first step to satisfy the innate need for Bruno to be outdoors and in close contact with this nature, which is his passion. But science alone could not meet this aspiration to creativity and artistic research that animates Bruno: in fact, few know that before giving free rein to the photographic passion, he also tried his way to art through pencils and brushes. And from this not so lucky attempt instead born the appeal on tripods and objectives. Today nature photography is more than just a job for him, it is a real way of life where you leave early in the morning, you remain still for hours waiting for something to happen, trying to know more and more light to reach, sometimes, the look into the eyes of the most amazing animals. All this also allows him to travel and forces him to study and learn. Bruno also said to be a self-taught that had developed his vision autonomously, without "masters", but by examining surgically hundreds of images on paper, on screen or on the web before to take a few hundred thousand photographs, which are his best tool to communicate to others what he loves and to denounce what he does not like.


Although the nature photographer is notoriously a job to lone wolves, which lives on a small market and limited opportunities, I chose to join the team of L'Altro Versante to be able to forge together a dream that we had for years. Of course, the ambition to photograph all the Italian mountains requires a lot of work, long and careful. A stunning path, almost privileged, but that winds often uphill and is full of difficulties: a path where there is not possible go forward if you do not have good climbing mates. There are many stimuli and challenges. Discovering the wild side of Italy, walking with curiosity and "slow" on the lesser known places, the most remote areas, where nature blends with the history of this country so incredible, but so mistreated. Cultural adventure in trying the "real" Italian landscape and thus dispel the general perception of a country poor in nature and quite tame. The challenge as photographers is to reinvent their own vision from time to time, putting experience and technical discussion in front of so many situations where you will find. Learning to work in teams, sharing joys and sorrows, sometimes defending their point of view and more often learning from criticism and advice of others. Overcoming anxiety of not being able, but hoping to pass on to others the love for this land and a sense of greater sensitivity and perhaps also of responsibility for its preservation. Using the language of photography to show everyone "the Italian great beauty", to use as a weapon against the degradation, ignorance and indifference.

THE SITUATION OF A SHOT: excerpts from the collective blog

Have you ever wondered how a photographer is able to capture certain images, to build the image that will become the imaginary perpetuated from the community at a time when his shot will be recognized in value? Imaginary load that is a mix of excitement, document and composition that makes a memorable photo? Let's hear what writes Bruno in front of the rock engravings of Valcamonica, in one of his last missions: “The shallow lines, scratched or hammered on the rock, are almost invisible in the shade and remain silent for much of the day. But when they are reached from the right light, and are barely affected by the cutting, they are as if they all fired up ... The contrasts become stronger and shadows sharper: the figures seem to jump out from the rock and take its own volume. We all remain appalled by such great ‘wonder’”. How Bruno does this delicate and ephemeral situation solve, made even more fragile by pollution vision of the contemporary world, in addition to the difficult environmental conditions, where “the light to be able to photograph these animals silent [...] is a chimera”? Read here the solution that led to the stunning picture attached below.

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