Portrait, fashion and reportage photographer, Enzo Dal Verme for over 20 years he has been chronicling the world through his lens with a sensibility that intertwines aesthetics, narrative and ethics. His images have appeared in international publications such as Vanity Fair, L'Uomo Vogue, The Times, Marie Claire, GQ, and has collaborated with brands such as Benetton, Mac Cosmetics, Rayanair. His signature style lies not only in the elegance of his compositions or his visual strength, but in his ability to create authentic connections with his subjects, be they iconic celebrities, ordinary people or little-told social realities. In his work, empathy becomes a language and photography a bridge that unites different worlds: from the intimacy of a portrait to the power of a reportage, to a civil commitment to animal rights and more conscious communication. Lecturer and author of books such as Storytelling for Photojournalists and Marketing for Photographers, Enzo Dal Verme continues to explore the potential of images not only as aesthetic tools, but as vehicles for change and awareness. In this interview, he tells us about his vision, key moments in his career and the challenges for the future of photography.
For more than 20 years you have had a rich path between portraiture, fashion and reportage, with publications in Vanity Fair, L'Uomo Vogue, The Times, Marie Claire, GQ... What was for you the most significant moment/project that marked a turning point in your career?
There have been various occasions that have marked my career, such as a cover or a particularly important job. These are satisfactions that motivate. However, the moments that I really consider breakthroughs have gone almost unnoticed. I am thinking, for instance, of the time when a gallery owner saw my portfolio and then blew me away by asking: “Now show me your personal projects”. I was used to photographing just to publish. How would I have photographed without the limitations my clients gave me? It was a stimulating challenge.
On your website you write: “Portraiture is my favourite speciality in photography. Every time I photograph someone, I end up getting to know myself a little better too’. What do you mean exactly?
When taking portraits, I have to deal with the attitude and mood of those in front of me. Some feel uncomfortable with a camera pointed at them, others love all that attention. There are those who make funny faces to hide their embarrassment, those who stand dumbfounded, those who tell me how to photograph. There are nice people, arrogant people, shy people... Sometimes I recognise myself in an attitude I see in the photographer, other times I am intrigued by something I have no experience of. For me it is not only important to pay attention to what I see in the subject, but also to the effect it has on me. Sometimes I get excited, other times I can't wait to be finished. How come? It is this observation - not only of who is in front of my lens, but also of myself - that gives me the opportunity to get to know myself a little better every time I take a portrait.
You have photographed personalities such as Donatella Versace, Laetitia Casta, Marina Abramović, Bianca Jagger, Wim Wenders. How do you prepare yourself when the subject is a celebrity? How important is your empathetic approach in restoring authenticity?
By photographing a celebrity you are not only photographing a person, but also a brand and everything it represents. It is normal that they pay a lot of attention to their image and I don't want to betray the trust they are giving me. Generally, before the meeting I find out about their stories and their tastes. It can be useful to say something at the right time. I do everything to make them feel comfortable, I use reassuring tones and gestures and try to be quick: they are often impatient. Authenticity is hard to find in people who are very used to being photographed because they tend to always assume the same positions, show their best three-quarters, show off the expression they know best. I try to perceive their state of mind: what can I emphasise in the pictures? While respecting their public identity, I prefer to avoid stereotyped expressions.
How do you get that result?
Sometimes I say or do something that disorients the subject, destabilises him and distracts him from the social mask. When I see that the expression becomes more transparent, I shoot. This is something I do not only with celebrities, but with them it is especially important to avoid photographing what has already been seen a thousand times.
Between iconic and lesser-known faces, how do you shape your style to suit such different personalities without losing the essence?
The style is determined by my way of observing reality and using the camera, as well as the requirements dictated by the use to be made of the photos. But up to a certain point. For me it is important to be very present and let the situation suggest to me how to shoot. I have sometimes imagined taking a certain type of photo and then realised that it would be better to take another route. There are so many variables: the light, the location, the time available, the mood of those present, plus - of course - the unexpected! Of all the “ingredients”, however, the most important is my ability to connect with who I am photographing. In a shot I do not pretend to summarise the complexity of a human being, I can - however - emphasise something that I sense and that the subject lets me see.
In addition to portraits, you have made reportages published in international publications. How does your approach differ between fashion shoots and more documentary reportages?
When I photograph fashion, I construct an image that comes from my imagination and the collaboration with other professionals on the set. With the help of make-up, styling, lighting and retouching, something that does not exist takes shape. It is the materialisation of an idea. Each photo has its own balance and the set of images will suggest a style and also a mood. Fashion shoots are often designed like the script of a film and contain a small story. They show an idealised reality to aspire to. When I photograph reportage, on the other hand, I document what exists. Of course, there are a thousand ways to photograph the same thing and, inevitably, the same subject treated by two photographers will show different aspects of that reality. It happens because every photographer (and every human being) is attracted to different things. When documenting difficult situations, for example, many photographers focus on showing injustice and violence. It is a very important work that I consider sacred. However, I always try to focus my lens on solutions rather than problems. I like to think that my photos might inspire those who see them to support a project or, perhaps, to replicate it.
You have worked with commercial brands such as Benetton, Mac Cosmetics, Rayanair. What creative challenges do commercial projects offer compared to editorial ones?
Personally, I prefer working for publishing, even though the work has decreased a lot: many magazines have closed, others are getting thinner and thinner, and budgets have tightened incredibly. When you photograph for publishing, you have to respect the cut of the magazine that is going to publish. Generally speaking, though, there is much more freedom than with commercial photos where you have to follow strict guidelines and the instructions of the art directors. Sometimes, the challenge is... to be creative despite all the pressure! There are also commercial clients who rely on your expertise and those are the ones I enjoy working with the most. It is a collaboration, not just an execution. If the client understands your preparation, he trusts you and gives you more freedom. This also applies to other aspects of being a photographer, for example when documenting the work of an NGO, or creating promotional material for hotels, taking private portraits, industrial images or photographing recipes. A photographer today must constantly renew himself, find new areas and new niches. That is a creative challenge!
You have created initiatives in defence of animal rights involving Madonna, Paul McCartney, Zeffirelli, Kim Basinger. Can you tell us about this experience?
It was a long time ago when animal welfare associations in Italy were essentially focused on organising protests. Protesting was certainly important, at the same time it seemed to me that it would be more effective to get the message across to the public in an authoritative way and through official channels and well-known personalities. My experience in the world of fashion and advertising was very useful. It was not easy to give Madonna the anti-fur T-shirts and when she wore them in her film and - several times - jogging, the impact was great. In addition to raising awareness among her fans, the sale of the T-shirts helped fund anti-fur campaigns around the world. Paul and Linda McCartney signed the introduction of a book on cruelty-free design and fashion, Kim Basinger was the testimonial for a video, and Zeffirelli, at my suggestion, publicly repented for filming a fur commercial. In addition to involving celebrities, I also paid a lot of attention to the visual language, which had to be captivating and engaging. We are bombarded with all kinds of messages on a daily basis and to communicate effectively - be it a social cause or a commercial - it is crucial to be able to grab attention and convey a message in a clear and impactful way. When I did it, it was something very new, not like now, when - fortunately - it is common to see celebrities publicly speaking out in support of some social cause and the level of visual communication has been raised a lot even in the non-profit sector.
How do you think photography can be an effective tool in raising awareness on ethical and social issues?
Photography is a language and can serve to make people think, to educate, to raise awareness. One must, of course, know how to express oneself in the appropriate way to make oneself understood by those who will look at those images. I have managed to share stories in the pages of fashion magazines that would never have been published if I had not approached those topics with an appropriate slant. I like knowing that thousands of readers have become aware of some social project thanks to my reports published in the glossy pages between a lipstick and a pair of shoes. My somewhat subversive spirit is able to express itself precisely because I know the appropriate language. And then there are examples of photographers who have used the language of images very well to make a contribution on certain social issues. One I admire is Platon, a British photographer of Greek origin. His regular collaboration with George magazine has allowed him to portray celebrities, presidents and many personalities. At the same time, he has been involved in giving visibility to the less fortunate, to those fighting for civil and human rights. His images - also on video - are remarkable.
You are a lecturer in the Master's course for photo editors visual storytellers “Communicating with Images” - what skills do you consider essential for people approaching the world of professional photography today?
The master is aimed at those who use images (their own or others') to communicate. Therefore, not only photographers, but all those for whom it is important to know the visual language to be used to express themselves and spread a message. Whether it is to produce a tourist brochure, a fashion shoot or a commercial catalogue, it is essential to know the mechanisms that make an image appropriate and effective. To illustrate an interview you have to pay attention to a few things, to communicate on social media there are other priorities. Telling a story through images in a clear and interesting way implies knowledge of many variables, and illustrating a product is also not so obvious. Learning the grammar and syntax of visual communication helps to be more efficient and incisive. With me, other experienced image communication professionals teach in the master's course and together we manage to give students a broad and in-depth overview of the different facets: from the importance of styling to legal issues, from graphics that enhance images to the construction of a sequence, to the different structures of storytelling. It is a very comprehensive course that I would have liked to take at the beginning of my career, but it didn't exist.
How important is training for you? Does it still have value today?
Education is fundamental, I for one continue to study, read, inform myself. I try to understand new possibilities and new languages. Having worked with the most important publications and with so many photo-editors, art-directors, directors and editors-in-chief has been an extraordinary school. At every job their criticism and advice helped me to grow. The editorial offices were an incredible place where news, ideas, collaborators converged, new features were discussed, we worked together and learned continuously. Now things have changed: a photographer no longer visits an editorial office in person to show his portfolio and to propose ideas to be realised, or to show a reportage he has already done and suggest its publication. He sends an email hoping that someone will open it. Human relations are getting lost. Many people work from home, often everything happens by e-mail and, when it goes well, by phone. Which implies that there are far fewer opportunities to learn by working together. Yet, never before has training and staying up-to-date been so important to be competitive on the market. We have so many possibilities: courses, books, tutorials, articles, podcasts... The important thing is to stay curious.
What advice would you give to your students who dream of a career like yours?
First of all, I would warn them: be careful what you wish for! When people tell about my career, they usually leave out the “blood, sweat and tears” chapter and I can assure them that it is a big part of what happened and continues to happen in between. In any case, a career like mine would no longer be possible today because the world was different when I started. Today our relationship with photography has changed, the needs of clients have changed and the balance continues to shift rapidly. That is why one of the most important qualities - today more than yesterday - is the ability to adapt to change. Sometimes even the reference points we used to rely on are missing. It is necessary to be flexible and to update often. But beware, keeping up to date with the latest news without having a solid foundation means being an improviser. It is important to know the ABC of visual communication, its evolutions and to be familiar with its dynamics. Curiosity is another quality that I consider indispensable: when one is curious, learning is less tiring because it satisfies one's desire. Then you need dedication: try, fail, try, fail... If the world is changing faster and faster, these skills remain fundamental to developing a career. Maybe not like mine, better.
You have written “Storytelling for Photojournalists” and “Marketing for Photographers”. What is the most surprising or revolutionary advice you give to those who aspire to make a living from photography?
When - some time ago - Saul Leiter was asked this question, he replied seraphically: marry someone rich. If a master of that calibre - who has certainly not lacked job opportunities - made that comment, it is easy to imagine that making a living from photography was not so obvious many years ago (I can confirm this). Today it is even less so. Technology has made great strides and allowed more and more people to use the medium of photography. but... how? The difference is not so much in the number of filters and presets one knows how to use, but in the ability to use photography as a language. And to do this, it is not so much the technological upgrade that is important as the knowledge of visual grammar and syntax. So, the dispassionate advice I can give is to study. It may not be surprising or revolutionary advice, but it is certainly useful. In my books, I wanted to share many things I have learnt by working and also by making mistakes before finding the solution to a problem. Those who read them have the opportunity to learn from my experience and not repeat my mistakes, but... make more of them! Another suggestion I would like to make is not just to create images. I am a journalist, I almost always wrote the articles for my reportages and that was one of the reasons why I did so many reports. The profession of photojournalist is in sharp decline and I would not advise those who aspire to make a living from photography to focus only on that. I would suggest finding other parallel disciplines. What? What you are most passionate about because you do it willingly. Maybe it will be useful for some profession that doesn't exist yet: you have to be ready when the opportunities come. For example, when there was the sudden success of image creation with artificial intelligence, suddenly a new profession was born: the prompt designer. Overpaid, the first prompt designers sold the ability to write prompts to companies to instruct AI. Shortly afterwards, the phenomenon was reduced: it is possible to ask Chat GPTs to do the same thing. But, in the meantime, those people had done some work and made some contacts, woven relationships. Had any of them trained as prompt-designers? No way, they had just followed their passion and when the right opportunity came along they were able to exploit it. Finally, it is important to specialise. Let's put ourselves from the point of view of a client who needs to photograph - for example - shoes. Will he choose a photographer who shows that he specialises in shoes or one who does everything a bit? And between one who takes good photos and another who, in addition to taking photos, also does 360° for online, videos, integration with AI images and is able to suggest unique approaches to enhance the product, who will he choose?
Meditation is an integral part of your approach. How do meditation and photography contaminate each other?
Meditating helps one to have a calm mind, to manage one's attention and to focus even when triggered in stressful situations. It is a practice that has been with me for over 30 years and has helped me a lot. In my profession and beyond. When taking a portrait, for example, one has to divide one's attention between the camera settings, the environment in which we find ourselves, the composition, the light, the background, the colour combination, the point of view of the frame, the position of our subject, his gaze, his expression, his clothes, his hair, the overall impact, the proportions and, above all, the relationship that is created. If we are distracted by a few details, it is easy for other important aspects to escape us. Having a certain inner silence and the ability to keep our eyes on the overall impact while continuing to monitor every detail can be extremely helpful. By meditating, one learns to manage one's attention and maintain awareness of the totality of what we perceive without losing oneself in the concatenation of thoughts. That is why it is a practice that can also help photographers a lot.
As Senior Advisor for Science Of The Times, you help map future trends and scenarios: what changes do you foresee for photography in the next 10 years?
We live in a VUCA (Volatility, Uncertainty, Complexity, Ambiguity) period in which the only certainty is unpredictability. As far as photography is concerned, it is particularly complex to make predictions because technology is evolving at a faster pace than expected. Artificial intelligence is now able to produce synotographies that are indistinguishable from a photograph and are already being used extensively: fashion shoots, cooking photos, travel photos... Many of the professionals usually involved in the realisation of a photo shoot are at risk of losing their jobs. Moreover, when it comes to news photos, there is the big problem of falsification of reality. Not so much because of AI, but because of the possibility of “constructing” photos by posing the subjects or dramatising the situation in order to sell and get ahead of the competition. This is why one of the most important things for news photographers today is a reputation that guarantees the reliability of images. In summary: as much as photographs increasingly pervade our lives, the profession of photographer is becoming one of the most precarious. Although it is difficult to make predictions, we can venture to argue that its evolution will not be limited to the ability to take photographs. Rather, the ability to communicate effectively through the broadest possible image culture and training in complementary disciplines will be valued. A kind of creative director, technically prepared, with the sensitivity, taste and ability to creatively apply his knowledge. Those who have been able to stay up-to-date and broaden their preparation beyond just the ability to take good pictures will have a better chance of staying in the market.
