Stefano Orazzini, born 1972, is an italian photographer based in Cecina, Tuscany.
"I have a huge passion for black and white photography, both digital and film with my old Hasselblad. All my personal photo projects are monochrome series, black and white reaches the heart. For my commercial and commissioned works I usually use color images, over the years I have built a portfolio of over 5,000 landscape and travel images, focusing my research above all on the beauties of Italy."
In 2010 he was awarded with the "Best New Talent" title at the Prix de la Photographie in Paris, where he also received the first prize as best Fine Art Photographer
He boasts several other prizes and awards both in national and international festival and contests such as “International Photography Awards” (Usa), ”Annual Spider Black and White” London, City of Verona Prize, Lucca International Photo Festival, Portfolio Italia Contest and “Giuliano Carrara” prize.
He has participated in many exhibitions, including historic and prestigious International Exhibition of the Royal Photographic Society of London .
His commercial works have been published in the biggest media channels, like The Times, Huffington Post, The Telegraph, Le Figaro, Repubblica, El Pais, la Stampa, NatGeo, Lonely Planet and so on.
Clients like Ferrero, Continental, Sony, British Airways, Michelin, TIM, Trenitalia, Autostrade per l'Italia, De Agostini, Zanichelli, Eurostat, Setis, Hoepli, Tuscany Region, Eolo used his commercial images for their advertising campaigns
Stefano Orazzini work lays bare the dilemma of the relationship between reality and the notion of beauty. In photographic terms, it is the question of whether beauty is only a veneer to be applied to reality in order to sing its praises, or is rather a daunting, courageous attempt to reflect upon the way we observe the world around us by means of the photographic image.
It is to Orazzini’s credit that he has chosen to tread the razor’s edge of this dilemma, committing himself to a pure, almost philosophical conception of photographic beauty; far from being complacent over beauty for beauty’s sake, he tries to use it as a tool with which to reflect on the imagination that our gaze is in danger of losing altogether.
Fabio Severo | HippolyteBayard.com