Meet Andrea Ratto, an Italian photographer hailing from Genoa but now based in A Coruña, Spain. He has centered his work around several captivating photographic projects, with a particular passion for capturing the essence of the streets.
Andrea's most renowned endeavor is the "Europa" project, which also resulted in a published photographic book of the same name in 2018. For this remarkable undertaking, he embarked on an independent journey through the streets of 26 European countries, where he analyzed European society and amassed a staggering 85,000 photographs.
In 2022, he returned to New York, embarking on another noteworthy series of photographs.
Greetings, Andrea,
Firstly, I want to express my gratitude for your time in sharing your experiences and work during this interview.
Let's begin with a bit about yourself. Where are you originally from, and what drives your passions?
Thank you for this interview. I was born in Italy, in Genoa, but for the past 18 years, I have been residing in A Coruña, Galicia, Spain. Besides, I love to travel and spend extended periods exploring different cities and countries. So, in a way, I consider myself from many places.
What sparked your interest in photography, and how did your journey in this field commence?
Photography has always been a part of my life since childhood, but it truly took on significant meaning about 7 or 8 years ago. I was going through a difficult time in my life, both professionally and personally, and photography emerged as a new challenge and brought me the peace that I needed.
Amongst various photography genres, what drew you towards street documentation?
To me, the street embodies the essence of our society, and the camera serves as a perfect excuse for studying it. I would say it wasn't a deliberate decision; rather, it unfolded naturally. This inclination probably stems from my reflective and contemplative nature.
Please share with us the photographic equipment that you prefer to use.
Over the years, I have experimented with various cameras, constantly switching between brands like Fuji, Nikon, Ricoh GR, and even old analog models. I believe that while the equipment is not the most crucial aspect, changing it from time to time keeps the technical curiosity alive - which is something that I'm not very keen into it, but it can be essential at times.
Your work revolves around diverse photographic projects. Could you elaborate on the "Europa" project and your incredible journey through 26 European countries? What inspired this project?
“Europa” is an ambitious project that, seen in perspective, it may be deemed presumptuous. The concept was to explore European society in 2017 and capture its essence. It was an idea that emerged after Brexit event. Only time will tell if the project accomplished what it aimed for. Sometimes I think it would be good to repeat the journey every decade to observe how Europe evolves.
How do you find the inspiration for your street projects? What are the key elements that you consider when doing street photography?
My projects arise from my doubts, and I use them as a means to analyze and seek answers. When I'm out on the streets, I've learned to let go about any preconceived thoughts and be entirely myself, relying on my cultural and emotional background to capture what grabs my attention.
What elements do you seek for in your scenes and subjects? How do you distinguish between extraordinary and the ordinary?
I don't consciously differentiate between the two; it's not something that interests me. The notion of categorizing street photography as extraordinary or ordinary doesn't resonate with me. It might make sense on an aesthetic level, but not in terms of image content. In fact, I believe that my quest is precisely for the ordinary, and I aim to portray it in a non-trivial manner.
Can you share a bit about your approach to photography? Do you tend to interact with your subjects, or do you prefer to stay unobtrusive?
Generally, I try to remain unnoticed, and rarely engage with the people I photograph, as it aligns with my personality. However, I do find joy into people's reactions when they realize they’re being photographed, especially their direct gazes.
Let's discuss the "Fist" photo from "New York 2022" series. How did you manage to get close to the subject and approach it from that perspective?
That’s one of my favorites. I simply threw myself on the ground and positioned the American flags in a corner. I took a small series of photos there, but when that fist appears, offering various layers of interpretation, it's evident that this is the standout photo with genuine significance.
Tell us about your experience photographing the streets of New York City. What advice do you have for those who want to do street photography in a crowded city like New York?
New York is unique. There are areas of the city where people want to be photographed, which is the opposite of what happens in some European cities like Paris or Berlin. When you venture into less central neighborhoods, things change a bit, but overall, I believe there are plenty of opportunities for photographers. So, my advice would be to relish the city and enjoy photography.
In street photography, moments can pass by in a flash, requiring photographers to act instinctively. Does composition still matter in such situations?
Everything depends on what your goal is, what you aim to achieve with your photography. From my point of view, if your goal is to capture the moment, composition takes a back seat; even a highly structured composition can kill the dynamism of the moment. Lately, I haven’t been seeking those moments as much, but sometimes when it pops out, I can't help but take the photo.
Could you tell us something about your project focused on gentrification in the Lavapiés neighborhood of Madrid, and the launch of the photo book/fanzine "Lavapiés"? How do you approach documentary photography compared to street photography?
Lavapiés has, first and foremost, been a profound life experience for me. I spent months immersed in this neighborhood of Madrid and have learned to live at its pace. I tried to capture photos that would depict the life of the neighborhood through its lifelong residents, immigrants, cultural activities, and tourists. Lavapiés is the best neighborhood in Madrid, so close to the city center yet unique in its own way. The challenge of this project was to integrate the photos within a sociological text on gentrification (written by Marta Morán). I believe that documentary photography requires a deeper immersion into the subject being portrayed, while street photography tends to be more superficial, prioritizing powerful aesthetics.
We would love to hear about the story and philosophy behind your "Road to Nowhere" series.
“Road to Nowhere" is an adventure of driving aimlessly and stopping only when a captivating photo opportunity arises. It narrates the places surrounding me, the towns we know but may have never visited. Ultimately, it’s a visual representation of the journey itself.
Could you elaborate on the photograph "Nice promenade" from the series "Coming back to what I know"?
'Nice promenade' is a photo that juxtaposes an elderly couple sitting on the promenade in Nice, France, with a hot air balloon on the sky between them. For me, the balloon symbolizes the communication between. However, interpretations can vary, and everyone can have their own, therefore all are valid."
Is there a photographer you admire, who has influenced your own photographic journey?
I draw inspiration from classic photographers, especially Robert Frank, although my work is entirely different from his. The concept of "Europa" originated from the idea behind Frank's "The Americans."
Are you currently working on any new projects? How do you envision your evolution as a photographer?
The truth is, no, I don't have concrete projects, although my frequent trips to London and New York (I'll be returning between September and November) make me consider a possible project revolving around these two cities or even expanding it to other metropolises. We shall see!