Francesco Carrozzini is an internationally-renowned filmmaker and photographer. Born in Italy, he now lives and works between New York and Los Angeles, and has worked with many of the most famous faces in the world, whether it’s shooting them for top magazines or directing them in music videos and commercials.
Rankin says: “Francesco doesn’t strictly fall under the category of “young photographers” as he’s a big name in the game. But he’s someone I’ve enjoyed watching bound from strength to strength. His photography is epic and cinematic and he is destined for the very top.”
What’s the job or project you’ve done that you think changed who you are as a photographer? My documentary that I just completed, Franca: Chaos and Creation.
How do you ensure you remain consistent with your style of photography when taking on commissions? I always try to aspire to the images that I like. These images rarely change as I have a very precise idea of the kinds of things I am inspired by.
What’s the relationship between your personal and commercial work? I always try to photograph interesting people no matter what kind of work I am doing.
Best piece of advice you’ve been given as an emerging photographer? Helmut Newton once told me, “Put something worth it in front of your lens.”
Who or what had the biggest impact on you becoming a photographer? Years ago I took a trip to a remote town in Poland where I went to shoot a documentary, and I ended up taking portraits of the local people.
What do you most hope viewers take away from your photographs? An unsettling feeling of beauty.
If you wanted to show an alien how powerful photography can be, what would you show them? I would show them the famous photo of Tiananmen Square by Jeff Widener.
When working with celebrities, do you have an approach in how to make a connection quickly? I immediately try to gain their trust by being very communicative.
You’ve worked with so many publications, what was the publication that meant the most to you to be printed in? The New Yorker because I was young and it was the magazine that gave Avedon and all the photographers their big break. If you had a full page in The New Yorker, you made it. And I made it.
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