LUX Photo Gallery: Photographers - Giacomo Brunelli

The animals

Brunelli uses old Miranda 35mm SLR cameras made over 30 years ago and black and white film, and likes to work in the half-light to produce his powerful personal visions. Often the subject is picked out by a limited depth of field against a blurred and indistinct background, sometimes caught in a patch of light. Light, and lighting contrast, white against black, in some images is more important than sharpness. His printing is dark and sombre.

Brunelli is truly a hunter, catching the wild lives of these animals on the run, whether a dog prowling down an empty cobbled street or a cat in full flight.Some of the pictures show a more reflective mood, more the stalker.

But more often he works by confronting, pushing his lens close, often to its closest point of focus, perhaps around half arm’s length, agressive, almost touching his subject (and the pictures have a very tactile nature), forcing flight or fight from his subject, and photographing these reactions.

The animals

Brunelli uses old Miranda 35mm SLR cameras made over 30 years ago and black and white film, and likes to work in the half-light to produce his powerful personal visions. Often the subject is picked out by a limited depth of field against a blurred and indistinct background, sometimes caught in a patch of light. Light, and lighting contrast, white against black, in some images is more important than sharpness. His printing is dark and sombre.

Brunelli is truly a hunter, catching the wild lives of these animals on the run, whether a dog prowling down an empty cobbled street or a cat in full flight.Some of the pictures show a more reflective mood, more the stalker.

But more often he works by confronting, pushing his lens close, often to its closest point of focus, perhaps around half arm’s length, agressive, almost touching his subject (and the pictures have a very tactile nature), forcing flight or fight from his subject, and photographing these reactions.

The animals

Brunelli uses old Miranda 35mm SLR cameras made over 30 years ago and black and white film, and likes to work in the half-light to produce his powerful personal visions. Often the subject is picked out by a limited depth of field against a blurred and indistinct background, sometimes caught in a patch of light. Light, and lighting contrast, white against black, in some images is more important than sharpness. His printing is dark and sombre.

Brunelli is truly a hunter, catching the wild lives of these animals on the run, whether a dog prowling down an empty cobbled street or a cat in full flight.Some of the pictures show a more reflective mood, more the stalker.

But more often he works by confronting, pushing his lens close, often to its closest point of focus, perhaps around half arm’s length, agressive, almost touching his subject (and the pictures have a very tactile nature), forcing flight or fight from his subject, and photographing these reactions.

The animals

Brunelli uses old Miranda 35mm SLR cameras made over 30 years ago and black and white film, and likes to work in the half-light to produce his powerful personal visions. Often the subject is picked out by a limited depth of field against a blurred and indistinct background, sometimes caught in a patch of light. Light, and lighting contrast, white against black, in some images is more important than sharpness. His printing is dark and sombre.

Brunelli is truly a hunter, catching the wild lives of these animals on the run, whether a dog prowling down an empty cobbled street or a cat in full flight.Some of the pictures show a more reflective mood, more the stalker.

But more often he works by confronting, pushing his lens close, often to its closest point of focus, perhaps around half arm’s length, agressive, almost touching his subject (and the pictures have a very tactile nature), forcing flight or fight from his subject, and photographing these reactions.

The animals

Brunelli uses old Miranda 35mm SLR cameras made over 30 years ago and black and white film, and likes to work in the half-light to produce his powerful personal visions. Often the subject is picked out by a limited depth of field against a blurred and indistinct background, sometimes caught in a patch of light. Light, and lighting contrast, white against black, in some images is more important than sharpness. His printing is dark and sombre.

Brunelli is truly a hunter, catching the wild lives of these animals on the run, whether a dog prowling down an empty cobbled street or a cat in full flight.Some of the pictures show a more reflective mood, more the stalker.

But more often he works by confronting, pushing his lens close, often to its closest point of focus, perhaps around half arm’s length, agressive, almost touching his subject (and the pictures have a very tactile nature), forcing flight or fight from his subject, and photographing these reactions.

The animals

Brunelli uses old Miranda 35mm SLR cameras made over 30 years ago and black and white film, and likes to work in the half-light to produce his powerful personal visions. Often the subject is picked out by a limited depth of field against a blurred and indistinct background, sometimes caught in a patch of light. Light, and lighting contrast, white against black, in some images is more important than sharpness. His printing is dark and sombre.

Brunelli is truly a hunter, catching the wild lives of these animals on the run, whether a dog prowling down an empty cobbled street or a cat in full flight.Some of the pictures show a more reflective mood, more the stalker.

But more often he works by confronting, pushing his lens close, often to its closest point of focus, perhaps around half arm’s length, agressive, almost touching his subject (and the pictures have a very tactile nature), forcing flight or fight from his subject, and photographing these reactions.