Parallel Lines: Sebastiano Leddi

© Benedetta de Ruggiero e Irene Trancossi

Federica Belli The language of photography is still among the most contemporary ones, despite  the growing popularity of other digital arts. What forms of photography do you find particularly  inspiring in our time? 

Sebastiano Leddi Rather than by the formal aspects, I am constantly drawn in by the content of  images. I think it now is the time for an ethical approach to photography, an approach that aims  to highlight contemporary issues. This is really a trend of these times, and I am personally very  happy  this is  the case. There is clearly a need  to send ethical messages, a need not so common  and heartfelt in other phases of our past. 

F.B. Perimetro, a community magazine about the various  and ever-changing faces of Milan, also  stems out of an unmet need of its citizens. How would you identify such lack of representation  that Perimetro tries to fill? 

S.L.  I like  to  think  that we bring out and represent  the soul of  the city. Milan is a controversial  place, a  place it is  sometimes  difficult  to empathize with. Our  purpose lies in the creation of a relationship between the city and its inhabitants, our means are the stories our authors choose  to tell us.  

© Irene Trancossi

F.B. Combining  the  skills  of a  producer and a  director,  your  career  path allows  you  to  have an  extreme  awareness  about  which  photographer  is  best  suited  for  each  project.  How  do  you  go  about assigning the works that bring Perimeter to life to each photographer? 

S.L. Perimetro thrives primarily on curating a selection of works among all the projects that our  editorial staff receives daily. When we work on assignments, however, we often choose authors  through  open  calls. We  try  to  be as inclusive as  possible and  often evaluate, in addition  to  the  portfolio,  the  motivations  that  make  a  photographer  want  to  build  a  particular  project.  Often  those  who  have  had  direct  experience  related  to  the  topic  to  be  photographed  become  the  perfect eye  for  that story. The most honest depiction will be  the one  that reaches  the audience  best as well.  

F.B. Having  worked  with  the  greatest  photographers  in  both  the  advertising,  editorial  and  art  fields, you have known their strengths and weaknesses. Which traits have you found in common  between the most notable authors in the various fields of photography? 

S.L.  The  greatest  photographers  always  apply  a  forward-looking  design  to  their  work.  Their  vision translates and codifies the present, but only by constantly turning to the future. 

© Anna Luna Astolfi

F.B.  Given  your  multifaceted  experience,  I  feel  like  asking  you  a  common  yet  uncomfortable  question. We  often  hear  people lament  the  death  of  photography,  precisely  due  to its  extreme  diffusion. How can one make a living from photography today? 

S.L. Never have so many people ever lived out of photography as in our days, don’t you agree? 

F.B. Precisely  the  answer  I was  hoping  to  have  from  you. Dedication  and  talent,  paired with  a  honest perspective, can be enough. More and more so.