We had the pleasure of speaking with Giulia Paratelli, a freelance photographer known for capturing striking moments at various events, like cultural gatherings, concerts, and academic or theater projects. Her photography is marked by a sharp eye for detail and a nuanced understanding of visual narrative, qualities that have fostered collaborations with prominent publications and notable organizations.

In this interview, Paratelli offers insight into her photographic journey, the key influences shaping her creative perspective, and her thoughtful process for documenting the world with authenticity and precision.

Hi Giulia, thank you for joining us. Your journey into photography started while you were completing a Master’s in International Management. What was the moment of realization that led you to pursue photography professionally, and how did you make the transition from academia to the creative industry?

I have always loved taking pictures. I learnt to use a reflex camera when I was probably 6 or 7 years old, I learnt with my dad’s one. I remember him telling me how to set the focal length, the shutter speed and what ASA means. The change arrived when I was 22 years old. A bunch of friends decided to create an online magazine and asked me if I wanted to join. I still had the Twitter screenshot of me asking if they wanted me to write some articles for them, and one of them replied, “No, we like how you take pictures, we would like you to join us as a photographer!” Until then, I had always taken pictures for fun, daydreaming maybe, but I had never considered it as a professional career. After that first step, I got local newspapers, event organisers, the local university, festivals and theatres who asked me to work for them. The transition didn’t happen overnight, and it wasn’t easy. It did cost me a lot of work and sacrifices, and it still does, but I am proud of what I did.

You have explored multiple photography genres, from photojournalism and event coverage to product and theatre photography. What draws you to these different forms of visual storytelling, and how do you adapt your approach depending on the subject?

I started with photojournalism, and this is still very much what I love the most. The concept of documenting, telling a story, and giving voice in an unspoken way to people is something that I keep on looking for. But I think that keeping a curious approach to life is essential, and so I wanted to explore every possible kind of photography as well. The way I approach a job really depends on the job. If people are involved, let’s say like when I am taking headshots or I am working on an editorial project, I always start by making them feel comfortable, I want them to be able to express themselves and not be under pressure. This concept is fundamental to achieving a good result, and it also makes working more pleasant.

If I am working for a theatre, the approach is completely different. I don’t want to be noticed. Of course the actors know I am there, but they have to be completely focused on their character, and I have to think of taking pictures from different angles (sometimes even quite close to them) without distracting them. If I am working on a product photography project, perfection is the clue. Preparing the set, the lights, white balance and every possible detail is fundamental to having a great shot (and don’t go crazy with the editing!). 

Relocating to London marked a significant step in your career. How has the city shaped your artistic vision and professional opportunities compared to working in Italy? What challenges and breakthroughs did you experience in this transition?

Well, I moved to London in October 2019, a few months before the start of the Covid pandemic. Not the best moment to move abroad and start a new life! I decided to move because I needed to grow. In my city, Ferrara in Italy, I was already working for everything that was interesting to me, I needed new challenges to grow, to learn, and to explore. And London is the perfect place to do it! When I moved to the UK, I had no idea how to approach clients here. In Italy I mainly worked because I am from a medium city and people were seeing my pictures around (in newspapers, online, etc) and they easily contacted me. Here, no one knew the names of the newspapers or the theatres or the companies I mentioned in my resume, so it was only based on the quality of the images I was showing.Living in London is amazing for me. I have the chance to see many exhibitions, from the most famous to the most underground. I feel inspired by what I see, and I noticed that my style has changed so much. Before I was delivering what the client asked for, but now I feel I am also starting to develop my style, and the clients are starting to appreciate me for the way I photograph. I think that’s a pivotal chance in a photographer’s career.

Theatre photography is a field that demands quick reflexes, an understanding of lighting, and the ability to capture raw emotion. What are the most important aspects you focus on during a performance shoot, and how do you ensure your images reflect the energy of a live production?

Photographing a theatre performance is a kind of magic! I really don’t know what happens, but I have my routine, which I follow quite religiously. I have to have all my stuff ready to be quickly caught in the dark, I set up my camera, and then I try to immerse myself in the atmosphere of the show before it starts. As soon as the rehearsal starts, I follow the acting, watching almost only from the camera viewfinder, I somehow follow the flow of events they are performing. Being so immersed in the show helps me to understand when something is going to happen, and I set up my camera ready to catch whatever will appear on the stage. This approach could be tricky because if I am carried away too much, I risk losing the sense of the contest, and I could focus too much on the main characters or styling, while in theatre photography we have to remember to also focus on the entire scene and give a sense to what happens everywhere on the stage because nothing happens by chance in theatre! So I let the show carry me away a bit, but I never completely.

You have also worked in commercial photography, particularly in jewellery and auction house photography. How does your creative process shift when photographing objects versus people, and do you find any surprising overlaps between these fields?

Commercial photography is all based on technique and precision. Preparing the set is key, considering all possible lights, reflections, and effects is mandatory, especially when photographing something shiny and with multiple faces, like diamonds or jewellery! When I was working with a product, I had to slow down, think in advance and not leave anything to chance. The better the set is ready, the better the result, and the quicker the editing! Basically it’s the opposite of photojournalism, photojournalism is rough, adventurous and fast. Product photography is slow, clean, precise and detailed. 

Post-processing plays a crucial role in refining an image. What is your approach to editing, and how do you maintain a balance between enhancing an image while preserving its authenticity?

I always try to not edit too much, my idea is that the editing had to be there, but you don’t really have to notice it! I tend to set the camera first, and when I am editing, I normally balance what was impossible to fix while shooting. I am talking about adjusting shadows, highlights, the curves, maybe a bit of noise reduction and, in the case of theatre photography, most of the time removing the green light of the emergency exit that always shows up at one point in the set of images!

Critique is an integral part of artistic growth. Have there been any instances where feedback significantly influenced your development as a photographer? How do you view the role of critique in today’s photography industry?

Oh well, this is a bit personal. While I was starting to work as a photographer, I wasn’t really surrounded by a supportive environment. Everyone I knew was telling me that this would have never become a career, that maybe I would have had some commissions here and there, but I had to focus on looking for “a real job” using my master’s! Coming from that place, I have always been really scared of critiques, as if, if I was receiving a really bad one, this would have confirmed that everything I heard in my past was real. And then it happened. I received a couple of negative critiques in the last few years, and I still clearly remember them, but I approached them as a way to improve. I accepted that that wasn’t my best work; it didn’t matter the reason why it wasn’t. I simply had to accept I had to improve. And I did. I think critiques are more important than praises because, if expressed in a correct, supportive, respectful way, they will really help you to become a better professional!

Many photographers find that their artistic vision evolves over time. How has your own perspective changed since you first started, and are there any particular themes or subjects you are now more drawn to than before?

Yes, I agree with the sentence above. My vision changed incredibly, and it keeps on changing. Sometimes if I look back at some of my first pictures, I think I can barely recognise that I took them. The style is in continued evolution, influenced by our skills at that moment, our personal lives, and also the other photographers who influenced us.

When I am not working but I can create whatever I feel, I am mostly interested in people. I have always been. I find it incredible how the feelings, emotions, behaviour and personalities can appear in a photo.

At the beginning I was shy, and I wasn’t approaching people. I was trying to photograph them without being seen. Now I love to keep the relaxed approach, but because I learnt how to work with models, actors and people in general, even if I am shooting on the street, I tend to talk to the people before photographing them. I share the reason why I want to photograph them, and I ask for their permission. Most of the time people are fine if they are not, I don’t mind. That picture was not meant to be! If I am in the studio, I always want to have a relaxed environment, so I take my sweet time to make everyone comfortable before starting to shoot.

Your editorial projects aim to create a positive impact. Can you share a bit about any ongoing or upcoming projects that excite you, and what message you hope to convey through them?

Last year I published an editorial called Acceptance, it was all about the way we perceive our bodies and how we accept or not the image of ourselves. The experience I had with Acceptance really inspired me, and I wanted to create something even more meaningful. Right now I am working on a new project, this time it will become an exhibition, and it’s about young trans people. The project, called In Bloom, documents the experiences of five young trans people between 18 and 25 years old who have transitioned or are about to transition. There are many projects about the trans community at the moment, but I want mine to be different. That’s why the participants will be in full control of the situation. They will decide their own outfit, the locations and the pose during the shooting. I will make it happen. There also will be audio interviews where the participants will be able to share their experiences with hope, fear, friendships and difficulties they have been through. I have created a crowdfunding campaign on Indiegogo for this project, the campaign is now live!

The aim of this project is to give hope, not only to the people who would like to transition but are afraid to, but also to everyone around them. I think about parents, brothers, sisters, friends and, in general, the society. We are living in a terrible dark era where the rights are decreasing instead of increasing. We need to give hope, to share some good examples, and to show that it’s possible to be the person you always wanted to be. You can be you, and you can just be happy.

The tools of the trade often shape a photographer’s workflow. What gear do you rely on for different types of shoots, and do you have any favorite lenses or cameras that you consistently turn to?

I am definitely a Nikon girl! 🙂 I tried other brands, but I always ended up selling everything and buying more Nikon gear! At the moment I am using my Nikon D750. It’s a DSLR full frame, and I have been using it for the past three years, and I love it! It’s perfect for my tiny hands, and it’s not too heavy to carry around. I have very heavy lenses, the classic 24-70 f2.8 and the 70-200 f2.8, which is lovely, and a 50mm and a fisheye, which I use only for fun.

I also have a mirrorless Nikon Z50, which I use for travel photography or for filming. It’s tiny and fast, the AF is precise, and I am having a great time taking it with me!

In the next few months I will buy another mirrorless body, a full-frame one, probably a Z7 or Z8, but I won’t sell my D750; I am still not psychologically ready to complete my switch into mirrorless. 

My favourite lens is the Nikon 24-70 f2.8. The others are all lovely lenses, but for the kind of photography I do, the 24-70 is just perfect!

Photography is often a blend of instinct and preparation. When working on assignments, how much do you plan ahead versus allowing for spontaneous moments to shape the final outcome?

Very little. Honestly, I don’t like to know too much because the instinct is so important. If the assignment is a dress rehearsal, I almost hope I don’t already know the play, but I always ask the director if there is any important moment I have to be sure to photograph. It’s risky, and I know many other photographers will disagree here, but that’s the way that works the best for me.

For aspiring photographers looking to build a career, what advice would you offer? What are the key lessons you’ve learned that helped you navigate the industry and establish yourself?

From time to time I receive emails from aspiring photographers who are looking for advice, and I always feel grateful for this, and I always try to help; maybe because I didn’t have any photographer to ask questions when I was starting, and some sort of guidance would have helped me a lot.

I think the most important advice is to have fun and don’t look for perfection. At the beginning, but even later, it’s so important to keep on experimenting, have an idea and try to transform it into reality. Don’t worry if the technique isn’t perfect, if the lights are wrong or whatever, just try. And if you feel it’s what you want to do with your career, keep going, there will be dark moments, and there will be people who will tell you to change jobs and look for something else, but if you feel it’s your call, just keep going.

Website: https://giuliaparatelli.com

Instagram: https://www.instagram.com/giulia.paratelli

Image Credits
Giulia Paratelli

Have a question for Giulia or want to share your thoughts? Drop a comment below!

---

Nominate Someone: Camorabug is built on recommendations and shoutouts from the community; it’s how we uncover hidden gems, so if you or someone you know deserves recognition please let us know here.