Salvatore Matarazzo (Viareggio, 1980) is a contemporary street photographer, his research is characterized by very expressive portraits symbolizing the quirks and obsessions of our times.
After attending photography classes was dedicated to journalism photography, publishing his photos of the most important national newspapers.
Interested in the street life and public spaces, in his photography Salvatore committed the flash so instinctive and not authorized, he is very close to the people and the lights without alerting them, impressing in his photographs and expressions unique and unrepeatable moments.
Street photography has always played a key role in the production of the Salvatore; initially as a way to document news reports, reportage and events. Until in 2012 he chose to leave the journalism to devote himself to a form of expression free from any kind of conditioning, and then follow only himself, his new point of view has led to various publications for the best magazines photographic, among these, ISP, Vieworld Photo Magazine, Street Photography Magazine, and Huffigton post.
Matarazzo in 2013 became part of the italian collective photo inQuadra and then enters the international collective Elephant Gun. After several solo and group exhibitions in 2014 he published his first book "Carnival" a book dedicated to his hometown Viareggio, always in 2014 is selected among the finalists at the Miami Street Photography Festival, which has the final repeated in 2015.
In the 2016 his project "Darwin Is Street" win the third prize at the TIFA Photo Awards, project that going in to exibition in Suwon, South Corea for the PASA FUTURA FESTIVAL, and in many others internationl gallery, like his project "Carnival" and "Street Photography Versilia".
In the 2017 Matarazzo leave the collective Inquadra for enter in the international collective Full Frontal Flash
Work / Education
Street photography, also sometimes called candid photography, is photography conducted for art or enquiry that features unmediated chance encounters and random incidents within public places. Although there is a difference between street and candid photography, it is usually subtle with most street photography being candid in nature but not all candid photography being classifiable as street photography. Street photography does not necessitate the presence of a street or even the urban environment. Though people usually feature directly, street photography might be absent of people and can be of an object or environment where the image projects a decidedly human character in facsimile or aesthetic.
The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world "picturesque".
Susan Sontag, 1977
The street photographer can be seen as an extension of the flâneur, an observer of the streets (who was often a writer or artist).
Framing and timing can be key aspects of the craft with the aim of some street photography being to create images at a decisive or poignant moment.
Street photography can focus on people and their behavior in public, thereby also recording people's history. This motivation entails having also to navigate or negotiate changing expectations and laws of privacy, security and property. In this respect the street photographer is similar to social documentary photographers or photojournalists who also work in public places, but with the aim of capturing newsworthy events; any of these photographers' images may capture people and property visible within or from public places. The existence of services like Google Street View, recording public space at a massive scale, and the burgeoning trend of self-photography (selfies), further complicate ethical issues reflected in attitudes to street photography.
Much of what is regarded, stylistically and subjectively, as definitive street photography was made in the era spanning the end of the 19th century through to the late 1970s; a period which saw the emergence of portable cameras that enabled candid photography in public places.