We suggest to change your point of view. We do believe it is worth it. We take photographs from an elevated point of view even when an existing location from which to shoot is not available. In most cases the result will change drastically just by raising the camera a few meters. We also combine overhead with panoramic shooting, outdoors or indoors, with highly innovative technologies.
New technologies have opened incredible doors to photography and new professional opportunities to those who can utilize them. In this era of overabundance of supply and stimuli of every kind, it is more important than ever to set yourself apart and offer quality services at reasonable prices. in this regard, the ability to produce aerial or remote shots of equal quality to those shot from the ground is one of the most obvious aspects. For years I have personally developed this special shooting tecnique, making it a sort of trademark.
New possibilities.
Look at the example below: we are in the Carthusian Monastery of Padula, in the Sala del Coro (Room of the Choir) divided in half by a transept. Just by raising the camera a few meters, I was able to obtain this very interesting image, never seen before, with the Angels and the Saint in the middle.
Above and below.
This principle does not only apply to aerial shots but any shot taken from a different and original point of view. Already in the 1930s, the hungarian-american photographer Martin Munkacsi shot very original fashion pictures by shooting the models from above or below, obtaining surprising results. He became famous as the first photographer to the paid $1,000 for one picture.
After 1000 years you can see a masterpiece again.
The same principle can be applied to any situation where you have to shoot in unconventional situations. I call them "impossible shots". A year ago, I was asked to do a very challenging job. I had to photograph for the first time a never seen Longbardic fresco: painted in the 10th century, 100 years later this masterpiece was hidden by a newer wall where another very important fresco was painted.
The space between the two walls varied from 10 to 12 inches. It was so narrow that my standard professional camera did not fit. So I shot it with a small Canon and, with a special technique I took 240 shots and then I stitched them together. The final result might not be perfect but it is definitely stunning.
Surrealistic multishot at Gypsoteca Canova
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"Main video photography, concept & editing by Pietro Bianchi Surrealistic Multishot Video" and the picture here above by Andrea Cracco Padula backstage picture by Mario Oliva
The stlye established as the corporate image of Monier Inc., a multinational corporation owner of two different brands in italy, is unmistakeable; clean line graphics on a white background. The photos have a similar tone with relaxing prospectives and overhead shots of buildings, but only enough to avoid distortion. Views of the roofs, sometimes close-ups, but more often also showing part of the house, which should looked lived into, maybe in the middle of a luxurious vegetation or in an historical context.
The stlye established as the corporate image of Monier Inc., a multinational corporation owner of two different brands in italy, is unmistakeable; clean line graphics on a white background. The photos have a similar tone with relaxing prospectives and overhead shots of buildings, but only enough to avoid distortion. Views of the roofs, sometimes close-ups, but more often also showing part of the house, which should looked lived into, maybe in the middle of a luxurious vegetation or in an historical context.
