“What attracts me most in Carletti’s photography is his awareness of vision: this makes him an artist in the world of photography and specifically in that of ceremonial photography”
photography critic and curator
“…flipping through the pages of the new book “Photographs of Weddings” (Marsilio, edited by Denis Curti) by Sienese photographer Carlo Carletti I discovered a world I did not know….”
Maria Pia Pozzato,
semiotician and writer
“…Carlo Carletti dedicates to marriages a strictly professional attention. With an incredible skill he avoids the pitfalls of the predictable and produces images that are “real photographs” able to capture the emotion as well as to become the private memory of the couple..”
“A small book by a great author. He’s Carlo Carletti, I dare to say that it is the greatest Italian wedding photographer.”
editor and blogger
For the second time in three years Carlo Carletti of Italy has been honored with the prestigious WPJA (Wedding Photojournalist Association) Photographer of the Year (POY) award. Carlo Carletti is the first to win the title twice, having won it previously in 2006……
Lorna Gentry / For the Wedding Photojournalist Association.
“A passionate narrator of stories: romantic, timeless fairy tales where context plays a fundamental role in the couple’s love story”
JM – Just Married,
international magazine devoted to the luxury wedding
“….that timeless picture that brings us back to great ones of yesterday and today , to whom he belongs.”
Denis Curti introduces my photo exhibition at the Still gallery in Milan. The exhibition collects a selection of my wedding photographs from the work of recent years. It was a very important event in my career as a photographer. Wedding photography recognized as a leading genre in photography.
Carlo Carletti Photo Exhibition at STIIL gallery, Milan. Introduction by the curator Denis Curti
The Couple - review by Mosè Franchi
Only a photograph can give a meaning to some moments: the memory, alone, would not be enough. Carlo Carletti, award winning wedding photographer, offers us a striking example of it in this image. There is a break in the life of the two, perhaps a wait. It doesn’t matter: it is time for them to think about themselves, to enjoy the moment. The window frame cuts the scene and guides the eye (a beautiful composition). The handle on the right almost tells us that we were the ones that opened the window on the couple. They are both absorbed in their thoughts. He looks at the phone (discreetly), she looks elsewhere. The result is a symmetry (top – bottom) that enhances the image and that finds its suffrage in the reflection on the glass. The woman,the mother of the bride, as the image seems to tell us, looks further: beyond the moment, perhaps retracing old memories and ambitions. Today there is everything, it all happened: for them and also for others. It’s one of those days that are worth living thoroughly, leaving no stone unturned: even Positano, which, in background, makes itself recognizable in this wedding day, characterizing the content of everything.
Carlo Carletti, italian wedding photographer, from Tuscany, proves here its cultural heritage. Italy has always been made of doors opening on endless stories; inside: patios, children, quarrels, shouts, joys and loves; life that just curiosity can unravel, only an interest. Carlo opens the doors to those stories that are needed, that are juxtaposed to the moments of a great day. His investigation is relentless, born (perhaps) in one of the many courtyards that were coming back to life when a door was slammed by the wind. A quick look was enough: the rest was coming by itself.
Tribute to Gianni Berengo Gardin - review by Mosè Franchi
Carlo Carletti, Italian wedding photographer, migrates to Venice, the most beautiful city in Italy; paying tribute to a great photographer: Gianni Berengo Gardin. When it comes to the latter, the references fall on his most important works; among these the ferries, a symbol of a lagoon that moves like other cities, but on the water.
It is not easy to trace roads that were of others, but Carletti does it easily: ensuring that his work won’t stumble into something “already seen”, imitated with replication. We’re on a ferryboat (“Vaporetto” in Venice), it is true; there’s a kiss, we see it; yet the picture lives of a singularity of its own, where the gesture of the wedding couple lives in complete disregard of the other characters, which are also doing other things. The role of the one reading the newspaper is essential, because he is performing an action, even if far from the (emotional) one of the couple. The same is true for the individual by the window (his resemblance with Berengo is extraordinary: almost a cameo); he does not just look outside, but he settles his hat.
With this release Carletti puts his signature on a great work of reportage, on a world that he can see photographically and that he can effortlessly translate. The wedding couple lives in a context that he already knew, understood, perhaps even interpreted; so they have entered the scene without pushing through, but by placing themselves next to a world that was already becoming, even without them. The couple is not “posing” in a characteristic location, they have actually found a place that was already their own and that was just waiting for them.
The other stage - review by Mosè Franchi
Light means a lot, or perhaps everything.Especially in Italy. Carlo Carletti, Italian wedding photographer, masters it, portraying a moment that anticipates what will be. Another stage, drawn by this latest wedding, awaits the subjects of this image, and everyone seems to be aware of it: the bride, thoughtful and happy; the guest on the left, that stares at the person in front of her; and the latter too, closing this circle of looks. Even the man sitting alone on the right, is not excluded from it: he observes the scene from his side, he’s a witness of a supreme and imminent call, the one of life.
The light, always that, comes from the background: cutting out, caressing, illuminating and creating vibration; but it also broadens the view of the spectator of this wedding, which seeks an answer in a moment that seems to never end. Maybe a door will open, behind the scene; and a strong voice will pronounce the names. The characters will rise, looking around: one by one. This is how their story will continue. The power of the image is still in the wait, in that time that you can not measure and that grows every minute. They enjoy all the important breaks in life like the weddings, almost indicating that a final consideration is important: not to decide, but in order to confirm, once more, what is happening.
The eternal instant - review by Mosè Franchi
There are moments that seem to last long: it happens in life, more often in front of a photo. Carlo Carletti, top italian wedding photographer, proposes many of those in his weddings, all linked by the same style: a created moment that seems to stop; not in time but in the imagination of the beholder. We wonder how this could happen, without considering that often looking for a rule brings to stiff content and emotions. Moreover, when Carletti shoots weddings, he doesn’t follow straight dictates, he rather isolate moments from a continuous becoming, interpreting and narrating the wedding day, putting his own subjectivity where light and composition come together magically.
In the image above, the subject is the bride’s hand, perhaps her back, so carved and polished like a statue by Canova. But it’s light to drive us: between a gesture that is revealed and something that is happening behind the door. The image emerges from the shadows and lives on contrasts , all well-balanced and readable: the black settles our thoughts, the white over the frame guides them elsewhere, further. Outside it’s a beautiful sunny day and all the bride can do is that last gesture: elegant, mysterious, perhaps superfluous. “They waiting for me there”, she seems to tell herself. “They’re all here for me.”
Bride's smile - review by Mosè Franchi
The wedding photographer Carlo Carletti played with symmetries this time, and also with allusions. The abandonment of the bride is protected by the two tables. The light from above gives value to a flawless formal composition. The suject reads a monologue and her smile lives alone, into thin air; the painting behind is a counterpoint to the scene: dramatic, but assonant; different, yet consistent. We all get carried away, at least once in our lifetime. We realize it later, when awareness brings happiness for understanding it. The history of life is made of decisions, which are often induced by facts and surrounding circumstances. That ‘s where we are carried away and when this happens it’s mostly nice. And after? We can just bend back and laugh at ourselves: pleased by the accident; also when comes the time to be captured, the time of photography. There are moments in this picture that follow each other: the “historical” one in counterpoint, another one to sublimate what happened and the one that still has to manifest itself. Because symmetries are made to get disrupted, where the game of choices continues to unravel through decisions and life rules. There is the whole Italian tradition in the photograph of Carlo Carletti; and is a massive neo realistic one. In the image you can breathe the atmosphere of the Visconti movies, where old and new live together contrasting. History and occurrence (realism and neorealism) go hand in hand, this time without criticism or comments, eliminating unnecessary frills. What you see is a whole becoming, it’s seamless: there is no good or evil; a unique happiness shines through instead, timeless. Much more than a great wedding photo….
Introduction and critical review of my photo exhibition at Spazio Tadini, Milano by Federicapaola Capecchi
Carlo Carletti is the creator of a new style that goes beyond the gender itself, the gender rules, and the same power of images. Its sensitivity can capture the feelings, landscapes, faces, as well as to document the transformations as a poetic metaphor for the beauty of the world and of human lives. Making often epic narrative.
Much has been written of him. Maria Pia Pozzato in “The wedding photography as a new artistic genre,” noted about Carlo Carletti “the aesthetic act that is the basis of his intentions and that goes beyond the mere expression of feelings, or the memory of an event simple fixation intent . […] “ and makes it a fascinating aesthetic and semiotic analysis. Denis Curti claims that Carlo Carletti has “a view capable of telling. Collect scattered feelings. To describe emotions. To return the sense of alot of stories, together with reflection on photography and its persistent memory.
In fact, in thought and in Carletti images, the connotation of which Roland Barthes calls
reliques , as a symbol and sign of the inexorable dissolving action of the time, it makes even more obvious and understandable within his creative point of view. […] ”
This exhibition celebrates one of the first to turn the wedding photography in a research of an author, its narrative choices, reportage and artistic experimentation, his particular language, creative
and intimate at the same time, suitable to rise to a co-starring role in searches as an author.
It underlines the result of his approach a a pure observer / witness to the event, so much so that he does not want to meet the couple before the big day. Do not know about them, their history, relatives etc. makes his vision curious when shooting.
Just to highlight the skill of Carlo Carletti as wedding photographer to know and translate time and narrative moments , two concepts are important. These concepts come from philosophers, especially to Paul Ricoeur and Aristotle, and these concepts are closely related to humans, as well as reportage.
There is a narrative temporality in the wedding photographs of Carlo Carletti that makes the story <the guardian of time> would say Paul Ricoeur. His photographic language, rich of shots, angles, rhythm, close up and distance, shadows and chiaroscuro, with points of view as games, makes exactly what Ricoeur theorizes: preparing to tell a story, placed on trial – shot after shot – a tangle of facts and events in the form of storytelling, he ”figures” the time in which these events take place as a time of an end and intention, as a time for practice and projects…..
In other words he is telling the time as human time.
So his story becomes <the keeper of time> without being in conflict with the dissolving action mentioned by Denis Curti.
Carlo Carletti’s wedding photos, the curiosity and the thrill of the unpredictability with which he likes to look, eye and lens, move right in the ontology of the story and in the story as the creator of the sense. In each of his wedding photographies showed in this exhibition time and narrative are part and founding rhythm, much as the use of a black and white that sometimes plays with the contrast of light to draw compositions with highly suggestive atmosphere.
Even trivial objects become fascinating spaces that seem to emerge from silence, losing their material essence and changing in notes of the music of the feelings, of the relationship between people, between people and place, of the landscape and its psychological impact, of the different views.
They come together in a narrative approach, photojournalistic, of anthropological observation also, playing with time and narrative as forms of meaning.
Kant would say forms of the inner sense but I like to think to the sense of identity, even of the told story .
The same human identity, individual or collective, if we think about it is an identity narrative. Perhaps
it is for this reason that the time of the story can be interpreted as authentically human time.
And truly human is the story of Carlo Carletti, his images, always perfect, the result of a unique creation, a lively intelligence, able to recognize and give for each wedding photograph an elaborate and compelling story, even in the difficulties inherent in the private sphere – the silent conversations, the looks, the atmosphere -.
The 29 wedding photographs in the exhibition, in a continuum of time and narrative, also mark an intriguing game between reality and representation, as well as the relationship between the author and his vision. The photograph thus becomes also a place where knowledge and experience intertwine art, film, literature, the environment, the view, the experimentation, the art photography, the flow of life.
I do not forget the technique, but in this exhibition the focus is more to the story, and the narrative reportage of events. To the time and the story of photography. The uniqueness of the style of Carlo Carletti is in free flow around the art of the moment, which makes it a powerful and fascinating visual language, curious in showing originality or even quirks and oddities, roots, or avant-garde or tradition.
A personal creative vision that sometimes elevates intense portraits, subjects and situations to an epic
dimension, without losing spontaneity and attraction.
Landscapes, people, spaces, objects become language of documentation that interpretation makes narration, narrative, poetry. Epic.
In Aristotle’s narrative sense.
Aristotle said that a good epic narrative (as exemplified by the Homeric poems) is a “whole” made possible by the time
that narration have , by the form of historical treatment, by the action of the actors that determine the plot narrative and organize the events.
So Carlo Carletti – facing important phenomena such as human relations, ritual, society, religions, cultures – as in Greek tragedy he is set in a representation included in a single day, where the concatenation of time may result in the concentration of the protagonists and of the story. He is in front of a “whole”, a total and complete action, which has a beginning, a means and an end of which Carlo Carletti became a sort of view capable of telling a wedding story and its meaning. So the community of “Florence and Venice in 2015,” some Jewish weddings by Carlo Carletti, the “monument Bride” Castelfiorentino 2013, the childhood of “Fiesole 2015 – Ravello 2014- Seggiano 2015”, the subjects of Villa D’este 2015 – between reflections and diaphragms – Sovicille,
and Spilamberto between shadows and darkness games and, life, glimpses of faces, conversations, profiles and shadows make content
and sense of identity and stories.
Carlo Carletti also appears to be careful not to show only “what goes into the frame”, but also to all that our imagination can insert into the narrative and moments of sharing full of humanity. Carlo Carletti as wedding photographer , with his vision and style, can think the time and reveal its aporias by comparison with the poetry of the narration. Through the mediation of the story (mythos), the living present tense between the close of the past and the imminence of the future, seems to show as it is not possible thought time unless told.
In a wedding he returns, from a critical / philosophical point of view, to a festive occasion unfortunately often stereotyped and teeming with sentimentality cuts, his true nature and dignity as unique human ritual, connected to humanity and its evolution. A photograph that wants to show the emotional aspects of existence, the community as the individual;It reveals like an important form of neo-realism – new customs and traditions, multiculturalism, new couples “mixed”, homosexual unions, the family portraits in the change of the family today, sociability in the tradition and celebration, extended families,
A wedding photograph that enhances the reportage, portraiture, fine art photography. It is rare, if not nonexistent, to see the wedding photographs in important exhibitions.I hope this exhibition on wedding photography by Carlo Carletti can corroborate even more the reason that this kind of wedding photography is an important language that requires a great art and fine skills, even more so today with countless and continuous social changes; to show how the wedding photography has artistic integrity, private and social.
Presentation of my Wedding Photography Book in Milan, November 2013
It was a great pleasure to be in Milan in the temple of photography to present my book in November. As I have had the opportunity to say many times over the past few weeks, never would I have thought to be to reach this prestigious milestone as a professional wedding photographer!
My book is the collection of the most expressive and creative wedding photos I have taken during my career. The fact that my work has been accepted and presented by FORMA is a significant achievement next to the two WPJA awards (2006 and 2009).