From casually taking pictures as a teen in Naples to a full-fledged career, Italian photographer Vito Fernicola learned from a young age about the impact his photography had on subjects and the ability to create narratives from an image. His admiration of his mother inspired Fernicola to seek “to portray strong female characters” that showcase the vulnerability and robustness of his work. Experimenting with both analog and digital formats, Fernicola has gone on to work with The Attico, Vogue Italia, 032C and more. Models.com spoke to the photographer about producing emotions through images, working with like-minded creatives, and his advice for upcoming photographers.
Vogue Italia June 2022 Cover | Image courtesy of Cadence Image
What first drove you to photography?
When I was 10 years old, my uncle gave me an analog Canon compact camera. From that moment on, I had it with me all the time. When I was 15, a friend asked me if I wanted to take pictures at events he organized in Napoli, my hometown. To see what impact an image can have and how much it can mean to a person was a very special feeling. It meant a lot to me to see a subject’s reaction when I took a picture of them, if they were happy with it, or, on the other hand, if someone asked me to delete their image, it triggered me. In the beginning, I used to walk through events taking those images. Later on, I got my corner, where people came and stood in front of a photo wall. That was the moment when I realized I could not only take a picture of someone but also can create something. I was the one deciding what was displayed, which angle, which pose, and which background would appear in the frame. This idea of creating a second reality is something which is, until now, very similar to all fashion shoots. You make a story with a narrative around the person you shoot.
You’ve frequently worked with The Attico since 2018 and recently shot their Fall and Summer ’22 lookbook. What draws you to their brand?
I already started working with them in 2016, so right away, when they founded their brand. Gilda and I have been friends since we were teenagers, and later, I met Giorgia through Gilda. Our relationship is special because we grew together as friends with our careers. As we are very close, there are ongoing conversations, so I know the brand well, which helps when shooting the collection.
The Attico Fall 22 | Image courtesy of Cadence Image
For the June Vogue Italia cover, you shot Adut Akech. How was it like shooting Akech and working alongside Imruh Asha to create a Mediterranean-inspired shoot?
For this shoot with the entire team in Pantelleria, it felt like a very collaborative process. Even though I have a clear vision of a story when I come to a set, I love working with people who have their ideas they bring to set. Both Imruh and Adut are also like this. I appreciate it, as it shows that someone puts thoughts into what we are achieving together, which can add a new facet to the project. This shoot was a beautiful experience to see the different ideas become one story.
What inspires you creatively?
I grew up in a family full of women, surrounded by three much older sisters, so this greatly influenced my perspective on things. In my images, I always want to portray strong women. My father died when I was just 18. Seeing my mother dealing with this situation is part of how I want to capture women. I love a strong female character that shows, in a certain way, that there was an intense journey in the past. The ups and downs that created a character. I was automatically drawn to women who represent this type of woman in the fashion world. When I shot Donatella Versace’s portraits, it was a very special moment in my career as she is the kind of woman who interests and inspires me. She doesn’t hide the pain she’s been through and clearly shows how you can use this to create something very special. Many great models are able to fill this role on a shoot. They are able to show both their strength and their vulnerabilities. A woman I really would like to have in front of my camera is Sophia Loren because she is incredibly chameleonic in the way she portrays the different characters. In the movie “Ieri, Oggi, Domani” she plays three very different women, and like in all of her roles, she seems to become the character she portrays.
The Attico Summer 2022 Lookbook | Image courtesy of Cadence Image
What has been your most memorable shoot, and why?
It’s hard to point out one, but in general, I realize that the shoots that are somehow unexpected & challenging are, later on, the most memorable ones. I went to Okinawa to shoot a story for Vogue Japan. I was super excited about the landscapes I would find there. On arrival, we recognized that there was a huge storm the following days, so we shot mainly in the motorhome and the base camp. The pictures I shot there are still some of my favorite ones.
What do you want audiences to feel when they see your images?
Preparing a shoot is all about inventing a background story for the shown character, and therefore it involves a lot of emotions. I often ask myself, “what did the person live through, why is she here in this specific location, why is she in this pose, and why is she wearing this dress or this hairstyle?” To be honest, in this process, I am not really thinking about the audience. Creating a story doesn’t mean I need to tell this exact story. So for me, it’s not about the audience sharing my exact emotions, as long as they create their own stories when they see my pictures. Maybe in their mind, the character I show feels completely different than what I had in mind while taking the picture.
D Repubblica Magazine editorial | Image courtesy of Cadence Image
What advice would you give to up-and-coming photographers looking to start in the industry?
Trust yourself, focus on your idea and follow your vision. That’s the only way you can create your very own approach. You won’t ever take a picture everyone likes. I also think it is essential to allow yourself to experiment and that it is possible to have different points of views when telling a story.
What mediums do you usually like to experiment with in your work?
I like to shoot both analog and digital, but for me, it depends on the story. It can happen that I am shooting a big story on just one specific camera because it feels like the perfect fit. For another project, I might experiment with many different cameras because I feel the variety makes it stronger. I’m not permanently hunting for a new vintage camera, but I like to have my collection with me, and from time to time, I find another one that interests me. I also still work with the very first camera I got from time to time.
Image courtesy of Cadence Image
