Communicating through a lens: the talent of Delfino Sisto Legnani

The photographic vision of Delfino Sisto Legnani, in its many facets.

A bright and colorful space, where every object seems to be on display to offer inspiration, a point of view, the development of a process and a creative reasoning: this is the refuge of the multifaceted photographer Delfino Sisto Legnani. Thanks to his degree in Architecture, his vision of photography is scientific and philosophical at the same time: a design approach to the photographic lens that has allowed him to become an international point of reference for architecture and design.

It is in fact an open dialogue of continuous exchange with places, spaces and objects together with a great enthusiasm that has led him to shoot for the most important magazines in the sector such as Domus, to name one above all, but also to curate art direction and campaigns for large international brands. Not only that, he also founded together with three partners a non-profit space where artists are forced to leave their comfort zone, to undertake new practices.

Let's start from the beginning. How did you get into photography?
I came to photography through architecture, where the theme of representation is certainly important. Speaking of projects: first you have to represent them, you have to draw them, do montages, take photos of the locations. Work, in any case, with images.

"But the real turning point for me was meeting Ramak Fasella, an Iranian photographer who lived in Italy for 15 years, taking photographs for architecture and design magazines such as Domus and Abitare. I came to his studio almost by chance, during a party."
Dolphin Sixtus Legnani

I was an assistant at the Polytechnic for Giancarlo Floridi: from one day to the next I met Ramak and I understood that this passion for photography could be a real job. Ramak then left, he gave me a couple of jobs that went well, so I continued with what he had left here in Italy. 

And from there, what was your path?
It was all quite casual: the goal was definitely to emerge, to be able to express my point of view. This then happened in a really curious way: I started with Vogue Italia doing portraits during events, which is a super technical job.

"But while the other photographers, those from the agencies, were all standing straight up to take these photos, I moved slightly, I stood a little to the side. My light, which was completely different, was very popular and from there they started calling me to do portraits."
Delfino Sisto Legnani Portraits, however, don't amuse me much, unless there is a particular person to photograph - and it's difficult - let's say it doesn't happen often.

Do you prefer objects...
Yes, or rather the project: telling and criticizing the project
From the city, therefore from a humanistic, social and political project to the project of a button or a handle, the scale varies greatly.

"My photography is documentary and ranges from super tight detail to the widest urban view. Project is everything."
Dolphin Sixtus Legnani

You told me before that you worked for almost 10 years with magazines
Yes, I started with Domus, which was orphaned by Ramak. In the meantime, Joseph Grima became the director and he stayed for 3 or 4 years: it was in those years that I matured, in the sense that before I had no specific technical skills.

So you've never been to photography school...
No, unfortunately, although I would have liked to very much. I learned on the job, from books, on the internet.

What does photography mean to you?

"Photography is a way of communicating reality."
Dolphin Sixtus Legnani

Could we say that it is the filter through which you look at things?
Yes. First of all, photography is a job for me. Sure, it's a passion, but it's also what gives me a living.

Are there any photographers or artists you look up to or have looked up to, who represent a bit of a point of reference for you or who have influenced your path?

"I can definitely consider Ramak my master. He is the person who introduced me to photography. I like the whole Düsseldorf school."
Dolphin Sixtus Legnani

If I had to buy a photo I would definitely buy their work. Becher, Gursky or Ruff. These are definitely the photos I like.

Let’s talk about your method or a practice you adopt. What is the first thing that strikes you about a space?
The first thing I look at is definitely the light. I try to bend the light, the light conditions to what I have in mind and what I perceive. Then I try to synthesize what the lines of the project are.

It seems very maniacal, almost a form of fetishism...
I definitely have a fetish for details. From Carlo Scarpa onwards, everything that is detail - the finishes, the intersection of planes, of materials - I like very much. 

What is your relationship with design?
I would have liked to be a designer. I have a particular passion for shapes, for materials. I really like playing with materials. Does the same apply to fashion or does its temporariness make it completely different?

It's different. Fashion is definitely instantaneous, something very tied to contemporaneity. Architecture is too, for different reasons. But working for fashion is often less interesting for me.

Why?
Seeing fashion projects, collections where there is an idea and a development that makes them truly interesting is very rare.

Are you also pursuing your own personal artistic discourse?
I have had several exhibitions. One in Rome at the Campo gallery.
I also have a studio, which I opened in 2015, where there is a non-profit exhibition space. MEGA is a place where authors are called to express themselves in a way that is not in line with their activity. For example, a photographer must not take photos, a painter must not paint. I like this idea of ​​removing the artist from this comfort zone. It is curated by me, Davide Giannella, Giovanna Silva and Joel Valabrega. 

You know that the theme of the project is talent. In your opinion, what is your talent?
I don't know. I can cook quite well, I have a great relationship with dogs.

"At work it's probably the ability to bring ideas, a different point of view to the client even though this gives you very narrow margins."
Dolphin Sixtus Legnani

We can say that another of your talents is art direction.
More than half of the work that comes out of my studio is not shot by me. In the sense that other people physically shoot it, following my guidelines, but they put a lot of their creativity and vision into it. This is the beauty of a studio.

Starting with people who have grown up with me, but who are starting to take their own independent path and express themselves through their own language, which I like and appreciate. It's interesting to have different points of view.

Your next projects?
The next project is a publishing house, linked to authors who have to do with the work of my studio. I am also thinking of an agency that offers even broader services and I have been working for two years on a book about Ramak. And then there will be an architecture magazine OVER, where we will also talk about fashion, society etc, but with a very specific slant.

"The Talent of Mr." is a project by Paolo Pecora Milano that investigates, through a series of interviews, Italian talent at 360°.

We have selected different stories that represent the excellence of Italian craftsmanship: from communication to creativity, to architecture, to cinema and the world of food. To tell a lifestyle that is unique in the world. The project in collaboration with the curator and journalist Alessio de'Navasques, was born with the idea of ​​focusing on that ineffable element of Italian talent, difficult to define and describe, an expression of a DNA and a cultural background that is lost in time.