Alfredo Cristinziano
Interview • Aug 26, 2020 by Scott Marlin
“At one point I only had evenings to do photo shoots, so I was limited in my use of natural light from the start—I believe the darkness found me.”
After more than a decade making photos strictly for himself and collaborators, fine art portrait photographer Alfredo Cristinziano is making the jump to Patreon, and he’s damn excited about it (and we are too).
The Montreal-based artist is looking forward to engaging with fans in new ways through the platform and finally being able to share his work censor-free. For Alfredo, who’s built a following with his smoky, film-noirish scenes and collaborations with an international roster of femmes fatales, the most exciting prospect is the chance to share his work in its purest form.
On the eve of his Patreon’s launch, Flash Punk caught up with Alfredo to talk shop, style, and learn more about his new venture.
How long have you been taking photographs?
Around 12 years, roughly.
Could you talk a bit about your photographic journey. What excited you at each period?
I started with digital. It was a thrill at first, but I soon became bored with it. The fact that I was taking so many pictures, and had to process them, made it feel too much like work. I was following film photographers, such as Ryan Muirhead, who pushed me to try film. As soon as I did it, I fell in love right away—the look of film, the fact that you have to slow down, the cameras, the wait until you get the photos, all the things that make film great. All those film cameras led me to try medium format. With medium format every shot becomes even more important since there are fewer in one roll. The results however are breathtaking, especially on the Pentax 6x7. I love medium format, but I do feel I prefer the look and granularity of 35mm.
I now shoot hybrid, film and digital, and get the best of both worlds. As for virtual shooting, I saw this as an opportunity to shoot with new people. Even under normal circumstances, I don’t venture too far from Montreal. It was fun. I only did it for three weeks. It wasn’t easy trying to direct from a distance. Models had to do everything I would typically do on a shoot. It was frustrating not having control over the finer points. That’s probably why I cut it short.
“Shooting virtually is a concept you have to try to believe. It’s far from easy, sitting there while you tell the model how to light the scene, how to place the phone or laptop, how she could pose, when the only thing she can see is a close-up of your stupid face, bless them.”
Considering your following and prolific output, some readers might be surprised to know that photography is not your main job. Do you find it important creatively to keep a day job? Do you learn things in your day job that inform your creative work?
I work in video game development. I’m a texture artist, so I do a lot of Photoshop work amongst other things. My work definitely complements my hobbies and vice-versa.
One of the striking aspects of your work is your use of shadow and contrast, particularly in dimly lit environments. What inspired your interest in dark-toned photography?
Cinema inspired me to go for the moody scenes. Films are my main inspiration for photography. At one point I only had evenings to do photo shoots, so I was limited in my use of natural light from the start—I believe the darkness found me.
What are some of your go-to tricks to shoot in these darker environments?
Be bold and push those limits. Visualize what you want to achieve. Some say that with film it is best to over-expose, or shoot lighter to get detail in the shadows, and then darken your images in post. I would say don’t do that—I expose the film in a way that matches what I’m seeing. You can break some of those rules. However, don’t hesitate to set up the scene and set your focus with the lights on!
Following several high profile abuses in the photographic community, you’ve spoken about the privilege it is to collaborate with models. Could you share a bit about your thoughts around consent and respect on a shoot? What can the next generation of photographers do to respect and empower their collaborators?
First of all “photographers” need to stop being creeps and send random messages hiding behind keyboards. For me this is classless. Sure one can compliment a model, but there is a thin line here.
Also models need to stop shooting with just whoever owns a camera. I know this is a strong claim. But a lot of these guys don’t get into photography for the art of it, and it shows. Don’t hesitate to ask around. Ask models he has worked with before to get an idea of who the photographer is. Meet him beforehand. Stalk his Facebook. [laughs] Do whatever you need to do to see if this guy (or girl) is legitimate. The same goes for the well-established photographers. Some of them use their notoriety to get what they want. Go in with your eyes open.
“With Patreon I feel I have a platform to grow, where my work can be seen without censorship—that alone is great.”
For newer photographers wanting to create a respectful environment, I would suggest start by making your intentions clear before doing a collaboration. Explain what you want to do, what is the purpose. Show the model a mood board. Ask them if they are comfortable with it, and ask them what their limits are.
On the shoot, don’t be a creep. Compliments can be okay, but like I said: thin line. Instead, tell them what they are doing that’s working, be positive, bring confidence, be cool, be funny. And please, no touching. Nobody needs to be touched. Keep your distance. It’s okay if they want to bring a friend—even suggest it—just not the jealous boyfriend. [laughs]
Your work has persisted through the rise and fall of Flickr and Instagram. What role does social media play in the way you think about your work?
Social media has inspired me and at the same time it has brought me down. Especially the rollercoaster that is Instagram. It’s not what it used to be, unfortunately. The algorithm is gonna play with your mind, telling you what and what not to shoot, what to post, what not to post. The likes can get to you and influence you in the wrong way. I could just say, “do whatever you want to do,” but in truth it’s an eternal struggle. At first Instagram pushed me to go out there and shoot. I was getting a positive response, more and more visibility, the world was mine, until it just stopped.
These days at least I’m not letting it get to me, but what it has become is sad—a place to influence people with all the wrong things, lost souls influenced by lost souls. Flickr also had its great days. I met lots of people there, great photographers. It was a place for photos, nothing else. That said, it was tough to branch out. It’s not the place to meet people or models or brands for collaborations. I see it more as a portfolio than anything else. With time I became bored of it.
It’s the dream of many creatives to reach a point where their art is self-sustaining. How do you think about the cost of each shoot and the sustainability of making art in the ways that feel truest to your vision? Does social media fall short of the mark in sustaining creatives?
I try not to think of that! [laughs] Photography in general is a very expensive hobby. The gear, the locations, the time, the processing—and add film costs to all of that. Creative shooting is a luxury. You have to ask yourself, “why am I doing this?” At first for me it was to get out there, make a mark, get noticed, which could ultimately lead to paid gigs.
Right now I’m doing it because I love to shoot. I love to make ideas real. However, I don’t have all the time in the world, and it’s getting expensive.
Since I hardly make a cent with my photography, I was at a crossroads. That’s where Patreon came in. I was on the fence about Patreon for a long time. I was struggling to ask for support. I still have a problem with it—I find it hard to know that some friends are paying each month to support me, and my Patreon is only a week old! [laughs] We’ll see how it goes. Still, Patreon was the logical choice. If it can cover just a part of those creative expenses, it will have been worth it for me. I also feel more inspired to shoot now, since with Patreon I feel I have a platform to grow, where my work can be seen without censorship—that alone is great—and tangible support to back that up. Instagram on the other hand is still a great marketing tool to bring people where you want them to go. The reality is that without it, I would be lost out there.
With the lockdown in Canada you were quick to develop a style of virtual photography. What have you learned from this period of your work? Are there any lessons you hope to carry forward as we emerge from COVID measures?
I remember some photo purists making fun of these virtual shoots when they first started. I thought their criticisms were so ignorant. I know it’s the internet and memes are cool and all, but still, virtual shooting was our way to stay creative through a webcam or phone, stay connected, meet new people while working with models you would never dream of collaborating with. The world can be full of jealousy sometimes.
Shooting virtually is a concept you truly have to try to believe. It’s far from easy, being useless sitting there while you tell the model how to light the scene, how to place the phone or laptop, how she could pose, when the only thing she can see is a close-up of your stupid face, bless them.
It makes you think about what photography is, really, and makes you see where the artistry lies. For once you had a break from gear. The film versus digital feud took a seat. Nobody was bragging about what phone they shot this with or what laptop had the best camera. It was purely the image you could get from the interaction, how you could get it and what you could do with it afterwards. This pure creativity separated the photographer from the artist, and if you don’t appreciate that, I suppose you know where you stand.
“It sounds cliché, but one needs to find their own voice. It’s okay to be inspired by others, but lean into your own style.”
With the relaxing of lockdowns, what have you been most excited to get back into—photographically or otherwise?
Just to go back there to shoot is a blessing, talking with the real version of a person instead of their virtual duplicates.
I’ve loved dusting off the cameras once more, bringing film back to the lab. The bank account suffers from it again, but then receiving the shots is such a great feeling, like opening a gift.
Which models or muses are you most inspired by right now? What would be your dream collaboration?
Ummm, strangely no names are suddenly popping in my head. I would love to be able to travel and collab with people all around the globe, but I don’t have that luxury or the schedule to do this. Self-sustaining would be the dream in that case, if it could make traveling possible. I guess dream collaboration would be with other artists, actors, interesting faces around the globe.
What cameras, film, or other gear would you bring to that dream shoot?
I would probably bring a ton of cameras. [laughs] My trusty Canonet ql17 GIII, for sure. My Pen FT, no doubt. I would also hope to have enough storage to bring my Pentax 67ii and also bring the goose, the Polaroid 600SE, because I would have to shoot some of that FP-3000b. My only digital camera would have to be in that bag as well, the Fujifilm X-Pro2. As for film, whatever I would have, some expired films could be nice just to live dangerously! [laughs] Some Lomo 800 and Tri-X always, but since it would be a dream occasion, shooting Cinestill 800T or Portra 800 would be a blessing, thus making this a long-ass shoot.
For those of us aspiring to success as fine art portrait artists, what are one or two tips that you wish you knew when you were getting started?
It sounds cliché, but one needs to find their own voice. It’s okay to be inspired by others, but lean into your own style.
Do the work. Push yourself outside that comfort zone. Experiment, take different gigs, try not to think of the money and the fame. All this can make you a better artist.
About Alfredo Cristinziano
Alfredo Cristinziano is a Montreal-based fine-art portrait photographer. Follow his work on Instagram @alfredoziano, and subscribe to his Patreon at patreon.com/alfredoziano for access to full photo sets, signed prints, and more.
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