Starting out taking photos of tourists and American soldiers on the streets of Rome, Secchiaroli quickly realized it was more profitable to sell photographs of celebrities to the newspapers. Knowing journalists were constantly searching for a fresh angle, Secchiaroli decided to stage confrontations with his celebrity prey -- an alarming flash, an overturned table, a starlet on the run -- creating little incidents, as he says in ''Tazio Secchiaroli: Greatest of the Paparazzi', to ''produce great features that earned us a lot of money.'' And, not so incidentally, earning the ‘victim’ a lot of press coverage, thus satiating all parties involved. He and his fellow photographers, Sergio Spinelli, Velio Cioni and Elio Sorci, would chase celebrities on their Vespas and try to photograph them unaware. Secchiaroli found that magazine editors, bored with staged portraits, would pay dearly for what he called surprise pictures of stars, especially if they were caught in compromising positions.
Basing Fellini’s character ‘Paparazzo’ on Secchiaroli, after La Dolce Vita came out, Secchiaroli's reputation soared. Various filmmakers and stars, including Marcello Mastroianni and Sophia Loren, used him as their personal photographer, in this capacity Secchiaroli turned into the star’s companion and confidante. Ironically, a film that reflected Paparazzo’s-- and thus Secchiaroli’s-- ‘other’ or ‘outsider’ status in the celebrity world was enough to grant him unrestrained access inside it. For the next twenty years, Sophia Loren took Secchiaroli with her around the world, and on these voyages the former was privy to snap the portraits of many other international stars. Retiring in 1983, Secchiaroli saw three solo exhibitions of his work at such notable places as the Photology Gallery in Milan and the Palazzo delle Stelline.
This image is from the film 8½ (1963) which tells Fellini's autobiographical tale of a director who finds himself at a point of crisis. This image is of Fellini himself, reverently poised over candlelight, in deep reflection, mirroring the desperation of his principal character. Stamped on the reverse: ‘CINEMA’ ‘FOTO DI TAZIO SECCHIAROLI’
Inscribed on the reverse in black ink: ‘FELLINI Federico HUIT ET DEMI’
Also inscribed in blue pencil:
‘8 ½ Fellini’
Vintage photographs presented by Flash Projects include pre-owned photographs, including press images which may have been frequently handled. Flash Projects is happy to send condition reports of any contemporary edition or vintage work on request. Condition reports are provided as a service to interested parties, and buyers should note that descriptions of property are not warranties. Each item is sold ‘as is’.
Federico Fellini, 8 1/2
Vintage Gelatin Silver Print
23.6 x 30.4 cms (9.27 x 11.95 ins)
Stamped on reverse:
CINÉMA FOTO DI TAZIO SECCHIAROLI
Inscribed on reverse:
HUIT ET DEMI