My name is Stefano Pinci and I am a professional photographer and videomaker specializing in hotels, lifestyle, landscapes and corporate reportage.
I was born in 1980 and my first approach to photography and the darkroom was in third grade.
Among the various interclass activities that took place weekly in my school there was photography (yes, it was a public school that had a darkroom, a woodworking shop, a printing shop, a copper art lab and much more: it was cool).
It was there that I first took and printed images.
After that experience, my interest in photography did not explode but remained dormant, waiting, like burning embers under the ashes.
It was thanks to a vacation in the summer of 2000 that it was rekindled.
More than rekindling, it is a beautiful explosion!
During those two weeks I literally appropriated the camera that a friend had brought with him, and it was the rediscovery of the world I had known so many years before.
Upon returning from vacation I immediately dusted off Dad’s old Pentax and never left it again.
The following year, after winning the first prize in a local photography contest, I bought my first enlarger and from that moment on I spent quite a few Saturday nights locked in the bathroom at home printing images.
In the meantime, after the scientific high school, I enrolled in Engineering (yes, engineering…), but at the fourth year and with twenty exams on the university booklet I decided to give up everything to devote myself entirely to this passion: photography.
So I decided to take a year off and, three months before its abolition, I started my military service as a conscientious objector in an association that supported disabled children. In the remaining time I worked in a call center to put something aside for my photography studies that I had already decided to undertake the following year.
At the time I was still convinced that the year of compulsory military service was a stolen year (10 months in fact), but I realized quite quickly that it would become one of the best experiences that could ever happen to me. In that association I continued to volunteer for another 10 years, involved family and friends and participated in various national gatherings of Special Olympics.
In 2004 I attended the annual photography course at the European Institute of Design in Rome and in 2006 I met, at one of his exhibitions, Alessio Pizzicanella, renowned photographer of musicians and stars, with an important past in the editorial staff of NME, the historic English music magazine.
It was this meeting that changed everything.
Alessio didn’t take me with him, but sent me to work with a photographer friend of his in Milan, Giuseppe Toja, a big name in the world of still-life.
For me it was a dream come true.
I arrived in Milan on July 9, 2006, the day of the World Cup final.
The World Cup final is the mother of all matches, as my father wrote to me in a text message as soon as he landed in Orio that afternoon. The match that, especially when you are a boy, you dream of watching at home, with your lifelong friends, with your family.
I found myself, instead, in a city that was not yet mine.
As fate would have it, that was the night of the blue triumph, and while the whole of Italy saw the dawn break in the streets and squares of every city and town in the country, at 2 a.m. I was already in bed because the next day would have been my first day as an assistant photographer in a studio in Milan.
I know this may seem like an insignificant anecdote, but in the years that followed it took on a great symbolic value for me: giving up partying until the morning was the emblem of the dedication and passion that I still put into every photo shoot and all the sacrifices I experienced to become and be a professional photographer.
Throughout that period I had the opportunity to collaborate with many high-level photographers, such as Giovanni Troilo, Maki Galimberti, Carlo Gilioli, Lionel Pasquon, working in the historic photographic studios of Condé Nast in Corso Sempione.
on the set in Cortina D’Ampezzo with Giovanni Troilo and Christian Ghedina
In 2007 I became Alessio’s personal assistant, with whom I worked until 2011 and I followed him on the sets of artists such as Ligabue, Francesco Renga, Negrita, Negramaro, Alessia Marcuzzi, for magazines such as Vanity Fair, Rolling Stone, Sportweek and Style Magazine.
In addition to the work on the sets, I have edited entirely in Photoshop his photo shoots, which have become album covers, cover stories, editorials, press kits for major record companies and advertising campaigns to national circulation.
These were years in which I had the fortune and the opportunity to gain experience in the field in almost all disciplines of professional photography: still life, portrait, fashion, reportage, food, advertising, stage photography, events.
It is quite curious that, later on, I specialized in the only field I had not dealt with until then: interior and architectural photography and its particular application in the field of hospitality.
Today I am aware that the training I received working as a photographer’s assistant contributed profoundly to the moment when I was able to reinvert myself, quite unexpectedly, as a hotel photographer, managing to reap many professional satisfactions in a short time.
In 2010 I opened my own studio in Palestrina, a small town near Rome with a great history behind it, where I was born and raised.
However, I did not remain chained to provincial life.
In the same year I started to collaborate with Wihp, a Parisian company specialized in marketing for hotels, and I became one of its leading photographers.
Over the years, working for hotels has continued to progress and has become a fundamental part of my professional life.
Since then I have photographed over 200 properties in 17 different countries around the world, including some of the top hotels in the industry, such as the Library Hotel Collection in New York and Toronto, the Singer Hotel in Rome and many others.
Today, among my main collaborations in the hotel industry are Travel Singularity by Simone Puorto, Swing Strategies by Eleonora Zoccoletti and Blastness.
While hotel photography is my main occupation and passion, it is not the only thing I do.
I follow several companies that deal with furniture, design and Made in Italy as Manodòpera Italia, Simposio Design, Brenta Imperial and M Group.
I realize still life and food catalogs for Sanifarma, Contacta, Grammo, Zilberhaar and others.
Finally, I have been collaborating for several years with Duesse Communication, creating cover stories for their Business magazine, Tivù and Box Office.
In 2014 I made my first photographic exhibition entitled “Usability Interface“, a story for portraits dedicated to the world of disability.
Through this research work I represented and idealized the activities and passions of the guys of the Association Senza Frontiere with the aim of showing how people considered disabled are not useless but can be integrated within the social fabric. Because anyone, with their work, can generate value, useful both for their personal growth and for the community in which they live.
 |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
