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Eighteen minutes to talk about...

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to talk, to try to talk about
the good use of the world when,

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a short distance from here,

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we have damaged Liguria, Genoa.

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Eighteen minutes
not to talk about photography

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but to talk, to try
to convince you, if I can,

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of how small and big stories,

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can bring a small social change

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and change not the world but our worlds.

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Now, 17 minutes and 30 seconds
to tell you about the birth of my idea,

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the foundation of Shoot4Change,
how I had it, how I developed it,

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how it is growing
and how it is consolidating.

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Shoot4Change was actually born
almost by chance -

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as it often happens
to understand in retrospective.

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It was born as a blog.

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With an old expertise,

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an old personal story of blogging
and travel photography,

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I started a new one
after the earthquake in L'Aquila,

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and just on the eve of the World March
for Peace and Non-violence,

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two years ago,

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blogging on the social change potential
of the great photographs of the past.

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In a short time,

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a community started to develop,
even if I didn't feel its presence.

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At the same time

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as the World March
for Peace and Non-Violence

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started from Oakland two years ago,

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I was contacted by the organizers
of the march from Oakland,

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and they asked me to cover the event
of the march while passing by Rome.

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Having other parallel lives -

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because Shoot4Change
is my second parallel life.

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Sometimes I feel not so much
like Clark Kent and Superman

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but more like Donald Duck or Goofy

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and their undercover alter ego
for the parallel lives.

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So they ask me to cover the march
but I was not available that day in Rome,

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and so I published a post that I titled,

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probably in a manner
even a little too provocative,

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"Call to the Photographic Weapons".

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See how this oxymoron often returns
in our terminology.

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Shoot4Change is already an oxymoron

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because in English shoot means
at the same time to take a picture

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but also to shoot,

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and change is both the social
change but also money,

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so much so that during
the first days of life of our network,

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it became a network of volunteers
from all over the world,

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I had a big peak of accesses
from Washinghton!

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Evidently they feared
that we were a group of mercenaries

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shooting for money!

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Then they reassured themselves

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and realized that we are actually
just poor street photographers.

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So, I made this call
to the photographic weapons,

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and in a few hours

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My mailbox was literally
overloaded with messages

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and in a few days we managed to cover
not only Rome, not only Milan

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but most of Italy down to Lecce.

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New York, San Francisco followed,

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until we reach the end in Argentina,

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on the peaks of the mountains of Argentina
where the march ended its journey.

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Well, there I understood
that maybe something could be done.

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I understood that people wanted
to go down the street

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and tell their own story.

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Their stories, from their
own point of view.

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So we started, we kept blogging,

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asking people to not only
to tell us their stories of proximity -

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one of our slogans, of our claims
is "Shoot Local, Change Global" -

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but to come and do it with us,

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or to ask us for help
when they were unable to do it alone.

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One of the messages that I try to convey,
that we try to convey,

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with our activities
and with our reportages

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is not only to tell a story

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but not to pretend
that we must necessarily emulate

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the great photographer
of the National Geographic -

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by the way many of them
are our voluntary members,

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from Ed Kashi in New York
for National Geographic USA

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to Alfonso Rodriguez
National Geographic Spain

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and other great professionals,

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but that with our motto
“Shoot Local Change Global”

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it is enough to go down to the street,

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perhaps armed just
with a compact camera, a smartphone,

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and tell the stories of proximity.

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What we called Social Photography Km0.

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Hence the claim
Shoot Local, Change Global.

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The aim, or rather at the end the result
that we have achieved

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and that we are achieving
and that we are consolidating,

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is an invitation to raise awareness,
to observe what happens,

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to attentively look
at the reality that surrounds us,

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asking people to take an active part
in a social change.

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For us, our concept of social photography
is not only to stimulate,

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to give a punch
in the stomach of the readers

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by leveraging the classic
aesthetics of pain,

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the drama of images, of tragedies.

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We ask for a contribution.

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And above all, we try to tell
those positive stories,

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ordinary or extraordinary,
that in our small way behind the house,

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bring a relief,

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a positive change
in situations of social distress.

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There are a myriad of stories.

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Many small or very small
or tiny one like, in some cases,

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those of associations of volunteers
that nobody knows.

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We tell them for free,

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we lend ourselves for free
to make professional photographic services

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to those who cannot afford it.

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So, we bring to the public attention
in a logic of true citizen journalis,

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those stories that are not
considered remunerative

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by the information Main Stream,
and thay are many.

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Some people accused us
at the beginning, above all,

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of being the ones who work for free
and who disrupt the market,

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and destroy photo agencies or newspapers
because they work for free.

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That's not the case.
I often answer these people:

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"Would you ever tell the story
of a small homeless shelter?"

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They say "No." "And why not?"

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"Because no one would buy that story."

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"Would you ever go
into a refugee shelter?"

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"No, I wouldn't do that because
no one would buy me those pictures."

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We do it.

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Over time I developed this concept
of Crowd Photography.

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I often remember,
I often quote on such occasions,

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the old and famous African saying,
"If you want to go fast, go alone.

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If you want to go far away,
go with others".

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A photographer is enough to tell a story,

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two are better off and three,
maybe four are even better.

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Then it starts to get messy, of course.

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But the more the better,

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because each story
can be seen with 360 degrees angles,

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360 points of view to be told.

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And this enriches the story.

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The concept of Crowd Photography

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is a concept according to which
almost all our projects -

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we try, we don't always succeed -

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are the result
of the creative contribution

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of people who maybe don't know each other.

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And believe me, our method
is growing and consolidating,

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not only with photographers,
but with creatives of all kinds.

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We have painters and designers
who draft our logos and graphics.

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We have musicians who compose
and give us the music for our clips.

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We have journalists, we have writers.

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We have all those who want
to put ideas online and share them,

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and add a piece to the story
with their ideas.

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We try to be unconventional
in our stories.

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Also here, we often succeed,
sometimes we fail.

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For example -

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this is just an example out of many -

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can a photo of a horse, or a series
of photos of undernourished horses,

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tell us about the economic
recession in Europe?

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Yes, it does. This is a reportage
that one of our Italian members,

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who has lived for many years,
he's very young, in Ireland,

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has never been able
to place in any Irish magazine,

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because it seems in Ireland

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they don't want to talk about
these social stories

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because, say the magazines,
they give a distorted image of Ireland.

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He discovered that one of the unexpected
consequences of the economic recession

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is that many Irish,

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who have typically always been very keen

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to buy horses,

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sell their horses in some fairs

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run by the Irish Mob
in the suburbs of Dublin.

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And they sell for 20, 30, 40 euros

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already malnourished horses.

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Obviously the kids, driven by enthusiasm,

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buy them or barter them for mobile phones,

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except after two or three days,

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no longer being able
to afford the management,

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not knowing obviously
where to put them at home,

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abandon them in the suburbs of Dublin.

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It's a story no one wanted to buy.

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We published it.
It's been on the internet,

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and it's an unconventional way
to tell an episode of world news,

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unfortunately,
like the economic recession.

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But we do not only tell unhappy stories
but also very positive ones.

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This is one of a thousand examples
of projects that we keep every day.

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Like this story of the Liberi Nantes,

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a sports club we've been following
for years in Rome.

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It is a club composed
of political refugees and asylum seekers,

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which uses sport to free them
of the memory of the tragedies

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from which they escaped.

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We entered a refugee in Rome,
La Casa di Giorgia,

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a refugees shelter that gives hospitality
to women asylum seekers,

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and we discovered
that these women, these girls,

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had never been in the center of Rome
despite having been in Rome for months,

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in some cases even a year,

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for fear of traffic, the city,
pollution and Italians.

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They got themselves imprisoned
in thei rown cage,

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which they had built themselves,
of commonplaces.

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So we divided them into various groups,

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we gave each one of them compact cameras,

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some of our girl photographers
were accompanying them,

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also for a matter of greater ease

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in reaching empathy
between teacher and pupil.

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We taught them roughly and quickly

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to use a camera

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and we went around with them over a month
and a every weekend in Rome,

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literally taking them with us,
dragging them with us.

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They had a great time.

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The camera with which
they then portrayed their Rome

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was a filter that made them focus
on looking at Rome through a box.

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The thesis of our project

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is that a city you know
is a city you recognize over time

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and a city you recognize,
through your own photographs,

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is a city in which you find
a level of trust

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that allows you to recreate
and regain possession

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of some social dynamics and,
eventually, inclusion.

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The small photographic
exhibition we launched

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after this project has gone around Rome
and is starting to go around Italy now.

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It was a huge success.

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Many other centers
are asking to replicate.

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These little photographs
may have changed the world.

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Now I'll try, in the
few minutes I have left -

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I don't see it on the screen anymore,
seven minutes and 48 seconds -

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to dismantle this concept.

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That's probably not true,

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I told you something maybe stupid,
photography doesn't change the world.

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Rather…

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Take this person, for example.

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I met him in Cairo,
in the "City of the Dead".

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Someone may know it,

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00:10:26,960 --> 00:10:29,400
it is the old monumental cemetery in Cairo

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00:10:29,480 --> 00:10:32,440
where over the years hundreds
of thousands of people,

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mostly from the first waves
of Palestinian refugees,

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years ago,

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found accommodation
in and among the tombs,

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in the mausoleums of the old
Cairo monumental cemetery,

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creating a real society within Cairo.

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Cairo considers these people
to be outcasts of society,

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considers them immoral
because they live among the dead.

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They have recreated their own ecosystem,

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their own social environment
in absolute equilibrium.

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Yet they do not exist for others.
These people live there.

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00:11:01,280 --> 00:11:04,160
This man had started
as the guardian of this mausoleum

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00:11:04,240 --> 00:11:07,880
and over the years he moved in
with his family.

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00:11:07,960 --> 00:11:08,960
I took a picture,

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00:11:08,960 --> 00:11:10,796
it started going around the internet.

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It eventually didn't change his world
or the world in general:

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00:11:14,320 --> 00:11:16,000
I came back and he's still there.

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00:11:16,080 --> 00:11:20,840
These people, too,
live in the City of the Dead

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00:11:20,920 --> 00:11:22,920
and when I asked her to take her picture

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00:11:23,000 --> 00:11:27,840
this old lady with her grandchild,
she posed next to this tomb,

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00:11:27,920 --> 00:11:30,920
let's say the family tomb
in their courtyard.

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I asked if he was their relative,

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00:11:32,601 --> 00:11:33,601
and they said:

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00:11:33,601 --> 00:11:35,651
"No, but we've lived here for many years,

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00:11:35,360 --> 00:11:36,360
it's as if he were.

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00:11:36,440 --> 00:11:38,400
We'd like to have a portrait with him."

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This photograph
hasn't changed their world,

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00:11:40,640 --> 00:11:42,680
they still live there among the dead.

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This other person, moving on, is Sergei.

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Sergei lives in a homeless shelter.

246
00:11:49,840 --> 00:11:53,280
From a semantic point of view,
this is something that makes me uneasy.

247
00:11:53,360 --> 00:11:56,360
Do we really need to define a person
for what he doesn't have

248
00:11:56,440 --> 00:11:58,440
instead of what he has: homeless.

249
00:11:58,520 --> 00:11:59,880
He is Russian.

250
00:11:59,960 --> 00:12:02,000
For many years now he's been on the street

251
00:12:02,080 --> 00:12:04,120
and no longer speaks to or of his family.

252
00:12:04,200 --> 00:12:05,800
When he asked me for a portrait,

253
00:12:05,880 --> 00:12:07,320
he asked me to do it in half

254
00:12:07,400 --> 00:12:11,320
because he says that he's missing
something in his life. He's missing a lot.

255
00:12:11,400 --> 00:12:13,200
I came home, he's still there.

256
00:12:13,280 --> 00:12:16,760
This picture, probably beautiful or not,
has gone around the internet;

257
00:12:16,840 --> 00:12:18,440
it has not changed his world.

258
00:12:18,520 --> 00:12:21,640
Carmine also lives
in that homeless shelter.

259
00:12:21,720 --> 00:12:23,160
He lives in his own world:

260
00:12:23,240 --> 00:12:25,360
he says he grows bees, loves his bees.

261
00:12:25,440 --> 00:12:27,240
He no longer talks about his family,

262
00:12:27,320 --> 00:12:29,480
he closed himself
in an embarrassing silence

263
00:12:29,560 --> 00:12:31,680
when asked about his story.

264
00:12:31,760 --> 00:12:35,480
This photo hasn't changed his world,
he still lives on the street.

265
00:12:36,200 --> 00:12:39,000
There are many examples,
I need to speed up a little bit.

266
00:12:39,080 --> 00:12:40,920
These are photos of the boats

267
00:12:41,000 --> 00:12:45,080
with which the refugees
from the Middle East arrive in Lampedusa.

268
00:12:45,160 --> 00:12:47,040
And they keep coming every day.

269
00:12:47,120 --> 00:12:51,480
They escape from their countries,
from their human and social tragedies.

270
00:12:51,560 --> 00:12:54,440
This photo hasn't changed their world
and they keep coming,

271
00:12:54,520 --> 00:12:57,000
yet I told their story.
It served no other purpose.

272
00:12:57,080 --> 00:12:58,930
This person lives in a refugee camp

273
00:12:58,930 --> 00:13:01,480
in Bourj el-Barajneh,
on the outskirts of Beirut.

274
00:13:01,560 --> 00:13:03,280
It's a huge refugee camp,

275
00:13:03,360 --> 00:13:05,920
but it's not mapped
in the city of Beirut map.

276
00:13:06,000 --> 00:13:08,120
He sells in the street, in the heat.

277
00:13:08,200 --> 00:13:11,600
He goes around the camp
selling ice creams.

278
00:13:11,680 --> 00:13:13,040
He sweats, he sweats a lot.

279
00:13:13,120 --> 00:13:14,960
He walks and sells ice cream

280
00:13:15,040 --> 00:13:17,840
in a place where everyone grows up
without social rights.

281
00:13:17,920 --> 00:13:19,720
This photo hasn't changed his world.

282
00:13:19,800 --> 00:13:22,640
He's still there selling right now,
well now he's sleeping,

283
00:13:22,720 --> 00:13:26,120
but tomorrow morning he'll get up
and will continue to sell ice cream.

284
00:13:26,200 --> 00:13:28,200
In the same camp I met this little girl.

285
00:13:28,280 --> 00:13:32,640
For her, that Refugee Camp,
she told me - that is, they translated -

286
00:13:32,720 --> 00:13:34,120
was her big playground.

287
00:13:34,200 --> 00:13:36,040
She found it immense, enormous.

288
00:13:36,120 --> 00:13:38,960
She doesn't know she is growing up
without any rights

289
00:13:39,040 --> 00:13:43,120
in a place not even mapped,
as I told you, in the city of Beirut.

290
00:13:43,200 --> 00:13:45,840
She'll probably be there
all her life, without rights.

291
00:13:45,920 --> 00:13:48,360
Not only has this photo
not changed her world now,

292
00:13:48,440 --> 00:13:51,960
it will not have changed it
in the next 20, 30 or 40 years either.

293
00:13:52,040 --> 00:13:55,640
So, their world hasn't changed.
Photography probably didn't do any good.

294
00:13:55,720 --> 00:13:57,880
My photographs have been
a hole in the water

295
00:13:57,960 --> 00:14:03,080
and probably simply fulfilled their task
of tickling my egocentricity

296
00:14:03,160 --> 00:14:05,120
in showing them to you,

297
00:14:05,680 --> 00:14:08,120
a very typical characteristic
of us photographers,

298
00:14:08,200 --> 00:14:09,920
to be rather egocentric.

299
00:14:10,000 --> 00:14:11,160
They are still there.

300
00:14:11,240 --> 00:14:14,400
What has probably changed, however,

301
00:14:14,480 --> 00:14:16,600
is in the person who took the photograph.

302
00:14:17,480 --> 00:14:19,920
Because I'm back,
I know those stories now.

303
00:14:20,000 --> 00:14:23,080
I know they'll get up tomorrow morning
and will still be there.

304
00:14:23,160 --> 00:14:24,560
I know that there is someone

305
00:14:24,640 --> 00:14:26,880
who still lives
around the corner of my house.

306
00:14:26,960 --> 00:14:28,960
I know that if I only decide to go down

307
00:14:29,040 --> 00:14:31,560
there are a thousand situations
of social distress

308
00:14:31,640 --> 00:14:33,200
that I can and must tell.

309
00:14:33,960 --> 00:14:36,440
So, you now...

310
00:14:37,360 --> 00:14:38,960
Somehow I fooled you.

311
00:14:39,040 --> 00:14:42,040
I told you that social photography
doesn't change the world

312
00:14:42,120 --> 00:14:44,040
but now you know those stories too.

313
00:14:44,120 --> 00:14:46,240
Because, as we often say,

314
00:14:46,320 --> 00:14:50,200
there are stories
that must and can be told.

315
00:14:50,280 --> 00:14:54,120
And it's probably the narration
of these little big stories,

316
00:14:54,200 --> 00:14:57,840
asking people to go down the street
and tell them with us,

317
00:14:57,920 --> 00:14:59,600
that changes the world eventually.

318
00:14:59,680 --> 00:15:01,880
This is our concept
of good use of the world.

319
00:15:01,960 --> 00:15:04,040
It's good use not of naive people.

320
00:15:04,120 --> 00:15:07,360
We are not dreamers, we are not idealists,
we are not activists,

321
00:15:07,440 --> 00:15:11,960
we do not take part in social changes,

322
00:15:12,040 --> 00:15:14,560
political movements, etc.

323
00:15:14,640 --> 00:15:15,640
We tell stories.

324
00:15:15,720 --> 00:15:19,120
We do it in a neutral and free way
for those who cannot afford it.

325
00:15:19,200 --> 00:15:21,440
Because there are stories
that must be told,

326
00:15:21,520 --> 00:15:25,600
stories that want to be told
and stories that have to be known.

327
00:15:25,680 --> 00:15:27,000
Thank you.

328
00:15:27,080 --> 00:15:29,200
(Applause)