Guido Guido, now 79, is an Italian photographer who has been photographing his surroundings, both urban and landscape, for 40 years. He was one of the first to take photos in colour, usually with his large 8x10 inch plate camera. The view camera became his instrument because it forced him to look slowly. He drew his inspiration from American photographers Stephen Shore, among others, as well as from Renaissance painting. Guido has always had an eye for the urban environment, and especially everyday architecture. The growth of the city, the suburbs, and insignificant streets.
In an interview, he once said that his photographic work is capturing the transience and the change of time. "Everything is transformed as time goes by." The camera is for him a tool to better see and understand the things in the world, especially the transformation of things, the change.
Guido makes his photographs in an intuitive way in which he intervenes as little as possible with his consciousness. Architecture in the broad sense of the word is the centre of his photography. According to him, each photograph is a recalibration of the perspective discovered by Renaissance painters. According to Guidi, his work has a political aspect, coming from the status of photography itself.
In the interview in the back of the book, we can read how the book came to be. His friend Marcello Galvani had a lab where he wanted to made some prints, whereafter Guidi presented him his old negatives. Galvani printed most of the negatives and Guidi did the final edit. Guidi, in fact, never liked the small format very much because of the lack of sharpness. As a beginner, he already wanted to possess a Hasselblad. The photographs in this book must, therefore, be seen as preparatory sketches for the rest of his whole career.
Guidi, now looking back on these photographs, sees his early work as connected to surrealism. “The snapshot style of some of these photographs is connected to what the surrealists called automatic writing; writing in which the unconsciousness comes to the fore and the rational aspect is less evident.”