1

explorationmovement: stage or play

reportageSicily, Mount Etna

explorationart, space and me

feature articleimpressions from dilated times

meet our membersFederico

fotoclub historyventidue anni nel fotocineclub

Vol. 5, July 2020JRC fotocineclub’s journal

Exposed

3

Editorial

Dear photo friends,

Current and past history are dominant subjects in this fifth volume of EXPOSED.

The corona virus COVID-19 has changed our lives drastically. As our club members

could not meet in person, we held weekly virtual meetings to share and discuss

photos, discuss technical matters and present photographers. Not being able to go

out, we turned to macro photography and artistic exploration. In a joint article, we

share our quarantine life impressions with you, as well as some of the photos we

took during this extraordinary time.

The FotoCineClub has been in existence almost as long as the Joint Research Centre

itself. We knew very little about its past so we contacted former FCC presidents.

Roberto Tilio, two-time FCC president in the 1990s, was kind enough to write an

article in which he sheds light on the early days of FCC club life. He was helped by

former two-time president Antonio Bandirali and former FCC photography teacher

Sandro Maffei. Roberto’s summary is both interesting and it can serve as inspiration

for future activities.

EXPOSED is developing nicely. We ordered professionally printed copies of volumes

#3 and #4 and we aim to continue printing future issues. We keep receiving

attractive and interesting contributions and we now have a steady team, but we still

need your feedback for motivation and we want to include articles by even more

contributors. Join us!

A big thank you to all contributors and especially to our editors Rudolf and Eva!

Ralf Steinberger

5

Emilio Vedova (1919-2006) was an Italian

artist, who was born and died in the same

place (Venezia) but who, in his long life,

incessantly travelled, worked, taught and

made exhibitions in many different parts of

Europe and the world. His education roots in

figurative painting but he embraced abstract

art when he was still in his twenties, and

starting from then he explored different ways

of expressing himself. Each of the routes he

took would have made him a great artist,

his continuous quest makes him a reference

figure of the XX century artistic landscape.

When analysing his work retrospectively, the

thread that has guided him throughout his

artistic career, the common denominator

of all his works appears evident: energy.

Powerful brushstrokes, bold colours, large

sizes, enhanced geometries, hard materials.

Sala delle Cariatidi is a large hall in the Royal

art, space and me

Palace of Milano, that was transformed

in 1774-1778 into a majestic neoclassical

ballroom for the emperors of the Habsburg

dynasty. During WWII, in 1943, it was

partially destroyed during the bombing of

Milano. The ceiling fell down, the stucco

decorations were broken, the frescoes lost

forever, the 40 caryatids decorating the walls

survived the fire by losing arms, legs, faces.

After remaining exposed to sun and rain for

four years, nothing more than ceiling and

roof were rebuilt, and the hall, with all its

scars, started to be used as exhibition space.

It became famous in 1953 as the place

hosting Picasso’s Guernica in one of its

very few trips outside US, where it was on

temporary loan in view of being transported

back to Spain. Picasso had accepted because

the location was fully in line with the

message conveyed by his masterpiece, the

scream of humanity about the tragedy of war.

Towards the end of January 2020, I went

to Palazzo Reale to visit an exhibition of

impressionist painters, and on my way out I

stopped and quickly visited the exhibition in

the nearby hall. I knew there was an Emilio

Vedova exhibition there, and I was curious

since twenty years had passed since I had

last seen his works. I entered the hall and

I was struck by a burst of energy. I felt it. It

was coming from the works exposed, the

walls, from below and above. I was deeply

touched by what I saw and since I did not

have much time to fully enjoy the artworks,

I went back a second time. The best time

to visit an exhibition in Milan in the pre-

Covid era was on Sunday mornings. If you

arrived as soon as the galleries opened,

at 09:30/10:00, you had approximately

one hour to spend almost alone enjoying

art, before the crowds arrived. The photos

published in this article were taken at that

moment, and do not aim at commenting

Emilio Vedova’s work, but they rather focus

on the dialogue between the contemporary

and the past.

exploration

6 7

When I stood in front of the artworks I had

the clear feeling that not only the artist

was present, talking to me in that precise

moment, but that each piece was like an

organism, a monad, a monolith endowed

with its own secret message. At the same

time, I assisted at the dialogue between

the pieces and the caryatids, who were not

simply watching as external observers, but

seemed to have found someone who could

understand their story. I had the feeling

this had not happened many times since

Guernica was there. This inspired encounter

between Past and Present was a catalyst for

energy amplification, taking me to another

dimension for the time I remained in their

company, and leaving me afterwards with a

sort of nostalgia for that special adventure.

Maria Luisa Paracchini

“In quella luce rossastra assistetti con gli occhi

sgranati a un miracolo: lentamente sulla

superficie lattea delle mie lastre emergevano dei

contorni scuri, quelli da cui si sarebbero formate

le mie prime immagini fotografiche da me

realizzate” (Philipp Halsmann, 1920)

Nascita del clubParlare del Foto Cine Club (FCC) e delle sue origini a

distanza di tanto tempo dalla sua nascita non è una

impresa facile. Mi è stato riferito che fu fondato nel

1964, non so chi ebbe l’idea di crearlo ma posso

immaginare che, in quei tempi, la fotografia destasse

un grande interesse e avesse molti appassionati.

Il Centro di Ricerca Europeo, che allora si chiamava

EURATOM, era nato da pochi anni, esattamente nel

1958, e accoglieva un numero crescente di esperti

provenienti dai vari Stati europei aderenti alla CEE.

Erano principalmente giovani con culture e abitudini

diverse tutti accumunati dal desiderio di condividere

una esperienza unica nel suo genere: partecipare e

contribuire alla ricerca scientifica della “appena

nata” Comunità Europea.

Il Centro di Ispra è situato in una località di indubbio

fascino, in un contesto naturale ancora intatto ma

decisamente isolato e lontano dai grandi centri

abitati. Per tale motivo, e per venire incontro alle

esigenze del gran numero di giovani ricercatori,

vennero allora creati organismi socio-culturali che

potessero aiutarli ad inserirsi in questo nuovo

contesto. Importante era dare loro occasioni di svago

sia di tipo sportivo che culturale creando strutture

non lontane dal luogo di lavoro.

Venne creato un Club House come luogo di ritrovo e

fu istituito un Comitato Culturale che, con le sue

diverse sezioni, doveva essere in grado di soddisfare

gran parte delle esigenze sociali della comunità che

operava nel Centro.

A queste iniziative di tipo istituzionale si aggiunsero

poi associazioni nate dall’iniziativa di singoli individui

e dedicate ad interessi specifici e, tra queste, nel

1964, nacque il “Foto Cine Club EURATOM”.

Il primo presidente del Club fu Roberto Colombo,

fotografo dell’ufficio relazioni pubbliche del Centro.

Il mio ingresso nel fotoclubLa mia adesione al Club avvenne nel 1981, un anno

dopo il mio ingresso al CCR e poco dopo l’acquisto

della mia prima reflex. In quel periodo la carica di

presidente era ricoperta dal Sig. Bielli. Il Club, in quel

periodo, aveva una funzione prevalentemente di

supporto ai soci a cui, a noleggio, forniva macchine

fotografiche, cineprese, pellicole in vendita a prezzi

scontati, la consultazione gratuita di riviste

fotografiche italiane e straniere e l’uso della camera

oscura situata nei pressi del Club House.

Cerimonia del 30o anniversario del FCC, dedicata ai 200 anni di moda e seguita da una sfilata con un concorso fotografico.2a persona da sinistra: presidente FCC Antonio Bandirali.

history of our photoclub

ventidue anni nel fotocineclub racconto dell’ex-presidente Roberto Tilio

Per poter usufruire di questi vantaggi bisognava

ovviamente iscriversi. Non ricordo quanti fossero gli

aderenti del Club quando vi entrai a far parte, ma

rammento che le riunioni, che avvenivano durante la

pausa pranzo in una saletta situata all’ingresso del

CCR, non erano molto frequentate.

Per molti anni il Club continuò ad avere la

caratteristica prevalente di supporto ai soci e la sua

attività era rivolta quasi esclusivamente all’interno

del Centro.

Il club si apre all’esternoCon l’ingresso di nuovi soci e di nuove idee,

lentamente si ebbe una apertura del club verso

attività che consentivano un contatto con l’esterno e

questo nuovo sviluppo si manifestò compiutamente

nel 1986, con l’elezione a presidente di Antonio

Bandirali.

In quel periodo io entrai a far parte del Direttivo e

cominciai a dare attivamente il mio contributo al

Club.

Da quel momento i fondi che il COPAS (Comitato

Paritetico per le Attività Sociali) elargiva

annualmente al Club, vennero indirizzati non

solamente all’acquisto di materiali da noleggiare ai

soci, ma anche al finanziamento di eventi, mostre e

incontri. Questi si svolgevano principalmente al Club

House ma in seguito agli accordi presi con le

amministrazioni di alcuni Comuni limitrofi, il Foto

Cine Club iniziò a programmare iniziative pubbliche

in luoghi accessibili a tutti.

L’intento del Club era quello di mostrare, alle

comunità locali, le fotografie realizzate dai funzionari

europei creando la possibilità di interscambio e

collaborazione con gli appassionati di fotografia

locali.

La funzione iniziale del Club, quella di “noleggio

materiali fotografici”, era oramai diventata di scarsa

utilità per cui si decise di dare maggior impulso ai

corsi, ai workshop, alle gite “didattiche” a cui poi fare

seguire mostre ed incontri.

Alla scadenza del suo mandato Bandirali mi cedette

l’incarico per due anni (1990-1991) per poi tornare

presidente per i successivi quattro anni (1992-1996).

Premio Arte, Cultura e Scienza, organizzata dal FCC nel 1994.Da sin: H. Holtbecker direttore JRC, C. Fontana, direttore teatroalla Scala di Milano, A. Migliazza rettore Università IULM diMilano, F. Ogliari, direttore del museo della scienza e tecnologiadi Milano e direttore del museo Europeo dei Trasporti e AntonioBandirali presidente FCC

Locandine di mostre e proiezioni diapositive del FCC

Collaborazioni con il Comitato Culturale, Comuni limitrofi, l’Amico Computer Club ed ETM Europa Terzo Mondo.

del critico Alberto Pellegrino e con il patrocinio della

Provincia di Varese.

L’iniziativa ebbe un grande successo di pubblico e di

critica e credo costituisca una degli eventi fotografici

più importanti realizzati nella provincia di Varese.

Dal 1996 al 1997 fu Fernando Dos Santos a ricoprire

la carica di presidente mentre dal 1998 al 2002

subentrai ancora io e di quel periodo conservo un

bellissimo ricordo.

Il club come promotore di eventiSi deve a Bandirali la brillante idea di investire parte

del fondo del COPAS nell’acquisto di un sistema

sonorizzato e a dissolvenza incrociata dedicato alla

proiezione delle diapositive. All’inizio il suo utilizzo fu

limitato a proiezioni delle immagini dei soci al Club

House e quindi rivolte esclusivamente al personale

CCR ma poi, visto l’alto gradimento, le proiezioni

vennero riproposte in contesti aperti alle comunità

dei Comuni limitrofi.

In quel periodo una collaborazione molto importante

fu quella con il Museo dei trasporti di Ranco, con cui

vennero organizzate diverse iniziative.

Nel 1994, in occasione del 30mo anniversario della

fondazione del club, il Direttivo decise di organizzare

una mostra di un fotografo di fama internazionale e,

su mio suggerimento, venne contattato Mario

Giacomelli, uno dei maggiori fotografi italiani del

‘900, il quale si rese disponibile ad inviarci cento foto

che rappresentavano lo sviluppo del suo percorso

creativo fino a quel momento.

Fu designato dal Direttivo un comitato organizzatore

della mostra costituito da me, Fernando Dos Santos

e Paolo Franchini.

La mostra antologica “Mario Giacomelli –

Quarant’anni di fotografia” venne allestita nei

suggestivi spazi del Chiostro di Voltorre, appena

restaurati, con un bel catalogo contenente il testo

12 13

Nello sfogliare le

fotografie

stampate nella

camera oscura

durante notti

insonni non posso

che provare un

senso di nostalgia

per quel tempo in

cui la fotografia aveva ancora una sorta di “aurea

magica”. Naturalmente devo fare un grande

ringraziamento a tutti coloro con cui ho collaborato

e che hanno contribuito al successo delle nostre

iniziative. Sono felice che il Foto Cine Club, a

differenza di gran parte dei Club nati agli albori del

Centro e che sono purtroppo scomparsi, sia ancora

vivo e vegeto e in grado di produrre tante belle

iniziative come questa bellissima rivista EXPOSED a

cui faccio i miei più grandi complimenti.

Si ringraziano Antonio Bandirali e Sandro Maffei per

la collaborazione.

Lista dei presidentiColombo (1964-?) / (…) / Bielli 1980-1985 / Bandirali

1986-1989 / Tilio 1990-1991 / Bandirali 1992-1995 /

Dos Santos 1996-1997 / Tilio 1998-2002 / Paracchini

2003-2007 / Hanke 2007-2017 / Breitenbach 2017-

2020

Roberto Tilio

Rimini, Aprile 2020

Presidente dal 1998 al 2002Era il periodo in cui la fotografia digitale stava

sostituendo quella analogica per cui il materiale a

disposizione dei soci diveniva di giorno in giorno

obsoleto e la camera oscura sembrava un cimelio

del passato. Il Foto Club, per sopravvivere, doveva

quindi adeguarsi a tempi e il Direttivo decise di

mantenere i corsi di fotografia tradizionale tenuti da

Sandro Maffei a cui però aggiunse corsi di

elaborazione di foto digitale a cura di Gerard De

Vries presidente di “AMICO COMPUTER CLUB” con

cui si iniziò una bella collaborazione.

Oltre alla parte didattica venne poi dato sviluppo

alla parte “organizzazione di eventi” e a partire

dall’autunno del 1998 iniziò una proficua

collaborazione con l’assessorato alla cultura del

Comune di Angera con il quale si dette origine ad

una rassegna dedicata alle foto di viaggio, da tenersi

nel mese di ottobre, che riscosse grande successo.

Una serie di quattro o cinque proiezioni di

diapositive in dissolvenza, sonorizzate a volte anche

con musica dal vivo, che divenne un appuntamento

importante per tutta la zona circostante il Centro.

Agli inizi degli anni 2000 si intensificarono le

collaborazioni con il Comitato Culturale, l’AIACE,

ETM Europa Terzo Mondo, i Semestri europei e si

crearono interessanti iniziative con la Casa di riposo

Don Guanella di Barza e con l’Ospedale di Cittiglio.

Le proiezioni prodotte dal FCC vennero proposte in

vari circoli fotografici nella provincia di Varese e

Milano e il reportage “Antartide“ di Georg Hanke

venne presentato nel 2002 al Museo Nazionale

dell’Antartide di Genova.

La fine della mia esperienza con il clubNel 2003 la presidenza del club venne affidata a

Maria Luisa Paracchini che continuò a mantenerne

alto il livello delle proposte. Alla fine dello stesso

anno lasciai il CCR per la raggiunta età pensionabile

e il mio rapporto con il FCC lentamente si ridusse

fino ad estinguersi. Questa esperienza resta per me

indimenticabile e rappresenta un tempo formativo

e creativo molto importante.

Vecchio logo FCC

Celebrazione dei 30 anni del Foto Cine Club con Sfilata di Moda nel 1994 - Foto prese dal libro di Francesco Ogliari: “Riassaporiamo il Tempo. La Memoria nell’Immagine Fotografica. Due Secoli di Moda, dal XIX al XX Secolo”

14 15

“May you live in interesting times” was the title of the Venice Biennale Arte 2019. I found such title

extremely stimulating and challenging, what is deemed to be interesting is in fact subjective, exactly

like seeing the glass half empty or half full. In his preamble the Biennale President, Paolo Baratta, refers

to challenging times, menacing times, to the need to consider the course of human events in their

complexity and avoid oversimplification. It’s not an easy title, but for sure offers plenty of possibilities since

beauty and tragedy are equally part of it.

At the Biennale the theme was analysed from multiple points of view and at the end of the day it was

clear that the approach of art to such a theme is an anthropological approach. The role of women, cultural

colonialism, racism, the relationship with traditions and with technology, were themes largely present,

that one may not expect to find in an art exhibition. However, art is grounded in the present, this is its

essence and if one takes the time to see, learn and in trying to understand, through art he or she can

acquire a much enhanced and even synthesized view on current and past societies.

At the JRC FotoCineClub weekly meetings, members of the club show and discuss photos they took during

the week. During the Covid-19 crisis, as lockdown weeks unfolded one after the other, the meetings were

held remotely through videoconferences, which gave an increased opportunity to appreciate each other’s

photos. It was extremely interesting to see how individual sensibilities were exasperated in such a special

condition, and how each of us developed his or her own perspective on what was an unprecedented

situation, which –before 2020- could only be imagined as a science fiction scenario.

In the same way as the curators of the pavilions at the Biennale developed the theme individually, and

by visiting the exhibition the visitor could acquire an overarching view on what are, for current society,

interesting times, the JRC FotoCineClub is presenting the individual view of its photographers on the

current crisis. Nesting on the thread of a tragedy, the eye of the photographer has been exploring facets

of reality: homes, gardens, surroundings, first travels during partial lockdown, in colour or black&white.

Individual contributions are here proposed as part of the collective effort to document the struggle to

go through the unknown, to notice what was before invisible to our eyes, to find a sparkle of hope. To

describe the “interesting times” we are experiencing.

Maria Luisa Paracchini

feature article

impressions from dilated timesCovid-19 quarantine narrated by the JRC FotoCineClub

16 17

Photography was a good

companion during this difficult

lockdown period, helping me

to keep a curious and creative

“mood” either by studying new

topics or exploring photographic

possibilities in the house and

everyday life.

Rosana Grecchi

18

the permanence of beauty

During the lockdown we have experienced the world

shrinking and becoming our house, the external

borders of our lives becoming visible and equating

to the fence of the garden, the rest of the tangible

universe disappearing.

But an infinite number of places continued to exist

despite not being experienced by humans. I am

interested in the permanence of beauty when no

human is contemplating it.

The baroque gardens and palaces on the Borromean

Islands have an existence of their own, they were

there before our generation and will be there after

us. Visiting them right after the first ease of the

lockdown, being most of the time the only visitor,

was a way to fully enjoy beauty without disturbing it, like

an invisible breath of wind.

Maria Luisa Paracchini

I took a lot of photos during the lockdown. Picturing birds, insects, plants and some other things from within the

borders of our confinement, I quite literally was able to focus on something else than the overall depressing situation.

Here are some more or less explicit details of plants in our garden and two photos taken on the Gotthardpass

during my first travel to Germany since February. Stay safe! Wolfram Woehler

22 23

During the Corona lockdown I felt that our world was as if it was turned

upside-down and at the same time at a stand-still.

Masks and gloves will most likely play a major part in our lives from now on

for an indefinite period of time.

Gabi Breitenbach

24

In difficult and worrying times,

which place question marks

behind so many aspects of

our normality, I have found

joy and tranquillity observing

wildlife in our garden.

I cannot believe how much

diversity I have overlooked

in all these years. Starting

in early spring into summer

I could follow the breeding

cycles of mammals, birds

and insects, with all of the

multitude of sound, colour

and shape. This period

really has taught me that

spending more time in one

place is so much richer than

visiting hundreds of places

superficially.

Rudolf Hummel

26

Quarantine was about work, family, keeping fit and drinking fine wine.

Konstantinos Gkoumas

Quarantine was about work, family, keeping fit and drinking fine wine.

Konstantinos Gkoumas

28 29

I ask myself if I needed to have a lockdown to realise how lucky I really am?

Difficult circumstances do help to bring sharpness in life’s outlooks.

Daniele Ehrlich

31

Inside the house: time to concentrate on photography;

learning through tutorials and courses; creating two

photo booklets; putting order into my analogue

photography collection while delving into the past;

watching films. It felt like the forced vacation I had been

waiting for.

Outside: social distancing; closed shops; empty

streets; face masks; temperature measurements at the

supermarket; people shying away when you get too close;

me realising that I start shying away when people get

close or do not wear a mask; death announcements, be

they related to COVID-19 or not.

First impressions when we were allowed to leave

the house again: military-type protections at Sesto

Calende market; masks as fashion items; excitement

when experiencing my first nature walk and my first art

exhibition in months (both with masks).

Some of the few photos I took during quarantine

isolation: withering peony flowers, representing

transience.

Ralf Steinberger

30

32 33

I found that staying at home was a good experience for being undisturbed for a few

weeks! I discovered lots to learn, photographically, on YouTube, had time to read, sort

out the house, and experiment with some different image making techniques. No time

to be bored but an occasion to take advantage of the possibilities to become more creative!

I tried macro-photography with flash, long exposures with movement (by using an ND

filter), in-camera multiple exposures, layering images in Photoshop, and studio lighting

techniques (although this became boring with only myself as a model!).

Kevin Douglas

37

Report cave tour in Southern Italy, part 2

Sicily, Mount Etna experience two seasons and lava caves

The hidden treasures of Mount

Etna are its caves, which are just

spectacular. There are over 200 caves

on Etna which are formed whilst the

lava flows. Outer parts solidify while

the inner part continues to flow,

creating a tunnel.

The white smoke billowed out of

the snow covering Mount Etna like

a chimney into the blue sky. At the

same time a strong wind threatened

to bring the clouds quickly making

Mount Etna disappear completely

into the white.

A professional photographer was in our group, who was very interesting to watch, especially in the caves where the right lighting was

very important. In my case, all the photos were taken with my cell phone. I did not want to use my equipment in such a rough terrain.

Our group visited two caves: the

Grotta Serracozzo and the Grotta dei

Ladroni. Two days before there was

a heavy snowfall, so we had the bad

luck not to be able to visit the famous

Grotta del Gelo in the higher part

of Etna, but we did experience two

The snow was completely covered by

a very slippery surface and the cold

was unbearable. The icy wind forced

us to descend quickly, gradually

diving into a beautiful autumn

landscape. The wind calmed down

and eventually we warmed up.

seasons on Mount Etna. In the upper

part we experienced an icy cold

winter landscape and in the lower

part a beautiful autumn landscape.

In the golden hour all the warm

tones showed up and I was able to

photograph these very beautiful

landscapes.

38 39

An orchestra of

colours: lava, autumn

trees (white birches),

snow, blue sky and

the warm colours

of the earth are the

instruments here.

Nature has created

for us a masterpiece.

Only a few people

were strolling around

and my thoughts

were that this was

the most beautiful

time and I was

so very happy to

have been there

to photograph this

beauty.

The lava caves form more

of a tunnel and they have

a vault and a floor. At

the vault you often find

stalactites, which are also

called dog teeth because of

their sharp shape.

The lava caves are

very young. The Grotta

Serracozzo is one of the

most visited caves on Etna

and was created in spring of

1971, only 49 years ago!

At the beginning you enter

a huge black hall, where the

light falls through a small

opening and creates an

atmosphere, as if you were

standing in a Cathedral.

Continuing on into the

tunnel it gradually became

smaller and narrower.

Finally at the end I laid on

the sand and lingered for a

while. I then made my way

back.

Ute Stips

40 41

exploration

movement: stage or play

42 43

44 45

46 47

Everything is in permanent motion. The photographer captures a moment destined to die before it was born.

The photographer is not part of the story. He has chosen sides: he is an observer. Yet his presence at times defines the

story. Without forethought, he influences the developments.

Whether it is a theatrical stage or a fitness ground, the quick movement carves a story immortalised in a photo. A dead

story.

Konstantinos Gkoumas

48 49

meet our members

Federico

Despite having a crazy amount of photography equipment, I have never really

considered myself as a true photographer. For me the picture in itself is not the most

important aspect of this activity, probably though it is the most frustrating as I rarely

am fully satisfied with the result.

Taking pictures is my way of being there with the elements, participating in the events

unfolding before me, interacting with nature not as a simple spectator but part of a

complicated process involving a subject and me linked together to create something

new. It is not about reproducing the reality but rather express a sensation about it.

50 51

From macro to landscape, I invest myself in many aspects

of photography with a mix of excitement for the beauty

before my eyes and fascination for the technology

involved.

I like to carefully plan my shootings and previsualise

the end result, this is part of the pleasure as well as of

the process. Wandering about in search of that magical

elusive moment is not really my thing.

I like the hard work involved in shooting with the camera,

trying to frame the best angle of view and put in harmony

all the elements within a picture. So many variables and so

many selections to be made.

I like the days where I look at the outcome in front of my

computer and extract from the unprocessed images the

story or the message I chose to convey.

Finally, I like to print them. There is something special

about holding them in my hands.

My pictures are rarely shown to anybody; I consider them

as part of my intimacy and I only share them with those

who value and understand how much joy this activity is

bringing to me.

So here it goes, I am extremely happy to show you some

moments of my life.

Federico Fraschetti

52 53

54 55

FotoCineClub

FCCThe FotoCineClub (FCC) is a COPAS-supported club at the European Commission’s Joint

Research Centre (JRC) in Ispra, Italy. We invite all interested persons to join our activi-

ties and meetings, as well as our email distribution list and the WhatsApp group. Paying

members can additionally participate in group decisions, use the club’s equipment

including our photo studio, receive photo journals and participate in courses (additional

course fees apply). Membership fee for the year 2020 is 30 Euro.

committee: Gabi Breitenbach (president); Rudolf Hummel (vice-president); Eckehard

Rosenbaum (treasurer); Ralf Steinberger (secretary); Kevin Douglas, Rosana Grecchi,

Katja Neugebauer, Ute Stips (consiglieri).

administrative contact: fcc.jrc@gmail.com

email to reach all club members: JRC-FotoCineClub@googlegroups.com

membership form: http://fotocineclub.weebly.com/registration.html

#jrcfcctag your photos in social media

about this issue

contributors:

photo on cover: © Gabi Breitenbach

page 2: © Gabi Breitenbach

page 14: © Ricardo da Silva

page 34/35: © Gabi Breitenbach

page 54: © Ralf Steinberger

the photos in the articles are © of the respective authors

art, space and me: Maria Luisa Paracchini

storia del fotocineclub: Roberto Tilio

impressions from dilated times:

Rosana Grecchi, Maria Luisa Paracchini, Wolfram Woehler, Gabi Breitenbach, Rudolf

Hummel, Konstantinos Gkoumas, Daniele Ehrlich, Ralf Steinberger, Kevin Douglas

Sicily, Mount Aetna: Ute Stips

movement: stage or play: Konstantinos Gkoumas

meet our members: Federico Fraschetti

editors: Rudolf Hummel, Eva Grammatikaki

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JRC Foto Cine Club

http://fotocineclub.weebly.com

JRC FotoCineClub

Foto Cine Club