The ethnic research as an addition to Barbieri’s fantastic fashion photography brings some considerations to mind. Despite their photographically sophisticated appearance, these pictures actually possess a classic simplicity. The background is secondary compared to the human figures dominating the scene. These figures – the explicit or implicit subjects – are perceived so intimately as to engender a sense of manifest beauty. Since photography distinguishes itself from all other forms of communication – and not necessarily visual – on account of the crucial connection it established with the subject it records, it is often reduced to this alone: that is, its subject. Whether this is a real subject, i.e. life in its unfolding, or a constructed subject, it is never easy for the viewer to take the step required: from merely necessary representation to intentional, conscious representation. When at work, a painter can choose his vantage point, just as he can choose to include – or exclude – whatever elements he pleases in his painting. The photographer’s action is subject to different constraints, for he must arrange his subject – albeit often only in his mind, as in the case of real-­‐life photography – in such a way that the viewer may be able to recognize the content of the image created, a side from its explicit and manifest form. Gian Paolo Barbieri charms, bewilders and moves viewers’ hearts and minds. And this too is one of the functions of photography, as well as art more generally. Barbieri makes skilful use of light (for photography is light). Alternating vigour and subjective and dramatic fullness, he arranges his subjects with refined taste in all of their depth and intensity. These photographs resonate like the human soul, with hunting clarity.