Welcome to our YouTube content, the video extension of our photography school in Rome. In this section, you'll find our in-depth articles, exclusive interviews with the great masters, and behind-the-scenes insights into our activities in Pigneto. A channel dedicated to those who want to learn street photography and reportage, bringing the Daylight School experience directly to your screen.
From Hamburg to the salons of Rome: the first episode of *Shakermaker* blends Anders Petersen’s raw, humanistic photography with the energy of rock ’n’ roll, in a musical journey dedicated to those who live on the streets, in the night, and amid its contradictions.
A new episode of Notebook is now available on our YouTube channel! How did our B-Roll exhibition, “Beyond Clichés,” go? And speaking of that, is it possible to break free from the stereotypes of street photography confined to the city center? How do social media trends, groups, and misconceptions limit the potential of the language of street photography? In…
The second part of Purim in London and a reflection on photographic failure. A new episode on our YouTube channel, Daylight School, for the "Notebook" series—random thoughts on photography. Today we’ll watch the second part of our Marco Sconocchia’s coverage of the Purim festival in London, a reflection on photographic failure, and two incredible artists such as…
Giulia Pissagroia from Lorenzo Catena’s storytelling course. The journey of someone new to photography can be broadly divided into two paths: the easy route of following the crowd—adopting the models promoted on social media and relying on ready-made examples—or the path of experimentation in search of one’s own visual language. In her work *Asfissia*,…
Today we’re launching our new YouTube series, Click’n’Roll—a space where the rhythm of music meets the aesthetics of the image. We’re starting with a cornerstone: Anders Petersen’s *Café Lehmitz*. Petersen doesn’t just observe; he breaks down the barriers of traditional photojournalism by becoming an integral part of the scene. It marks the end of Bresson’s dichotomy of the “invisible photographer”…