About

Born in Naples in 1978, I approach photography thanks to my father's passion for film and slides. Self-taught amateur photographer I follow my visions guided by the desire to be able to capture with the image, the emotion I feel in thinking it, taking it and processing it.

They say about me ... :

"A good photographer does not always have to go in search of his subjects, sometimes he must know how to wait, identify a situation or a place that seems interesting but not yet completed and wait, as Daniele Pollice did, that a figure suddenly appears, reflect on a wall, establish with the manifest a particular relationship of which he does not even notice and the game is made".

Roberto Mutti (Artistic Director of 'Milano Photo Festival')

"In the most classic style of American street photography, the well-known but always renewed dialogue between a living body and its simulacra, reflections and reproductions. The artificial light of the urban space confirms the estrangement."

Michele Smargiassi (Journalist and editor of 'Fotocrazia')

"Daniele Pollice composes the image in a complex way, creating different levels of reading from whose intersection infinite possibilities of interpretation are born."

Alessia Galviano ('Vogue Italia' Editor in Chief) 

"Short circuits of urban styles in a great "street photography" vision of the best tradition."

Leonello Bertolucci (Teacher @ 'Italian Insitute of Photography')

"A double glance: on the one hand the model, on the other the real life, on the one hand the face of a woman discovered and smiling, on the other is covered and obscure. A synthesis between two visions of the metropolitan woman, divided between fashion, culture and tradition"

Melina Scalise (President of 'Spazio Tadini - Casa Museo')

"... Who looks at the photograph of Daniele Pollice is looked at, the one who looks at the watcher has been watched by a photographer. She who was watched by Pollice looked at herself. Once it was titled: the thousand lights of the city (New York). Lighting was the first desired quality of a metropolis. Today the lights take the flesh of the image (often in motion) and leave the humans to wonder if they are more true replicants of the magic lantern or the common mortals, in an alien carousel of windows, screens, holograms. Pure phantasmagoria!"

Francesco Tadini (Founder of 'Photo Milano')

"The attention of every shot in black and white, falls on details of a lost everyday life and a quiet and consolidated devastation ... are the details captured by this photographer who defines himself as a photo amateur, with the need to translate into images his visions".

Simona Marani (Author @ Elle)

"Good photos are also always a reward for the ability to be focused and receptive. A human figure in flesh and blood, a reflection, a manifesto, architectures that intersect, reflect and multiply, creating complex articulated dynamics and multiple levels of vision and reading. << A very important difference between color and monochromatic photography is this: in black and white you suggest; a color says! >> (quoted by Paul Outerbridge). And here light and color affirm a different perception from the habitual, as a sort of alteration of what is seen and what is narrated."

Federicapaola Capeccchi (Independent Curator)

"Daniele Pollice creates cinematic atmospheres with reflected lights that project flashes in the shaded areas.

The balanced composition and perspective guide the gaze in depth and contribute to the success of his 'Street Photography'."

Emanuela Costantini (Fotografaremag Editing)

"His shots are strong, clear and underlined by a well-managed black and white. Despite the variety of subjects and scenarios, his geometric and "foreshortening" framing is always present, reinforcing the sense of continuity of the images that form a complete unicom and a point of reference. What is striking is undoubtedly the graphic cut of his photographs and the play of shadows he uses to give depth and density to his imagination. But look carefully another element, although hinted, built by profiles of people who look into the image, walk or sprout from some wall. The interplay between animate and inanimate is therefore subtle and recurrent as a signature or a seal that unites the shots more closely." 

Giulio Forti (Curator & Director of 'Fotografia Reflex' magazine)