Chiara Negrello discovered photography almost by chance, picking up her uncle’s camera one day and never putting it down. Driven by an insatiable curiosity and a desire to tell stories about the world around her, Chiara, now based in the Philippines, uses photography as a lens through which to explore reality, make sense of it, and share it with empathy.
In this interview, she speaks about the courage it took to move to another continent, to leave everything behind, and to face her deepest fears. She also reflects on how connecting with photographers from different cultures has enriched her perspective, allowing her to view the world with greater openness and awareness. While remaining faithful to reality and the rigor of photojournalism, Chiara’s images carry a powerful emotional charge. They reveal an intimate and personal dimension, offering a glimpse into her inner world. What emerges is the portrait of a remarkably sensitive young photographer- someone who transforms every encounter into a moment of listening, and every photograph into an opportunity for connection between different worlds and cultures.
How did your photography journey begin?
I started, as often happens, by chance:I picked up my uncle’s camera and was fascinated by the way the world looked through the viewfinder. That initial curiosity quickly turned into a passion for storytelling, particularly stories about people and cultures different from my own. The camera became my tool for understanding the world and expressing what I feel.
A major turning point came when I received a Reuters scholarship to attend the International Center of Photography in New York. Although the course was held online due to the pandemic, the experience was pivotal. My mentors and teachers gave me the tools and preparation I needed to enter the editorial industry with a clearer and more confident vision.
In 2023, you moved to Southeast Asia, first to Vietnam and then to the Philippines, where you currently live. What pushed you to make such a ‘radical’ change? What challenges have you faced, both professionally and personally?
Despite my deep love for Italy and its many fascinating sides, photography has always pushed me to cross borders — personal ones, first and foremost. It drives me to confront my fears and limitations, giving me the push to explore places that might otherwise feel out of reach.
Asia has always intrigued me, and after postponing the move for various reasons, I finally decided to leave everything behind.
Professionally, the biggest challenge has been, and continues to be, building a network from scratch and gaining people’s trust in such a different cultural context.
On a personal level, living in Asia makes me genuinely happy, and I feel like this is the right place for me at this stage in my life. If there is one downside, it’s that I deeply miss my friends.
I often meet Asian photographers working in contemporary photojournalism. One question I regularly ask them is whether they see a difference between a “Western” and “Asian” photographic style. I’m curious to hear what a young Italian photojournalist, who is telling culturally different stories from her own, thinks about this.
When we talk about the differences between local and foreign photographers, I don’t think it’s really about style, but more about perspective.
What I find fascinating is the opportunity to bring together two points of view: mine, which may be broader or more external, and that of local photographers, which is often more specific and deeply rooted in the culture and environment.
Working alongside local photographers enriches my approach. It helps me better understand the dynamics of the communities I live in and allows me to build a bridge between my own vision and the lived experiences I document and photograph.
On that note, has your move from Italy to Asia influenced your approach to photography? If so, how?
My professional approach to photography hasn’t changed, but on a personal level, it definitely has. And it’s made me happier. Since moving to Asia, I bought an old compact camera that has become my travel companion. I’ve rediscovered the joy of photographing everyday life without the pressure of doing it for work.
The camera is slow and fully mechanical, which forces me to slow down and observe more carefully. It’s a way of reconnecting with the essence of what first drew me to photography, simply exploring the world around me for the joy of it.
You’ve covered many stories related to social justice, inequality, and empowerment. One project that stood out for me is Like the Tide, about clam fisherwomen in the Po Delta: an intimate story exploring “a community of women engaged in a traditionally male profession.” How did you come up with the idea to tell this story? What was your experience like working on it?
Yes, one of the most meaningful stories I’ve had the chance to tell is that of the fisherwomen in the delta; it moved me deeply. I first heard about their work during a trip to explore the area for a different project, and it felt natural to approach them.
When I moved to the delta, seeing them work with such determination was incredibly inspiring, not only as a photographer, but especially as a woman.
These women entered a male-dominated industry without compromising who they are. They embraced their femininity and transformed it into a source of strength.
Their dedication to family and the way they care for their loved ones reminded me so much of my own childhood. It was that emotional connection that allowed me to tell their story in such an intimate way.
Of the stories you’ve gathered in Asia, which ones have impacted you the most — and why?
The one that struck me the most is about Filipino women working in data annotation for AI. There’s a lot of conversation around this technology, but very little effort to understand what it’s made of, or to explore its real human impact.
Traveling through rural areas to tell their stories, I was amazed by their expertise. These women reminded me, more than ever, that behind every innovation, there’s always a deeply human element.
Despite all the, often justified, criticism surrounding AI, their work gave me a sense of hope. I believe technological progress is irreversible, but if approached ethically and responsibly, it can create real opportunities.
You are a Canon Ambassador since 2023. What does it mean to you to represent a brand like Canon? What responsibilities come with the role?
Being named a Canon Ambassador was a major milestone. I’m truly grateful that Canon saw something in me, especially at a relatively early stage in my career. Having such a prestigious brand by my side gives me invaluable practical support and has played a big role in helping me grow, both professionally and personally.
The biggest challenge, besides representing the brand in the best way, comes in educational settings.
When I lead workshops, especially with young people, I feel a strong sense of responsibility to be a role model and to speak authentically to those who look at me with admiration. That responsibility is significant, but it’s also incredibly motivating.
Are there any photographers who have inspired or influenced you in particular?
It’s hard for me to name specific photographers because I’m fascinated by anyone who does this job with passion.
It doesn’t matter whether they’re photojournalists, food photographers, or fashion photographers; what matters is that they work with purpose, give it their all, and reflect on the choices they make. That’s what motivates me to keep going.
I also believe there is so much to learn from amateur photographers; from the raw passion they bring and the expressive freedom that often guides them.
That said, if we’re talking about visual inspiration, I find that painting, more than photography, is what really nourishes me.
Flemish painting, in particular, fascinates me with its precise use of light and shadow. I’m especially drawn to candle-lit scenes and often lose myself in the details of Renaissance or Baroque works.
Silvia Dona’