The definition of umarèll in the Italian dictionary reads as follows: “Retired person, mostly elderly, who spends time observing and commenting on ongoing work near a construction site.”
The umarèll isn’t disagreeable, isn’t necessarily old, and can even be entertaining, like Alberto Sordi, the noble idler who chats with workers digging in a Rome perpetually under construction. The dictionary’s definition emphasizes the leisurely attitude of the umarèll, which doesn’t fully capture the observational activity involved. So, let’s say we can use the dictionary’s definition as a starting point to highlight the critical aspect of observing what the urban landscape – whether static or transforming – has to offer. If the umarells (let’s go with this term in English)happens to have a camera in hand, interesting shots might emerge that should not be confused with street photography.
Umarells photography carries its own significance. I practiced it at various building demolition sites. Destruction carries meaning, much like any ending, especially when you can capture the long history of a building in just a few seconds of its collapse and in the instant of the shot. This involves photographing the actual section of the demolished structure at a 1:1 scale, rather than viewing a drawing at a 1:100 scale, all while imagining what happened in the rooms, kitchens, and bathrooms of the apartments sliced open by the jaws of the demolition machine. For some- designers and non-designers alike- it might be a tribute to the cancel culture of the dining room, the landing, and the corridors of our housing tradition.
As of January 1, 2023, Italy’s population of individuals over 70 reached more than 14 million, making up approximately 24.1% of the total population. This category includes young seniors (ages 65 to 74), the elderly (ages 75 to 84), and the very oldies, people over 85. While each subcategory has its own characteristics, efficiency levels, and care requirements, a significant portion of seniors can still exercise curiosity and interest in the rapidly evolving world around them. After all, most individuals over sixty-five are digital immigrants — people who learned to use digital technologies in adulthood, unlike digital natives.
It is plausible that most of the elderly class resides in cities of varying sizes, subject to public and private works that represent a tempting sight for the umarells, taking gender equality into account. So, if a good number of these spontaneous and motivated observers were to start photographing, umarells photography would quickly achieve an important status in photography competitions and media, attracting the attention of critics and camera manufacturers.
The relationship between the elderly and photography is a topic that has yet to be thoroughly explored. On Instagram, Ms. Kimiko Nishimoto’s latest photos have racked up more than 500K likes. She picked up photography in her 70s and is now riding high with her witty and caustic images that combine the visual flair of motion in photography with a sassy edge of “the old oldie”.
If one wishes to explore the broader theme of how the elderly engage with museums and art exhibitions, a great starting point is Elena Rosica’s insightful article, “Is the Museum Not a Place for the Elderly? Numbers and Best Practices” recently published by ArtTribune. Among the referenced documents, there’s a noteworthy mention of “Culture for Health—The Contribution of Culture to Health and Well-being. A report on evidence and policy recommendations for Europe” which dates to 2022. This report specifically and succinctly highlights photography as an effective way to reduce short-term stress and anxiety while also addressing body shaming related to the natural features of aging bodies. This topic deserves more attention, especially in differentiating between elderly photographers and elderly subjects being photographed.
Walking photography is an umbrella term that includes umarells photography, as it involves strolling to arrive at a construction site and those who stroll have the time and the mindset for umarèllism, which is so much more than just a pastime. Strolling is different from hunting for street photography; it leans more toward a calm perspective that reveals itself to those who take their time to look around. Instead of chasing that perfect split-second shot, a stroller raises or lowers their gaze, digging into their vision to find a perspective, a black and white scene, or one with characters who immerse themselves and blend into the background, losing their identity in favor of the sensation that walking conveys to those who engage in it. When walking, one doesn’t rush but allows things to unfold.
What about using a phone as a camera? Considering it is popular with both digital natives and digital immigrants, it’s a perfect fit for walking photography. However, it should not act as a third eye- an instant recording device- like it often does with some people (especially those who photograph everything but rarely take the time to truly look at anything). When you engage with a tool, like a camera, you invest a different level of attention toward the observed (but unseen) object. You need to decide what to capture, how to frame the shot and prepare the image for later development- something that rarely happens with images taken on a phone. And who knows, you might even decide to print it out to create a tangible memory.
Literature is rich with references to walking and strolling through cities, nature, and the realms of both the unseen and imaginary. Think of Pessoa wandering through Lisbon, Rousseau surrounded by nature, Calvino exploring the unseen, and Galimberti discerning between the traveler and the wayfarer. These examples make it clear that walking photography should not be mistaken for travel photography. I touched on this in the introduction to my book “JAPAN – Images and Notes from a Short Trip” published through KDP on Amazon.
Walking photography has a lot in common with street photography, even though the latter has become so well-established that manufacturers now create dedicated cameras and lenses specifically for it, aiming to highlight its unique qualities and to attract new customers. The principles underlying street photography are constantly evolving, influenced by critics, photographers, and equipment makers alike. However, I propose to focus on key characteristics primarily attributed to Henri Cartier-Bresson- the concept of the moment décisif or decisive moment, which refers to the perfect instant when all the elements of a scene align perfectly, creating a powerful and meaningful image. This includes composition, understood as the pursuit of balance and dynamic meaning within the frame; humanity the sense of warmth and life expressed by the subjects in the photographs; simplicity, the absence of elaboration (meaning no extensive setup or post-production before or after the shot ); and finally discretion, a respect for privacy in capturing moments.
Walking photography emphasizes careful composition and the decisive moment of the shot (for which the photographer’s reflection time is longer). Its goal is to capture the full context of a scene, aiming to record the overall environment in which the shot was taken. It is independent of perspectives that may include expansive vistas or intimate details. It considers humanity a non-essential component of the scene while not excluding it, with an emphasis on respecting personal space. At the heart of this approach is the act of strolling itself. Curiosity and the joy of observing one’s surroundings naturally inspire each shot.
The term walking photography shifts the focus to the act of the photographer rather than the specific location of the scene. When walking, everything that defines urban space- be it in or outside the city, natural or not- comes into view: a building facade, the excavation of a construction site, peculiar clouds and skies on familiar streets, traffic, monuments, the essential landmarks of the city (those once outlined by Kevin Lynch, now completely forgotten thanks to Maps), personal memories (from years, decades, or a lifetime spent on these paths) and scenes framed by nature. It’s the act of walking that generates the image.
Mauro Salvemini
Images © Mauro Salvemini