Since 2012, photographer Robbie McIntosh has been capturing candid moments of vacationers in the Bay of Naples with a tender and amused perspective. Like renowned photographer Martin Parr, his subjects care little about good taste or what others might think, embracing life with uninhibited authenticity.
The Italian photographer, an admirer of Henri Cartier-Bresson, also seeks those "decisive moments" – those suspended instances that capture the very essence of photography. His work spans various iconic Naples locations, from the small port of Marechiaro to the bustling beaches that define the city's character.
McIntosh's approach to street photography is both spontaneous and deliberate. "I stumbled upon this yoga teacher and his student by chance in the Posillipo neighborhood," he explains about one of his captures. "Nothing was staged in this photo. My job is to be in the right place at the right time." This philosophy guides his work as he documents the unguarded moments that reveal humanity's true nature.
The photographer's images tell stories of cultural exchange and human connection. In one memorable shot, he captured a Neapolitan offering a plate of pasta to a Parisian tourist, embodying the city's welcoming spirit. "Here, everything is done in a casual, friendly way," he notes. However, he also maintains a critical eye, sometimes turning his lens to mock tourists who observe locals "as if they were on safari."
Technically, McIntosh relies on an analog Leica camera, choosing color over black and white photography. "Color is better suited to the kaleidoscope of Neapolitan life than black and white," he explains. This choice allows him to capture the vibrant energy and diverse palette that characterizes Naples' street life.
The beaches of Naples serve as a particularly rich source of material for McIntosh's work. At Lido Mappatella, the city's largest public beach, he encounters a parade of colorful characters, from a rastafarian in a yoga position to families enjoying the Mediterranean sun. "I chose to photograph beaches because people lose all inhibition there and show the true nature of humanity," he reflects.
McIntosh's technique requires a delicate balance between invisibility and engagement. "To take good photos, you have to move like a ghost. Or sometimes chat to gain trust. There's a balance to find," he explains. In one striking image from Borgo Santa Lucia, he demonstrates this principle: "Symmetry alone isn't enough to make a good image. You also have to wait for something to happen – here, the arrival of three women in the background."
The photographer's work extends beyond mere documentation to philosophical reflection. One of his portraits, which he considers symbolic, explores the relationship between life and death as "two sides of the same reality." This deeper contemplation elevates his street photography from simple observation to artistic commentary.
Influenced by filmmakers Martin Scorsese and Federico Fellini, McIntosh believes in showing reality as it truly is, without filters or artificial enhancement. His photographs feature ordinary men and women with their bellies, tattoos, scars, and wrinkles – celebrating imperfection over the artificial perfection often seen in contemporary photography.
At the intersection of portrait art and street photography, McIntosh's images reveal the eternal Naples: simultaneously chaotic and welcoming, brutal and provocative. His work captures everything from a diver suspended between sky and sea to bathers lounging in the sun, celebrating the simple joy of being alive and the pleasure of doing nothing.
The photographer's motto perfectly encapsulates his approach and the spirit of the city he documents: "Come as you are." This philosophy permeates every frame, creating a body of work that stands as both artistic achievement and anthropological document of contemporary Neapolitan life.
