Jonathan Frantini is best known for his fashion photography and portraiture. In his work he often tries to re-create the mood and feel of a movie, subtly mixing everyday life with staged scenes to create tension and atmosphere.
Born in Italy, Frantini took up photography at an early age in his hometown, Ravenna. After graduating from Art School in 1995 he left for Paris to begin his career in photography, which lead to his work being selected for the Hyères Photography Festival in 2001. The following year he went to the States to begin work on “The Fragile”, a project…
Jonathan Frantini is best known for his fashion photography and portraiture. In his work he often tries to re-create the mood and feel of a movie, subtly mixing everyday life with staged scenes to create tension and atmosphere.
Born in Italy, Frantini took up photography at an early age in his hometown, Ravenna. After graduating from Art School in 1995 he left for Paris to begin his career in photography, which lead to his work being selected for the Hyères Photography Festival in 2001. The following year he went to the States to begin work on “The Fragile”, a project exploring youth and its environment.
His fragile portrait, fashion and documentary photography has earned Frantini acclaim both as a contemporary artist and an editorial photographer. His editorial work has appeared in publications such as Another Magazine, Double, Italian Glamour, Dazed and Confused, GQ, Dutch, i-D, Intersection, Arena Homme and of course Wallpaper*. Numerous high-end advertising campaigns have included Microsoft and Saab and he is currently working on a new photography project in Japan.
An exhibition of Frantini’s work was shown at the Philippe Chaume Gallery in Paris in October 2006 and in 2007 he was chosen by Maison Martin Margiela to portray their spring/summer ‘08 menswear collection.
Both of these photographs of iconic Brazilian model Cintia Dicker were shot on location in Arizona in 2005. Cintia I featured on the cover of Wallpaper’s September issue that year.
