by Maurizio Rebuzzini

In contrast with our usual way, the selection of pictures made by Roger Corona featuring on the following pages was not attributed in a detailed way to respective commercial clients or to personal studies of aesthetics.
On the occasion of our encounter with Roger Corona, we think that the individual qualifications are substantially insignificant compared to another evaluation that is solicited by the unit of his work.
Whether Corona's photographs were taken in order to carry out an assignment or were composed in complete and independent liberty (if we may express ourselves in these terms), each and all of them express fresh originality and concentrated personality that are absolutely rare. In a world of photography where few and superficial commercial requirements have dimmed appreciable spirits of initiative, Roger Corona's temperament moves in a formally opposite direction.
He has not been a professional for many years, but was given guidance by the approach and friendship of Giovanni Gastel, one of the greatest fashion photographers. Corona is gifted with an imaginationa that we can define as absolute.
In particular, we refer to imagination that participates in cognitive activity and carries out the determining role that is attributed to it by configuring as authentic visual faculty.
Precisely for this reason, in the photography of Roger Corona, imagination completes an aesthetically organizational task, working as a kind of construction that is specific and peculiar to images, or seen as a whole, to visual representation.
Even the action image is able to render the abstractional capacity that is characteristic of photography, which to some measure is equidistant to raw perception and its memory.
According to an original lesson that is naturally assimilated, Roger Corona's photographic constructions detain inside some properties of the focused object, becoming a model in their own right. If by model we mean an explicative mechanism founded on a regulated and controlled use of analogy, then precisely this type of image functions as a model.
It could be a figurative and photographic model that is quite useful to editorial and advertising-related illustration.
Yet we intuit that in reality, this could also not happen so often, because generally the strong invitations with great personality, such as the images by Roger Corona are on the whole, can also disorient the consolidated tranquility of day-to-day life.
The question is always the same.
By indentifying the commercial photgraph as a useful photograph, not necessarily beautiful, we can ask ourselves which values qualify its substantial usefulness.
In our opinion, we must above all think of the effectiveness of the visual appearance of the very communication that the photograph was called upon to absolve.
But the application on professional work is not as consequential.
Corona's personality and temperament have the adequate characteristics to be diversified in many infrastructural ambits belonging to commercial photography.
We believe that his indisputable and even involuntary photographic style constitutes a difficult challenge. We also believe that many of the structures used in commercial photography still need to travel a long way before they can appreciate and understand his results, to be able to use them for what they really are.
Indeed, many of the qualifying points of commercial photography have never been clarified, as they are misunderstood by it more often than we would like to believe.

Different from our editorial habits, usuallt different shades of over the top, an aesthetic evaluation of Roger Corona's style and strong photographic personality has become indispensable today in the light od the background considerations expressed above.
Unlike the market trends, which are directed elsewhere, the visual variation of Roger Corona is consequential.
We appreciate the generosity he has in exposing himself and putting himself on stage along with his photographs – portraits, figures and objects for fashion, shot with a decided attitude and with mastery of the means. Roger Corona's photography is authentic and real.
In a situation where projects have no ideas, ideas move without capacity, and capacities are sacrificed to banal common good sense, Corona lives his profession with style and greatness.
When the discriminating factor goes from being to saying that its is, from being to feigning, Corona is. Today we presnet a selection of his pictures out of the pleasure we have always has to share with others our emotions.

Milano, July 1991

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