Virtual Photography's Search for Its Own Oliviero Toscani

Artribune sparked a debate on virtual photography's artistic independence versus its use as marketing by game companies. The discussion, initiated during an Assassin's Creed Mirage launch event in Venice, featured virtual photographer Francesco Favero and photographer Paolo Della Corte from the Academy of Fine Arts of Venice. The article questioned whether virtual photography could produce images with the impact of Oliviero Toscani's controversial Benetton campaigns, such as 'Prete e Suora' (1991). Responses from the community included Davide Calò, who noted that exchanges between game companies and virtual photographers limit content; Dario Giorgetti, who perceives a growing boredom with photorealistic aesthetics; and Davide Di Tria, a professional photographer and teacher, who argued that the scene lacks trained photographers who can create meaningful, project-based work. Mik Bromley, a key figure in virtual photography, highlighted that the practice is tied to industry promotion and that social media platforms reward safe, popular shots. He also pointed out copyright issues as a barrier to growth. The debate underscores tensions between artistic ambition and commercial constraints, with some respondents, like Andre Dias of Nvidia, suggesting the practice is too young to need a Toscani.