For Martina Gambino, photography begins before the shutter and continues long after it. It begins with human connection and continues through negatives, scans, archives and the care required to keep a photograph accessible.
Photography begins with people
Martina is drawn to people she can connect with, whether they are strangers or already part of her life. Curiosity, empathy and an open mind shape her photographic practice and the way she works inside the studio.
The exchange around an image matters to her as much as the image itself. A photograph can become a record of trust, proximity or a brief moment when two people understand each other without needing a long explanation.
From customer to team member
“I felt I was not giving enough space to my creative side.”
Martina first entered Berlin Photo Studio as a customer while working in bars. As she got to know Emiliano and the team, her passion for film and willingness to learn became visible. That relationship eventually opened the possibility of joining the studio.
At 24, she sees this as the beginning of a longer creative journey. There is no need to force one defining project too early. The daily work is already meaningful because every task adds another piece of knowledge.
What does Martina do in the analogue workflow?
Her work concentrates on three connected areas:
- Scanning: understanding how a physical negative becomes a digital image and how careful choices shape the result.
- Bulk loading: preparing film by hand for Berlin Photo Studio’s in-house rolls.
- Archives: organising and caring for negatives so they remain identifiable and accessible.
These tasks are quiet but essential. A good archive prevents a photograph from becoming anonymous. A careful scan helps the image remain recognisably the photographer’s own. Precise bulk loading allows another story to begin inside a camera.
What has the studio changed?
Working at Berlin Photo Studio taught Martina to appreciate every stage of analogue photography, not only the finished picture. Film is a chain: loading, exposure, development, drying, cutting, scanning, naming and storage all affect whether the final image survives and can be understood.
The experience also reinforced that learning never stops. Curiosity is not separate from technical ability; it is what keeps technical ability growing.
Photography, poetry and writing
Martina wants to become more confident in the darkroom and understand every stage of the analogue process. Alongside that technical path, she wants to combine photography with poetry and writing to create more personal stories.
See more work on the Martina Gambino profile or follow @notmein35mm.
FAQ
What does Martina do at Berlin Photo Studio?
She supports film scanning, bulk loading and the organisation and care of negative archives while learning the wider laboratory workflow.
How did Martina join the team?
She first came to Berlin Photo Studio as a customer. Her passion, curiosity and willingness to learn led to an opportunity to join the team.
What does Martina want to explore next?
She wants to become more confident in the darkroom and combine photography with poetry and writing.
When to ask for professional help
Professional help is useful when the next action is irreversible, the material is unique, or the same problem repeats after a controlled test. Bring the complete context for meet martina gambino: connection, film and archives: camera or format, film stock, exposure index, full negative sequence, original scans and order details. This gives the technician evidence instead of a cropped symptom.
Ask for a diagnosis before asking for a repair or rescan. A clear explanation of what is physically present, what can still be changed and what should be tested next protects both the photographs and the budget.
What this story adds to analogue photography
Meet Martina Gambino: Connection, Film and Archives is not only a profile or recommendation; it shows how photographic practice grows through repetition, curiosity and contact with other people. The useful lesson is to notice the decisions behind the work: why a camera was chosen, how editing changed the sequence and what the photographer learned from the physical negative or print.
Readers can use those decisions as questions for their own practice without copying another person's style.
A simple reflection exercise
- Choose one image or idea from this article that stays with you.
- Describe what attracts you without using technical language.
- Identify one practical choice behind that feeling.
- Make a small shoot, edit or print that tests the same question.
- Write down what changed when the work became physical.
This turns meet martina gambino: connection, film and archives into a starting point rather than something consumed and forgotten.
Build a personal reference library
Keep notes about photographers, books, conversations, exhibitions and prints that influence you. Record the exact image, page or idea rather than only the title. Over time, repeated themes reveal what you genuinely care about.
Pair inspiration with production: for every reference saved, make a photograph, contact sheet, edit or print. The archive becomes useful when it changes the work.
Related guides: Meet Emma Fiacchini: Film, Editing and Collaboration.
Another studio story: Meet Lorenzo Scutti: Invisible Behind the Camera.
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