Riccardo Frezza, 40 Years as a Paparazzo in Sardinia: The Story of an Image Merchant

From celebrity photos to images that have helped shape Sardinia’s glamorous image

Riccardo Frezza belongs to that generation of photographers for whom a shot wasn’t just an image, but a story to be pursued, captured, and delivered to the editorial office before anyone else. Born in Trieste and educated in Milan, he has worked for some of Italy’s leading weeklies, covering celebrities, parties, and lifestyle news. He has lived in Sardinia, in Arzachena, for forty years, where he has documented the island’s glamorous side. Those stories now come together in Storia di un mercante di immagini, published Nemapress, presented in Porto Cervo on 29 July.

How did your passion for photography begin?

Almost by fate. As a boy, I found a camera next to a fountain near my house. I started using it, then I saw a film about photography and thought I could really give it a try. At first, it was weddings, baptisms, and portraits. Then I decided it would become my profession.

The real turning point?

It was Milan. I owe everything to it. I lived there for thirty-five years and learned the discipline of work there. Milan is unforgiving: either you become a professional or it devours you.

How did you end up in Sardinia?

A colleague called me to help him during a summer season. I was supposed to stay for twenty days, maybe a month. But once there, I realized that this island was much more than a place of passage. I stayed, and this year I’m celebrating 40 years of living in Arzachena.

You proudly claim the profession of paparazzo.

Because it’s a great journalistic job. You have to plan ahead, know the places, build a network of relationships. Before social media, news came from friends, hotels, restaurants, beaches. Then you had to find the celebrity: a detective job, involving waiting and pursuit.

Which images do you consider most emblematic?

The last photographs of Princess Diana in Sardinia, taken a few hours before her death, and those of Berlusconi wearing a bandana.

Why ‘image merchant’?

Because it wasn’t enough to just take pictures: you had to sell them and get them to Milan before anyone else. They were shipped out by special delivery and we’d rush to the labs that were open all night. It was a demanding world, full of strategy and adrenaline.

You’ve often called yourself a ‘gentleman paparazzo,’ right?

Yes, because I’ve never been sued or charged. I’ve always tried to stay respectful, without blackmail or shortcuts. Photographing a public figure on vacation means documenting a social issue. It’s journalism, as long as it’s done seriously.

What has photography given to Sardinia?

We photographers have helped bring its glamorous side to the world: Porto Cervo, the boats, the parties, the great personalities. Today, Instagram burns everything, but those images have built an imagery that endures. An era that this book captures from within.

Before we say goodbye, to whom would you like to express your gratitude?

Definitely to my longtime partner, Salvo La Fata: we’ve worked together for forty years, and without him my book would have many blank pages.