Francesca Forquet is an Italian photographer, born in Milan and now based in Santa Monica, California. Her work has been featured in prestigious publications such as The New York Times, The Wall Street Journal, The Guardian, Booooooom, Lenscratch, ENI, and La Repubblica. Francesca’s work has also garnered recognition from notable organizations, including Ai-Ap American Photography and the IPA International Photography Awards. In 2022, she was selected as a FRESH EYES Talent by GUP Magazine. She likes to call herself a ‘photography comedian’ because she often captures the tragicomic side of the situations she encounters, adding a touch of irony or a subtle joke to her images, whether in personal or commercial settings.

It’s a pleasure to have you here with us, Francesca. How are you doing these days?

Thanks! It’s a pleasure for me as well! I’m doing great, enjoying the fall season here in LA. This is the best time of year for me—the weather is warm, the sun is shining, and the sky is so clear you can see the shimmer of leaves blowing in the wind, even on the most distant palm trees on the horizon. It’s also such an inspiring time of year; summer has passed, and there’s an energy in the air that sparks new projects and productivity.

We’d love to know a bit more about you. What initially drew you to photography and what keeps you excited about it today?

I’ve always been a creative, ironic kid. In middle school, I thought I’d become a writer and even wrote a few comic stories about my family’s adventures. Then my grandfather gifted me his old Sony video camera, and everything changed—I was convinced I’d become a director! That video camera and I were inseparable; I started documenting my daily life, vacations, and even directing my classmates. I remember filming myself in imaginary TV quiz shows to help me study the super boring school subjects, where I’d play both the host and the contestants calling in from home, trying to guess dates or other information.

Eventually, I landed in photography thanks to a family friend who handed me an old film camera. From that moment, it immediately felt like the perfect medium for me. I loved how photography allowed me to show reality as I see it, with a mix of humor, irony, and a touch of the surreal. Photography still lets me observe reality closely, interpret it, and each day brings something new to discover—that’s what keeps me excited about it today.

What’s a typical day like for you in Santa Monica?

A typical day in Santa Monica starts with a cappuccino, strictly made at home with my trusty moka pot. Then, I walk my dog, Zita, exploring the quiet residential neighborhoods I love. Santa Monica is such a mix of perfection—almost boring—with quirky hidden details that it's hard not to feel inspired just by walking around. Most of my day is spent editing photos, responding to emails, and having Zoom meetings—essentially, working from home. In the evenings, I enjoy a delicious Italian dinner with my family, followed by a movie or series. And if I’m out with friends, you’ll probably find me with a glass of spicy margarita in hand!

(Left) American Optimism

(Middle) Cat at the Wheel

(Right) Support Nature

Your work has such a unique vibe! Can you share a bit about your favorite subjects to shoot and why they inspire you?

I’m drawn to subjects that feel both familiar and strange at once. I love capturing everyday objects and scenes with a hint of humor or irony—ordinary things that hold something surreal or unexpected. Residential neighborhoods, especially Santa Monica’s back alleys, are some of my favorite places to explore for hidden clues about the people who live there. It’s often the small details, like an unusual sign or a discarded object, that tell me a story and keep me searching for what lies beneath the surface. At the same time, I especially love being on assignment. It’s a chance to step out of the solitary comfort of my alleys and immerse myself in other people’s lives. There’s something thrilling about stepping into someone else’s world and capturing their story.

Some memorable assignments have been capturing gold miners in the desert for The Guardian—what a story, and the off-road drive to get there, believe me, was unforgettable! Another one was photographing corgi enthusiasts for The New York Times—truly a fun day, and I even wrote the article about it! But there are also the more serious assignments, like documenting a team of scientists developing new technology at Caltech University for The Wall Street Journal. I really tried to communicate the energy of that project. The diversity of each assignment helps me keep an open mind, and that sense of discovery fuels my passion for photography.

As a photographer, do you find yourself constantly observing the world around you? How do you balance that with just enjoying life without the camera?

I have a very project-focused and solitary approach to photography, so I’ve naturally become quite balanced in separating observation from action. I rarely feel the urge to pick up my camera in private situations; I can find inspiration in a moment, let it sit with me, and return to develop it later. It wasn’t always this way—early on, my approach was much more spontaneous, especially when my son was little, and I was more inclined to shoot “from the gut.” Over time, with experience, a deeper understanding of my themes, and a more refined style, I’ve evolved my approach to be more deliberate and thoughtful.

Photos by Francesca, originally commissioned for The New York Times article.

Has living in different places or traveling influenced the way you approach your photography?

Certainly. Moving to America was a cultural shock—everything from the landscape to daily life felt worlds away from what I knew, and it completely shifted my perspective. It rekindled my love for photography, becoming an essential tool for understanding and connecting with this new place. More importantly, it helped me grow in both style and subject, opening up opportunities I never thought were available to me.

That shift has also shaped how I view Italy, both photographically and personally. Now, it feels like I can capture it with a fresh, almost outsider’s eye. Having an external/internal perspective on both places is an incredible luxury—it feels like I have a unique point of view. The contrast between the two countries fuels my creativity, allowing me to tell each story with that blend of humor, irony, and surrealism that reflects my approach to the world.

What’s the best part about being a photographer for you? Is it the creative expression, the stories you get to tell, or something else entirely?

It has always come naturally to me, at every stage of my life, to express myself creatively. I don’t know why, it just happens, like eating or going to the bathroom. As an adult, of course, this natural impulse has been shaped by ambition. And although it hasn’t been an easy journey to turn this gift into a profession—filled with some disappointments along the way—there’s always that spark of creativity that reignites, like a phoenix, naturally and spontaneously. When that little spark catches fire, it quickly turns into a blaze, becoming all that matters. For me, that fire and enthusiasm, especially when I realize I have a new project in my hands, and the purity with which I experience it, just like a child—that’s the most beautiful part of this work and passion. It’s who I am.

Do you have a photo in your personal collection that means a lot to you? What’s the story behind it?

Honestly, I don’t have a single photo that holds particularly deep meaning or significance for me, perhaps because I’ve always thought in terms of series rather than individual images. If I had to choose, I’d say the Semolinity series and its sequel, On Holidays, both of which I shot quite a while ago. They are a collection of small, very simple comedic daily stories about my son when he was two and then three, discovering the world around him. It marked the beginning of everything—not just for him, but for me too. Looking back at them always makes us laugh and takes us back to those beautiful moments.

Is there a particular shoot or moment in your career that you look back on and think, “Wow, I can’t believe that happened”?

Absolutely! After literally three years of attempts to get in touch—unanswered emails and an emotional rollercoaster every time—I wasn't even thinking about it anymore. Then, while finishing a calm summer vacation in Milan, I was out shopping for last-minute gifts to bring back to friends in America. Right there, in the middle of the summer, in the middle of this anonymous afternoon, in the middle of the store, my phone went ping ping—a message on Instagram. It was the photo editor I’d dreamed of working with, the one I’d been reaching out to for years, finally responding out of nowhere and asking if we could do a portfolio review as soon as possible.

A week later, halfway across the world in an Airbnb in La Paz, Baja California, buzzing with excitement and nerves (and stressing over the Wi-Fi!) I had my portfolio review with her and It felt like the perfect match. The very next day, I signed the contract as a freelance photographer for The New York Times. It still feels unreal when I think about it!

Before we wrap up, do you have any fun upcoming plans or personal projects you want to share?

Of course! First, there’s my book Everyday a Little Adventure, which was just published and launched a few days ago at Polycopies during Paris Photo. It’s a limited edition of 75 copies, each handcrafted by the talented team at XYZ Books, and it’s a collection that showcases a selection of my Santa Monica work. I’ve poured a lot of love into it, not to mention the publisher, who has been absolutely amazing. I’m also working on a collaborative project shot in the United States with photographer Daria Addabbo, but I can’t reveal too much just yet. Once it’s out, I promise it’ll be a great surprise! Lastly, I’m putting together a book that gathers my most recent personal projects into a “book of tales.” It’s still a work in progress, but I’m really excited to see it come to life!