
Mushrooms of the Monza Park
The Monza Park boasts vast green lawns, elegant tree-lined avenues, majestic canopies, self-centred squirrels. I enjoyed looking further — or rather, looking beneath the thick foliage and behind the abandoned bark… and I discovered a world. Mushrooms of every colour that bring autumn to life like sprites. Discreet, shy observers of the park and of those who visit it.
My photographic project set out to reverse the roles and make them, the mushrooms, the object of my gaze.
Millions of species are estimated to exist, yet mushrooms remain in the undergrowth of public interest.
Many species could be lost without us even noticing. Very few conservation efforts, despite their fundamental role in the biological cycle of life.
This project aims to show the biodiversity that surrounds us even in the city.
These are only a tiny fraction of what is present today in the Monza Park, a city park set within one of the most urbanised areas of Italy. It is a work in progress, meant to grow richer year by year.
On the identification of mushrooms an important premise is worth making: recognising mushrooms precisely is a truly complex and laborious matter; sometimes (and not rarely) it is difficult if not impossible to reach a certain determination from a photograph alone, even from technically well-made photographs that show all the features of the subject. Sometimes the differences between two or more closely related species rest on subtle characters, in many cases not even detectable from the image — and at times not even with the mushroom in hand is it possible to give a certain name. There are species complexes within which entities gravitate that are macroscopically little or not at all distinguishable, so one must resort to microscopic examination, and in extreme cases certainty is not reachable even that way: one must resort to genetic sequencing.
Fabio Mauri, Vittadini Mycological Group, Monza












































Equipment
This project was created with an Olympus E-M1 Mark III and the 25mm f/1.2 lens. This lens is not specific to macro photography, and the magnifications are not as extreme as those achievable with the Zuiko 60mm f/2.8. Nevertheless, the 25mm f/1.2 delivers a bokeh that is unique among professional lenses. To make these photographs I relied on the focus-stacking technique. This project was selected and published by the specialist magazine Micro4/3 Italia. If you are interested in wildlife photography you might take a look at Animalia, the soul of animals.