Sports Culture Caught on Camera
The aim of sports photography is to capture the crucial moment while conveying both the values and the spirit of sport. For over a century, this genre of photography has evolved from mere news coverage to become a veritable art form. The goal is to portray a world of adrenaline-pumping action, of speed, passion, and thrills. A thorough, in-depth understanding of lens techniques is essential. Only this can effectively and swiftly capture fleeting moments. Equally important is a profound knowledge of the sport itself, at times enabling the photographer to anticipate the action.
The close bond between Pirelli and sport goes back a long way. Ever since the very beginning, two- and four-wheel racing has always provided a practical on-site research lab for the company’s tyre development, fostering a history of excellence, as well as of speed and victories. We can see this in the photo of Renzo Soldani, winner of the 1950 Giro di Lombardia, taken by Paolo Costa as he signs the arrival sheet, surrounded by members of the Legnano-Pirelli team. This unexpected triumph for the twenty-five-year-old from Pistoia, who modestly referred to himself as “still not much as a cyclist”, put an end to Fausto Coppi’s streak of four consecutive victories at the Classica delle Foglie Morte, much to the dismay of the Campionissimo’s fans. It was an amazing race, with the challenge of a closed level crossing, a four-way battle on the outskirts of Milan, and a final sprint within sight of the finish line, but it also pointed to the emergence of a great young promise in cycling.
Sports photography has also captured the legends of motor racing, like Juan Manuel Fangio, the star in a famous shot from the 1955 Italian Grand Prix. In this image, Fangio is seen racing along the new raised track at the Monza Autodromo, inspired by the original from the 1920s and inaugurated at that race. This event, the final round of that year’s Formula 1 Championship and a pivotal moment in motorsport history, not only secured Fangio’s third world title but also marked Mercedes’ final race in the top category, as the company announced its withdrawal at the end of the season. Fangio and the runner-up, Pietro Taruffi, thus give the last two top spots to the German car manufacturer.
Countless moments of competitions have been caught on film: from the start of the race – as in the case of the 1956 Valencia motorcycle Grand Prix, where we have a bird’s eye view of the riders lined up on the starting grid, with the enormous Pirelli logo at the centre of the circuit and the crowds lining the sides – through to behind-the-scenes shots, such as the fitting of Pirelli tyres on Sandro Munari and Silvio Maiga’s winning Lancia Stratos during the 1976 Monte Carlo Rally.
The legacy of the Long P in sport extends beyond racing, encompassing numerous sports products created over its 150-year history. “This match is played with Pirelli tennis balls”, reads an advertising banner in a picture from the 1958 Italian tennis championships in Bologna. At the centre we see Nicola Pietrangeli and Orlando Sirola, the most successful Italian men’s doubles team in history. From the ball that “whizzes by and bounces”, used in the most important national and international tournaments, through to fiberglass boats, made from the early 1950s onwards by Azienda Monza and later by the Celli shipyards in Venice. In 1963, Fulvio Roiter captured the construction of hulls and the efforts of the workers, showcasing Pirelli’s commitment to maritime sports and its innovative use of plastic materials. Another notable chapter is that of the Pirelli Sports Group, which was set up in 1922 to promote sports among workers and their families. By the 1970s, the group had expanded considerably, with 18 different sections – including athletics, bowls, and judo – with over 2,500 members who trained at the sports facilities just opposite the Bicocca factory in Milan. These pictures are the work of famous photographers, including Federico Patellani, who in 1951 captured Adolfo Consolini, the Olympic gold medallist in the shot put, and Teseo Taddia, the hammer throw champion.
Photographs also highlight the importance of sport in the pages of Pirelli magazine. In addition to coverage of the Olympic Games, from the 15th edition in Helsinki in 1952 to Mexico in 1968, numerous articles addressed issues within the various disciplines. These ranged from the crisis in Italian fencing after the 1959 World Championships in Budapest to the shortage of figure skaters in the early 1960s, the frequent injuries in boxing, and the challenges faced by sports from other countries – such as rugby, ice hockey, and basketball – in gaining popularity in Italy. One exception, however, was baseball, the “American national sport” which enjoyed a revival at the national level in the post-war period. The illustrations accompanying the texts show a number of Italian teams, such as Nettuno, Europhon and Pirelli, which in the 1960s reached the top places in the Serie A championship, with various players going on to join the national team. From the triumphs of the team to those of the individual: after just one year of training, the designer Roberto Menghi became the Italian archery champion, as well as the record holder for distances in the Round-FITA, an international tournament held in Milan in 1964. He was “The clandestine archer“ photographed just as the arrow took flight.
The magazine also featured photo shoots by big-name photographers. Rodolfo Facchini’s black and white photographs accompany Guido Oddo’s analysis of the popularity of golf in Italy, from the political and economic struggles of the 1930s through to its definitive acceptance, illustrating the close relationship between sport and the natural environment. Stefan Krukenhauser, a photographer and ski instructor, created dynamic images of great artistic appeal: spectacular perspectives, bold contrasts of light and shadow, and elegant patterns etched into the snow. The cover of the 1958 issue prominently features the wedeln or godille skiing technique that he himself invented.
Competition and passion, technological research and innovation – these are just some of the many connections between sport and business, along with shared values of community and civic commitment, all promoted by Pirelli. This sporting history began almost at the same time as the company was founded and it continues to this day. From the experience of Formula 1 racing, as captured by renowned photographers and agencies such as Ercole Colombo, Eurofotocine, and LAT Images, to the thrilling sea adventures of Ambrogio Beccaria on board the Alla Grande–Pirelli, photographed by Martina Orsini, these visual records capture the thrill of sports contests.
The aim of sports photography is to capture the crucial moment while conveying both the values and the spirit of sport. For over a century, this genre of photography has evolved from mere news coverage to become a veritable art form. The goal is to portray a world of adrenaline-pumping action, of speed, passion, and thrills. A thorough, in-depth understanding of lens techniques is essential. Only this can effectively and swiftly capture fleeting moments. Equally important is a profound knowledge of the sport itself, at times enabling the photographer to anticipate the action.
The close bond between Pirelli and sport goes back a long way. Ever since the very beginning, two- and four-wheel racing has always provided a practical on-site research lab for the company’s tyre development, fostering a history of excellence, as well as of speed and victories. We can see this in the photo of Renzo Soldani, winner of the 1950 Giro di Lombardia, taken by Paolo Costa as he signs the arrival sheet, surrounded by members of the Legnano-Pirelli team. This unexpected triumph for the twenty-five-year-old from Pistoia, who modestly referred to himself as “still not much as a cyclist”, put an end to Fausto Coppi’s streak of four consecutive victories at the Classica delle Foglie Morte, much to the dismay of the Campionissimo’s fans. It was an amazing race, with the challenge of a closed level crossing, a four-way battle on the outskirts of Milan, and a final sprint within sight of the finish line, but it also pointed to the emergence of a great young promise in cycling.
Sports photography has also captured the legends of motor racing, like Juan Manuel Fangio, the star in a famous shot from the 1955 Italian Grand Prix. In this image, Fangio is seen racing along the new raised track at the Monza Autodromo, inspired by the original from the 1920s and inaugurated at that race. This event, the final round of that year’s Formula 1 Championship and a pivotal moment in motorsport history, not only secured Fangio’s third world title but also marked Mercedes’ final race in the top category, as the company announced its withdrawal at the end of the season. Fangio and the runner-up, Pietro Taruffi, thus give the last two top spots to the German car manufacturer.
Countless moments of competitions have been caught on film: from the start of the race – as in the case of the 1956 Valencia motorcycle Grand Prix, where we have a bird’s eye view of the riders lined up on the starting grid, with the enormous Pirelli logo at the centre of the circuit and the crowds lining the sides – through to behind-the-scenes shots, such as the fitting of Pirelli tyres on Sandro Munari and Silvio Maiga’s winning Lancia Stratos during the 1976 Monte Carlo Rally.
The legacy of the Long P in sport extends beyond racing, encompassing numerous sports products created over its 150-year history. “This match is played with Pirelli tennis balls”, reads an advertising banner in a picture from the 1958 Italian tennis championships in Bologna. At the centre we see Nicola Pietrangeli and Orlando Sirola, the most successful Italian men’s doubles team in history. From the ball that “whizzes by and bounces”, used in the most important national and international tournaments, through to fiberglass boats, made from the early 1950s onwards by Azienda Monza and later by the Celli shipyards in Venice. In 1963, Fulvio Roiter captured the construction of hulls and the efforts of the workers, showcasing Pirelli’s commitment to maritime sports and its innovative use of plastic materials. Another notable chapter is that of the Pirelli Sports Group, which was set up in 1922 to promote sports among workers and their families. By the 1970s, the group had expanded considerably, with 18 different sections – including athletics, bowls, and judo – with over 2,500 members who trained at the sports facilities just opposite the Bicocca factory in Milan. These pictures are the work of famous photographers, including Federico Patellani, who in 1951 captured Adolfo Consolini, the Olympic gold medallist in the shot put, and Teseo Taddia, the hammer throw champion.
Photographs also highlight the importance of sport in the pages of Pirelli magazine. In addition to coverage of the Olympic Games, from the 15th edition in Helsinki in 1952 to Mexico in 1968, numerous articles addressed issues within the various disciplines. These ranged from the crisis in Italian fencing after the 1959 World Championships in Budapest to the shortage of figure skaters in the early 1960s, the frequent injuries in boxing, and the challenges faced by sports from other countries – such as rugby, ice hockey, and basketball – in gaining popularity in Italy. One exception, however, was baseball, the “American national sport” which enjoyed a revival at the national level in the post-war period. The illustrations accompanying the texts show a number of Italian teams, such as Nettuno, Europhon and Pirelli, which in the 1960s reached the top places in the Serie A championship, with various players going on to join the national team. From the triumphs of the team to those of the individual: after just one year of training, the designer Roberto Menghi became the Italian archery champion, as well as the record holder for distances in the Round-FITA, an international tournament held in Milan in 1964. He was “The clandestine archer“ photographed just as the arrow took flight.
The magazine also featured photo shoots by big-name photographers. Rodolfo Facchini’s black and white photographs accompany Guido Oddo’s analysis of the popularity of golf in Italy, from the political and economic struggles of the 1930s through to its definitive acceptance, illustrating the close relationship between sport and the natural environment. Stefan Krukenhauser, a photographer and ski instructor, created dynamic images of great artistic appeal: spectacular perspectives, bold contrasts of light and shadow, and elegant patterns etched into the snow. The cover of the 1958 issue prominently features the wedeln or godille skiing technique that he himself invented.
Competition and passion, technological research and innovation – these are just some of the many connections between sport and business, along with shared values of community and civic commitment, all promoted by Pirelli. This sporting history began almost at the same time as the company was founded and it continues to this day. From the experience of Formula 1 racing, as captured by renowned photographers and agencies such as Ercole Colombo, Eurofotocine, and LAT Images, to the thrilling sea adventures of Ambrogio Beccaria on board the Alla Grande–Pirelli, photographed by Martina Orsini, these visual records capture the thrill of sports contests.