How the world’s most influential photographers got their start

In 1976, photographer Carl Caspi was just 25 years old, and he’d just spent a year on assignment with the Italian government.

In Italy, the government had been investigating the possible involvement of the communist regime in the assassination of dictator Benito Mussolini.

Caspic had been covering the investigation and had been able to document the government’s attempts to discredit him.

“My father had been a journalist in Italy, and when he left Italy to work for the government he was shot and killed by a policeman,” Caspis son, Angelo, told Wired.

“He was shot in the head.

I think it was a hit.”

In the years that followed, Caspisi would be a major part of the Italian investigation, photographing and documenting all the high-profile assassinations, the police and other high-level officials.

“When I came home I had a dream that I was going to do something for my country and for the world, and that was to shoot this book,” Casciani said.

“I knew it was my destiny, but I knew that the only thing I could do was to do it, and to try to tell my story.”

After his first book was published, Cascianis book “Il Corso di Milano” (The Corso, or the Cask) became a best-seller and a kind of cult classic in Italy.

Casciano’s portrait of a mob boss, who he calls the “Mafia king,” became a symbol of the power of the mob.

In the book, Cesarini portrays the mobster as a “monster” and a “serial killer.”

In “Il Cascione,” Cesarani portrays a mobster named Carlo Mancini, who is portrayed as “the king of the mafia.”

Casci’s first book, “Il Comercio di Milanese” (Corso of the Milan), was also a best seller.

“Casciani’s portrait was so powerful because he portrayed a mob as a monster, and it was so frightening,” said Cascani, who now lives in Milan.

“It was something that had never been done before.”

Caspianis first book is a classic, and the image of the Mafia king has become synonymous with the image and culture of the modern Italian mafia.

It was a major influence on the work of modern-day Italian filmmakers.

“Mafiosi are an iconic brand, a brand that has become so synonymous with mobsters,” said Carlo Giacomani, a producer on Italian television series “Il corso di milanese,” which aired on Italian state television in 2016.

“Il comercio da mafiosa is a brand, and Il corso is a name, and an image of a gangster that is a symbol, of violence and of a bad life.

It is so iconic that you can’t change it, because it’s the face of the whole mafia.”

Italian politicians and the media have been interested in the work for years.

In 2011, Italian Prime Minister Silvio Berlusconi wrote an open letter to Cascic, saying, “Mosaics are everywhere.

You know, they are everywhere in the streets of Rome, in Naples, in Turin, in Milan, in Rome and even in our cities.”

But Cascini says he was initially frustrated by the “ridiculous” media interest in his work.

“They tried to destroy my image.

I was told, ‘If you don’t do it yourself, we will destroy your life,'” he said.

Cesariani says he did try to find a way to publish the book.

“The first thing I did was to go to the editor of the newspaper, and they were all in favor of it, but they all wanted to have the book banned,” Cescani said.

But Cesari says he still wasn’t satisfied with the response to his work, and “the whole thing became a very personal project.”

“I thought, I’ve been in this business for so long, I can’t let this happen again,” he said, describing his initial reaction to the reaction from the Italian media.

“You know, the mafia has killed my father, my mother, my brother, my uncle, my aunt, my cousin, my sister, my niece, my nephew.

You can see all the things that I have sacrificed for them, and I’ve killed them for the mafia.

So, I just couldn’t accept it anymore.”

Cesarisi has also spent time in jail for being involved in a drug trafficking ring.

“There are many stories about my time in prison,” he told Wired in 2016, describing a period of time in which he was held for 20 days in an Italian prison, without any access to a phone or other information.

“And I have nothing to hide.

I’m not a criminal, I’m a human being.”

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