I am a documentary photographer drawn to the same thread wherever I find it: the bond between people and the land they live on, the work of their hands, and the way both are changing. It has taken me from the tribes of Odisha to the artisanal fishing of Edinburgh, from the whole length of the Po plain, its farming, its fishing, its blue crab and its human and environmental life, to the Dolomites, from the craftspeople of Venice to the survivors of SHAME.
I am also a community psychologist, and it changes everything about how I work. With people, it means I know how to be in a room with anyone, from a Nobel laureate to a survivor of abuse, in a way that is respectful, safe and never extractive. Trust comes first, the photograph second. It is what lets me make an honest portrait of a public figure and, with the same care, hold the dignity of someone at their most vulnerable. With places, it is the same instinct turned outward: I read the bond between people and the environment they live in, and photograph it from the inside, not as a visitor.
This is what I can be commissioned for. Same day features and news assignments, in Italy and worldwide, delivered fast and to standard. Reportage on assignment, in Italy and worldwide. Environmental portraiture, always on location, never in a studio, from the writers of the Edinburgh International Book Festival to a Los Angeles Times cover of the artist Mark Bradford, photographed in Venice. Awareness campaigns for institutions and organisations. Long term projects built over years. And ready to publish reportage, complete bodies of work, written and photographed by me, that a title can license and run as they are.
I work for those who need a story told with care. International titles and picture desks, on assignment and through Getty Images, for example as I do for National Geographic, Focus, or Dove Viaggi and others. Institutions and foundations: SHAME was born from the Guido Fluri Foundation and the Council of Europe, and became part of a campaign that reached 46 states. Cultural bodies and heritage, from the Michelangelo Foundation to UNESCO. And brands that want depth rather than gloss.
Whether you are a magazine, a public institution, an NGO or a company, the work begins the same way, with the people at its centre.
My work has appeared in National Geographic, the New York Times, The Guardian, Der Spiegel, the BBC, Forbes, El Pais, Le Monde, Time, Repubblica, Internazionale and many many others. In February 2024 my images of the glass masters of Murano earned the cover of National Geographic Italia. My project SHAME, endorsed by the Council of Europe, travelled across Europe as a book and an exhibition.
I do not photograph to illustrate a thesis. I photograph to understand, and to let a place say what it already knows.
Documentary photography · Reportage · Portraiture
I am a documentary photographer drawn to the same thread wherever I find it: the bond between people and the land they live on, the work of their hands, and the way both are changing. It has taken me from the tribes of Odisha to the artisanal fishing of Edinburgh, from the whole length of the Po plain, its farming, its fishing, its blue crab and its human and environmental life, to the Dolomites, from the craftspeople of Venice to the survivors of SHAME. I am also a community psychologist, and it changes everything about how I work. With people, it means I know how to be in a room with anyone, from a Nobel laureate to a survivor of abuse, in a way that is respectful, safe and never extractive. Trust comes first, the photograph second. It is what lets me make an honest portrait of a public figure and, with the same care, hold the dignity of someone at their most vulnerable. With places, it is the same instinct turned outward: I read the bond between people and the environment they live in, and photograph it from the inside, not as a visitor. This is what I can be commissioned for. Same day features and news assignments, in Italy and worldwide, delivered fast and to standard. Reportage on assignment, in Italy and worldwide. Environmental portraiture, always on location, never in a studio, from the writers of the Edinburgh International Book Festival to a Los Angeles Times cover of the artist Mark Bradford, photographed in Venice. Awareness campaigns for institutions and organisations. Long term projects built over years. And ready to publish reportage, complete bodies of work, written and photographed by me, that a title can license and run as they are. I work for those who need a story told with care. International titles and picture desks, on assignment and through Getty Images, for example as I do for National Geographic, Focus, or Dove Viaggi and others. Institutions and foundations: SHAME was born from the Guido Fluri Foundation and the Council of Europe, and became part of a campaign that reached 46 states. Cultural bodies and heritage, from the Michelangelo Foundation to UNESCO. And brands that want depth rather than gloss. Whether you are a magazine, a public institution, an NGO or a company, the work begins the same way, with the people at its centre. My work has appeared in National Geographic, the New York Times, The Guardian, Der Spiegel, the BBC, Forbes, El Pais, Le Monde, Time, Repubblica, Internazionale and many many others. In February 2024 my images of the glass masters of Murano earned the cover of National Geographic Italia. My project SHAME, endorsed by the Council of Europe, travelled across Europe as a book and an exhibition. I do not photograph to illustrate a thesis. I photograph to understand, and to let a place say what it already knows.
ITALY, DOLOMITES | 2024 ONGOING | CLIMATE CHANGE, SOCIETY, TECHNOLOGY
Resilient Dolomites
The mountains are changing faster than the people who live in them, and the people are changing too: beekeepers who read sensors, growers farming light above their apples, valleys deciding whether they still have a future.
ITALY, PO RIVER PLAIN | 2026 ONGOING | CLIMATE CHANGE, SOCIETY
PADUS | The Living Plain
A whole plain negotiating with the climate: rivers running low and salt water climbing inland, farmers and fishermen adapting season by season, and a supply chain that reaches every table in the country.
PORT SETON, SCOTLAND | 2017 | FISHING, SOCIETY, WORK
What Remains of the Fleet
Before dawn in Port Seton, Robert Johnson and his son—also named Robert—leave the harbour and head into the North Sea. Their work follows an old and exacting rhythm: setting the trawl, watching the weather, hauling the net, sorting the catch and returning with whatever the sea has yielded.
They are among the remaining fishermen working from a harbour where fishing once shaped the local economy and collective identity. After declining crustacean catches forced them to sell one of their two trawlers, father and son continued with a single boat. Photographed over the course of one working day, their story reveals what the contraction of a fishing industry looks like from inside one family.
EUROPE | 2022 - ONGOING | SOCIETY, PORTRAITURE, HUMAN RIGHTS
SHAME | EUROPEAN STORIES
A long-term documentary photography project about survivors of childhood sexual abuse and the consequences that abuse continues to produce throughout adult life. Developed across Europe, the project combines intimate portraits and personal testimonies to examine not only individual trauma, but also the silence, institutional failures and social mechanisms that allow abuse to remain hidden.
Rather than defining participants through what was done to them, the project presents them as people who have reclaimed control over their image and their story. Together, their experiences form a wider European account of survival, recognition and the struggle for justice.
ITALY, PIEDMONT | 2026 | AGRICOLTURE, CLIMATE CHANGE
Italian Rice 2026
A dry canal, and a field that should be flooded. In the rice plains, water is not a resource among others, it is the condition for everything. When it retreats, the whole system holds its breath.
ITALY, PO RIVER DELTA | AUGUST 2026 | ENVIRONMENT, NATURE, CRAFTMEN
Where the lagoons boiled
Summer in the delta. The mussels died in the heat, the clams are failing, and in the same water the first oysters are going in.