Apart from sporadic experiences with modest cameras lent to me by some friend and relative, my fundamental approach to photography began with a gift from my wife immediately after the wedding. A new Yashica with 50mm that immediately, disrespectfully and apparently without real and solid convictions, I converted into a used Nikon. An already worn-out FM body to which, immediately after, I have matched an MTO 500mm f.8, a second-hand Russian catadishic lens.
A start certainly unusual and challenging for someone who knew almost nothing about photography, but I just normal, I was strongly intent on photographing birds.

Così, quasi brutalmente, ho iniziato la mia personale scoperta della fotografia, ignaro di quanto perfettamente questo mezzo avrebbe interpretato le mie particolari specificità caratteriali e soddisfatto l’irrinunciabile quanto indicibile bisogno di esprimere e comunicare la mia celata interiorità prigioniera della timidezza.

Come scrive in un’intervista Andrea Zanfi … per me “fotografare è come respirare. E’ un’esigenza, una necessità vitale…”.



The “photographic hunt” represented my true photographic initiation, an alternation of expectant and adrenaline patients shots often stolen, as in a sort of duel, to fearful birds always ready for a very quick escape. The real ambushes and the camouflage huts would arrive only some time later, the result of experiences and knowledge in rapid progression. The interest in nocturnal birds of prey soon led me to start a very special path in parallel, developed thanks to my father’s electronic skills, that of the so-called “photographic traps”. A path …..


During the early years the photo of some landscape or some flower was little more than a moment of attention stolen from bird photography, certainly performed with commitment, but never the result of a preventive project or a dedicated output. It ‘s been some time before I started, birds leave, to photograph for projects or, better to say, to conceive of reports on specific subjects. It was the Sile, the river of the house, that with its silent green landscapes, the resurgences and the rest, the city glimpses and the wide loops, the pensile features on the lagoon and the little hidden treasures spurred me, with the friend Giuseppe, …..


I called it “research photography” not knowing how to better define this that more than a genre is a different photographic approach, I would like to say a style. Perhaps I could have called it “creative reportage” since it is still a reportage. As often happens classifications and categories are labels from the borders so labile as to be continually broken, overcome by contamination, specificity and exceptions. However, in this section I have included those photographic stories conceived and developed on stories …..