Photography inspired by a forgotten past



Far from pursuing striking -but artificial- results, we seek a natural and beautiful lighting, which will reveal and magnify the most genuine sense and charm of the subject, in an imperceptible and natural way.

We pursue a careful and appropriate treatment of nuances and gradations that help shape the result, enhancing subtly the whole so that it acquires meaning and becomes a sensitive and expressive blend, in which finally nothing is lacking or in excess.

That’s why we only use continuous lighting; nothing can match the richness of the incandescent light of a Fresnel spot, nor the haunting vagueness with which it fills the space.



We understand, however, that it must be an unpretentious, non-artificial path, only at the service of the natural mystery, of the genuine emotion of a scene, delivering it in the purest and most intact way possible. Otherwise it’s just too much.

The composition, the finish touches, are conceived in a modest way, cared for and with attention to detail, always subordinated to the achievement of the desired whole, of a particular creative idea or concern, inspired by a way of doing from other times, not so far away, but inimitable.

What is genuine is achieved from the details, from the obvious and visible, from what is not so much too, and even from what, in a first impression, can go unnoticed even if it contributes effectively to the final result.

Balanced, natural and elegant, the best composition is the one that is not perceived as the protagonist of the image.



On it builds the composition and the lighting of the secene, but without it, everything collapses. The expression, the personality, the character is a mirror of an environment, an influence, of principles, of an age.

It can’t be imitated from the outside, it must emanate from the inside of the captured whole, it must exist in essence. Hence the importance of the chosen subject and the build up of the framework that enhances it. Our job is not to seek it forcibly but to find it wherever it is and know how to show it.

That is our motivation, the one we try to capture in our photography. That life, rescued from a moment of the past that offered all this wonder; perhaps already lost, perhaps only asleep; that genuine, authentic and naive world, in which the noble ideal and human feelings were a beacon and guide against the harshness of the world, where hope, simplicity and genuine joy of life (not fun) formed an intrinsic part of person.



There is nothing worse than a sharp image of a fuzzy concept – Ansel Adams

A dead thing can go with the stream, but only a living thing can go against it – Gilbert K. Chesterton

Twelve significant photographs in any one year is a good crop – Ansel Adams

Sometimes it’s not what you light, it’s what you DON’T light – John Alton

It’s all so simple -no one believes me…- you make a pose and light it. You fool around until you get an interesting expression. Then you shoot– George Hurrell

There is no doubt in my mind that the most beautiful music is sad, and the most beautiful photography is in a low-key, with rich blacks – John Alton

Art for art’s sake is dead – if it ever lived– Edward Steichen

A technically perfect photograph can be the world’s most boring picture – Andreas Feininger

These strobes lights are the worst thing that has ever happened to portrait photography – Clarence S. Bull

Art, like morality, consists of drawing the line somewhere – Gilbert K. Chesterton

Most photographers seem to operate with a pane of glass between themselves and their subjects. They just can’t get inside and know the subject – Edward Steichen

Now I can only say –Hey! wasn’t I lucky?
I have no doubt I was born at the right time
– Katharine Hepburn