I look for what happens between moments.

During this private cocktail event hosted by Lionard Luxury Real Estate on the rooftop of A’ Riccione, the city becomes more than a backdrop—it becomes atmosphere. As the light fades, conversations unfold, gestures soften, and the rhythm of the evening reveals itself.

I move through the space quietly, observing rather than directing. What interests me is not the event itself, but the presence within it—the way people connect, pause, and exist in a shared moment above the city.

Light shifts from natural to ambient.
Faces emerge, then blend into the scene.
Details define the memory.

My approach remains cinematic: isolating subjects within movement, using depth and shadow to create intimacy within a social setting. Each frame is built to feel effortless, yet intentional.

This is not only a corporate gathering.
It is a study of presence, connection, and atmosphere.

In this product study for ESTUN, the Co-Palletizer 20 Codroid is approached not only as a machine, but as a presence—defined by structure, balance, and controlled movement. Stripped from its operational environment, the focus shifts to geometry, surfaces, and the relationship between light and material.

I work by subtraction. Eliminating distraction to reveal design.

Edges become lines of tension.
Volumes emerge through shadow.
Every detail carries intention.

The goal is not simply to describe the product, but to interpret it—transforming industrial function into visual clarity. A cinematic approach guides the process: controlled lighting, precise framing, and depth used to isolate and elevate the subject.

This is not documentation.
It is a study of form, precision, and engineered presence.

I look for what unfolds between formal moments.

During this investor cocktail hosted by Sosteneo Infrastructures at Jardin d’Hiver, the atmosphere moves quietly between structure and spontaneity. Conversations flow, gestures settle, and the distance between roles begins to soften.

I approach the space without interruption—observing the subtle rhythm of interactions. A glance held a moment longer. A hand gesture mid-conversation. The stillness that briefly emerges within movement.

Light becomes ambient, layered.
Faces appear, then dissolve into the scene.
Presence defines the frame.

My approach remains cinematic: isolating fragments within complexity, using depth and shadow to create intimacy in a social environment. Each image is built around clarity and atmosphere—where the corporate context fades, and something more human takes shape.

This is not only an event.
It is a study of connection.

The event brought together prominent business leaders from both countries, alongside diplomats and government representatives, highlighting the important intersection of sport, business, and international collaboration.

Where innovation meets presence.

Within the dynamic flow of Making Cosmetics & in-Vitality, the industry reveals itself not only through products and formulations, but through the people who shape it. Commissioned by Step Exhibitions, this editorial reportage moves through spaces of exchange—where ideas circulate, materials evolve, and connections take form.

Beyond the stands and displays, attention shifts to gestures, conversations, and fleeting moments of focus. Scientists, formulators, and industry leaders become part of a living narrative—one that blends precision with curiosity, business with vision.

Light reflects on glass, textures, and skin.
Movement defines the rhythm.
Presence defines the frame.

Shot on Leica SL2 and Leica Q, the visual language remains instinctive yet deliberate—balancing clarity, atmosphere, and immediacy.

An editorial fragment of an industry constantly evolving.

https://www.making-cosmetics.it/

I don’t approach an event like this as a documentarian. I look for pauses.

At Making Cosmetics & in-Vitality 2024, commissioned by Step Exhibitions, my focus moved beyond the surface of the exhibition—beyond products, stands, and structured presentations. What interested me was the human layer: the moments between conversations, the way attention settles on a detail, the quiet intensity behind innovation.

In a space defined by movement, I worked by subtraction. Waiting for alignment—light, gesture, expression—to converge into something essential. My approach remains cinematic: isolating subjects within complexity, using depth and shadow to separate presence from noise.

Light becomes directional, almost narrative.
Faces emerge, then recede.
The frame holds only what matters.

Working with the Leica SL2 and Leica Q, I kept the setup minimal and responsive. The SL2 allowed precision and control in more composed situations, while the Q gave immediacy—letting me move fluidly through the environment without interrupting it. The APO-Summicron rendering shaped the image with clarity and depth, while I deliberately preserved natural contrast to maintain atmosphere.

This is not a record of an event.
It is a study of presence within movement.

Where time refines precision.

Inside Saporiti SRL, a historic company shaping industrial excellence since 1946, every surface speaks of discipline, engineering, and continuity. This editorial reportage, created for Tecné / Openfactory, moves between human presence and mechanical perfection—capturing both the people behind the process and the machines they have perfected over generations.

During the interview, portraits emerge naturally from the environment: gestures, focus, and quiet authority framed within a space built for exactness. Alongside them, the machines—specialized grinding systems for valve balls—stand as silent counterparts, objects of both function and form.

Light traces metal. Shadows define structure.
The narrative unfolds between legacy and innovation.

Shot on Leica SL2 with SL APO-Summicron 75mm and 35mm lenses, the visual approach remains intentional and restrained—balancing sharpness, atmosphere, and depth.

This is not only about industry.
It is about precision, carried through time.

I am not looking for costumes. I am looking for what lives inside them.

At the Festival del Fumetto 2024 in Novegro, the boundary between fiction and identity becomes fluid. Characters step out of imagination, but what interests me is the moment they become real—through posture, gaze, stillness.

In a space filled with color, movement, and noise, I work in contrast. I slow down. I isolate. I wait for the instant when the performance fades and something more human surfaces.

Light cuts through complexity.
Details dissolve into shadow.
Presence remains.

My approach is cinematic: compressing the environment, separating subject from background, building depth through focus and distance. The 75mm allows me to step back and observe without intrusion, creating portraits that feel both intimate and detached. The wider perspective of the Q brings me back into the flow—closer, more instinctive, more immediate.

Shot on Leica SL2 with APO-Summicron 75mm and Leica Q, the visual language remains intentional—balancing sharpness, atmosphere, and silence within the frame.

This is not about fantasy.
It is about the moment it becomes human.