Who we are
We are a semi-professional wildlife and landscape photographic studio.
We work with Canon R5 mirrorless 35 mm systems and Phase One medium-format cameras.
We see photography as the act of transmitting a story that unfolds in a single moment. Unlike video, photography has no audio and no temporal continuity—only a fraction of time frozen. For this reason, the deliberate combination of elements through foreground–background relationships and visual superimposition is fundamental to our work.
Wildlife photography is driven by a long-standing enthusiasm for scenes in which framing, exposure, and light align, allowing the story to emerge naturally. Due to the speed, distance, and unpredictability of wildlife events, this discipline demands long telephoto lenses, fast apertures, and high-frequency triggering. Wildlife imagery is captured using a Canon R5 mirrorless system with top-tier Canon lenses, including the Canon RF 600mm f/4 L IS USM, among others.
Landscape photography centers on light and essential visual elements. The background landscape remains the main character, while carefully chosen foreground elements support the scene—enhancing depth, balance, and the unique character of the environment. A sense of freedom and intimacy with the landscape is what ultimately leads us to release the shutter.
Landscape photographs are produced in medium format using a Phase One IQ4 150MP digital back, an XT 32mm Rodenstock lens, and a Cambo WRS 1600 technical camera plate. (Iceland, US National Parks, Africa’s Parks, Serengeti, Masai Mara and Ambozeli, are featured in this gallery.
All images are first pre-selected on Capture One Imaging software for lighting-composition and sharpness. Modified in Raw and exported into Photoshop for final post processing workflows. AI is only generated for removal of certain elements or certain sky replacement scenes.
Around 80% of images are good shots, however due to Time Constrains of all software related workflow (30 minutes per image), certain photographic campaigns Africa, required trimming 1500 good quality images, to 50 images, which involved a huge Team effort of multi-tier pre-selection and ranking.
About the Photographer
My journey into photography began in the early 1990s with a 35 mm Minolta camera. My father, who acted as my first mentor, lent me his own equipment so I could learn. He also gave me his Italian editions of Ansel Adams’ The Negative and The Print. From early on, precision in exposure and control of light became a necessity rather than an option—eventually leading to my first handheld light meter.
My initial interests were people and landscapes. I was drawn to capturing the essence of conversation, working individuals, and daily life. The challenge of balancing high-contrast scenes fascinated me, while the freedom and intimacy of photographing landscapes increasingly took hold—no judgment, just the photographer and nature.
In the early 2000s, I briefly transitioned to early digital photography with a Nikon D200. The combination of limited color rendering, sharpness issues, and my inexperience with post-processing proved disappointing. This period led me to discover medium format and the Hasselblad system. I acquired a used 1956 Hasselblad 500C, where the pace of photography slowed dramatically. The cost and effort of processing 120 film imposed discipline, teaching me patience, intention, and respect for every frame.
In the early 2010s, I expanded into digital medium format with my first Hasselblad H4D, followed a few years later by a Phase One digital back used with Hasselblad lenses. Locations such as Iceland and U.S. National Parks became central subjects during this period, captured using my Phase One technical camera system.
