Another remarkable long-standing collaboration is with the high jewellery house Bulgari. How did this creative partnership begin? And how has it developed over these 28 years of working together?

My work with Bulgari started in 1997. The collaboration came about by chance, thanks to a German event photographer who introduced me with surprising generosity. Since then, our collaboration has grown in step with Bulgari’s increasingly unique production. As a result, the technical and technological requirements have also expanded; my studio (and even its infrastructure) is now very complex, as are the team’s expertise and the equipment we use.

Today, it is not only about cameras or computers, but also about suitable spaces in the studio and on-site with the client, and entire IT systems to maintain secure, shared databases. Keeping pace with the intense demands of certain periods, responding with immediacy and the essential technical precision required by luxury clients worldwide, is a continually evolving challenge. It is tough but incredibly rewarding.

We never get bored, as we continue to experiment, update, and discover new creative territories. With Bulgari, the dialogue is ongoing; my photos have been exhibited in museums, featured in worldwide ad campaigns, international magazines, and collectible books and catalogs. I am one of the very few photographers globally who, after so many years of collaboration, is allowed to handle and adjust their creations to understand the best ways to photograph and light them, highlighting the unique qualities of precious stones, cuts, reflections, and settings. Earning their trust was neither easy nor quick, and it must constantly be reaffirmed as competition grows more global. This is why we are always advancing.

Your work as a photographer is, in some ways, comparable to that of a designer. What do the two profession have in common? Who are the masters you admire in both fields?

Absolutely! Like a designer, a photographer must combine specific skills and technical knowledge. He has to be hands-on to understand the best approach. As I mentioned, I sometimes need to observe details closely to understand how to shape the light, which reflections to obscure, and which to highlight to make the object stand out, setting myself aside as the author. In fact, I often work alongside designers from the initial sketches, as they require photographic and video documentation. Being part of the production process in the workshops, witnessing the product’s creation, makes us aware of the craftsmanship and construction value that define the brand. My work is meticulous, resulting in an outcome that should appear effortless, paradoxically. But it is far from simple, as it involves managing studio space and designing the entire workspace to be adequately equipped and multifunctional.

This is why I created the current Studio Orizzonte Gallery, a space where a team of around ten collaborators work, conceived as a creative factory and a versatile exhibition space that is entirely reconfigurable in the heart of Rome. However, it must be noted that a photographer, like a designer, is not simply an executor; they must also elevate these skills. That is, they must go beyond essential function to tell a story, share a worldview, inspire wonder, and perhaps simplify. Achille Castiglioni’s work exemplifies this, as does Richard Avedon’s photography with his grand still-life shots of models or Irving Penn’s cigarette butts and his famous closed corner for his impeccable portraits.

In 1989, you founded Studio Orizzone Gallery, a space offering not only photography, but a full range of services that today's image and video production industry demands. Can you tell us what these services specifically entail?

The team at Studio Orizzonte Gallery uses the latest technologies in video and photo production and post-production, also with the support of artificial intelligence. Video editing, 3D modeling, and computer graphics have become essential in any still-life photography studio, and we are not only keeping pace but leading at an international level. This also means state-of-the-art computers and an advanced system for the preservation and sharing of digital archives (and beyond) of increasingly vast volume. Since relocating to the Parioli neighborhood, just steps from our previous location, we also have the capability to host exhibitions and events, as well as car shoots.

What defines the cutting-edge in today's image and video production industry?

It is about having an objective approach to the profession and photography itself. What is essential, especially in commercial-advertising, is to avoid prejudices and stay constantly updated. Every technological innovation can be a resource. Even artificial intelligence, when guided by a skilled person, can become an immediate solution.

In addition to being a recognised award-winner photographer, you are also an exhibition curator, with Studio Orizzonte Gallery doubling as an exhibition space. How do you select external works? What is your approach to organizing exhibitions and events, both in the studio and externally?

I have achieved many rewarding moments in my long career. Over the years, many prominent figures from the creative world have passed through here, and we regularly organize events for the pure pleasure of gathering, sharing visions, or showcasing personal projects. Sometimes, we even publish books for other artists we believe in. Unfortunately, as often happens when one is highly professionally engaged, these side projects are sometimes less organized than we would like, but we are working on this with new collaborations. Music is a constant here; after all, I was a professional drummer in my younger years. I love exhibition projects and events that feature my two passions: music and photography. Naturally, we are always open to new ideas, even for simple space rental, but only if the project aligns with our style.