I’m an Italian-born, Sydney-based photographer working across aerial, sport, action and fine-art photography, with a particular obsession for movement. I started photographing seriously in 2023, initially through drones and aerial perspectives. What began as a fascination with seeing familiar places from above quickly became something more specific: an attempt to understand how movement, time and scale can completely change the way a photograph feels. Today, much of my work sits somewhere between documentary reality and abstraction. I’m especially interested in the ocean. Not as a postcard, but as a constantly changing structure — violent, elegant, unpredictable and impossible to repeat. Over time, I began pushing slow shutter speeds further and further, combining panning, shutter drag and deliberate camera movement to see how much of a scene could dissolve while still retaining one essential point of recognition. That experimentation eventually developed into an ongoing body of work, The Unstill Sea, where waves, surfers and light are stretched through time rather than frozen inside it. Many of these photographs are created at exposure times that would normally be considered impractical for action photography: 1/8, 1/5, 1/4 of a second, and sometimes even a full second. At those speeds, the challenge is not simply creating blur. It is controlling it — matching the movement of a surfer closely enough for the human figure to survive while the ocean transforms around them. I’ve taken the same approach into aerial photography, experimenting with long exposures and deliberate shutter drag from a moving drone. A one-second exposure from the air introduces another level of instability: the ocean moves, the subject moves, the aircraft moves, and the image exists only if all of those movements align for a fraction of time. That tension between control and failure is a major part of why I photograph. I am not interested in digitally manufacturing movement afterwards. When motion appears in my work, my goal is to create it during the exposure itself. The imperfections, distortions and unexpected interactions between subject, camera and environment are part of the photograph rather than something to be corrected out of it. My wider work includes professional sport, basketball, surfing, aerial landscapes and people, but the same idea continues to appear: I am drawn to moments where a subject is pushed against something larger than itself — speed, gravity, water, scale or time. My photograph Avalanche, created from above as a surfer cuts along the edge of a collapsing wave, has received international recognition including a Bronze Award in Aerial Photography from reFocus Awards. My work has also received awards, selections and finalist recognition across international photography competitions in Australia, Europe and the United States. Those achievements matter to me, but they are not really the destination. What interests me more is developing a visual language that becomes recognisable before somebody sees my name underneath it. I want the viewer to feel movement in a still photograph. I want water to stop looking like water for a moment. I want a person to remain visible at the exact point where the exposure should have erased them. And I want photography to sit in that uncomfortable space between recording what happened and showing what it felt like. That is the direction I am still chasing.