What were the main stages of your personal and professional development, and how did they influence your approach to the world of photography?
My parents allowed me to approach photography at an early age. My mother worked in publishing, while my father was a graphic designer, illustrator, and artist. His creative presence permeated every corner of the house: during meals, we discussed ongoing projects, criticized unscrupulous clients, and pondered which commissions were truly worthy of acceptance. For ethical reasons, my father turned down highly lucrative corporate positions, preferring to dedicate himself to NGOs, cultural institutions, and charities.
This attitude had a profound influence on me. I was particularly struck by his freedom to work freelance, independently and consistently with his own moral principles. Not having his talent for drawing, I found my own expressive medium in photography. It offered me the opportunity to pursue a personal path and develop an independent style, in a profession that combines artistic freedom and social responsibility.
Looking back at your early days, what challenges and decisions marked your transition from a young photographer to a confident professional?
Unlike many of my colleagues, I didn't approach photojournalism as a self-taught artist. I felt too insecure to print a business card and proclaim, "Now I'm a photographer." I felt the need for a deeper understanding of the craft, a solid education that started from the ground up. My apprenticeship with a master of extraordinary dedication and versatility taught me every aspect of the profession: from optics to physics, from studio and darkroom work to meticulous project organization. I learned to plan every assignment so that everything ran smoothly, an attitude that still guides my work today.
At the same time, I have explored the entire technical and thematic spectrum of commercial photography: architecture, fashion, food, jewelry, cars, using both 35mm cameras and medium and large format cameras.
Soon, however, I realized that commercial photography alone wouldn't be enough for me. My goal has always been to use photography as a tool for social transformation. I wanted to tell stories that could have a real impact. That's why I chose journalism, a challenging and often financially precarious path, but one that allowed me to address issues I cared deeply about.
You often talk about photography as a tool of truth and testimony. What does responsible photography actually mean today?
Photography is a tool of truth and testimony, and this is precisely where its responsibility lies. Today, photojournalism is under enormous pressure: editorial budgets are shrinking, resources are flowing into the internet and social media, and quality journalism is increasingly underfunded. Yet photography retains extraordinary power. It is capable of capturing reality with immediacy, arousing profound emotions, and shaping public opinion. The documentation of World War II and, even more so, the Vietnam War are emblematic examples: it was only when the American public saw with their own eyes the consequences of the conflict—the pain of widows and orphans, the victims on both sides—that collective perception changed, helping to bring the war to an end.
For me, photographing responsibly means exercising this power with full awareness: reporting facts truthfully and accurately, respecting the dignity of the people portrayed, avoiding any form of sensationalism, and accompanying images with the necessary context to avoid distorting their meaning. Above all, it means acting with empathy and integrity, with the aim of making injustices visible, highlighting positive developments, and, where possible, contributing to a more equitable world.
In your opinion, what is the photographer's responsibility towards reality and information in an era dominated by social media and image manipulation?
In the age of social media, deepfakes, and digital disinformation, the credibility of images is under unprecedented pressure. This is precisely the photographer's fundamental responsibility: to remain faithful to reality and respect the ethical principles of the profession. The power of photography is an essential pillar for shaping public opinion and for the proper functioning of democracy: if trust in images is lost, a crucial component of public debate is undermined.
The technical sophistication of image manipulation is rapidly evolving, and the lines between truth and falsehood are blurring. For this reason, credibility and trust in photographers are our most precious resource. As journalists, we must work with care, transparency, and ethical principles. The public needs reliable newsrooms that rigorously verify facts and can be fully relied upon. Only in this way can quality journalism survive and photography maintain its power as a tool of truth.
To what extent do his work and professional choices reflect an idea of democratic photography that resists the mystification and spectacularization of today's world?
For me, speaking of democratic photography means firmly opposing any form of mystification and spectacularization of reality. This is possible only by adopting an approach grounded in intellectual honesty, being guided by authentic human values, and operating rigorously in accordance with the ethical principles of the profession. Only in this way can photography fulfill its highest function: becoming a truly universal language and contributing, credibly, to democratic life.
Personal reflection is essential: I must be aware of my cultural conditioning, question my Eurocentric perspectives, and not be guided by prejudices or stereotypical images. Sometimes this also means refusing an assignment if it's manipulative or distorts reality.
At the same time, we must respect the power we exercise over the people portrayed. An image gives us control, and control can be abused. If this responsibility is taken seriously, photography can become an empathetic, respectful, and political medium, making people visible without exploiting them.
Why did you feel the need to dedicate so much of your time to training and engaging with the new generation of photographers?
Documentary and journalistic photography is a central tool for shaping public opinion, not only in democracies but also in authoritarian states. In recent decades, I've seen photojournalism under enormous pressure: despite more images circulating than ever before, there's less and less room for in-depth reporting.
The new generation of photographers is struggling to make headway in this context. They need support to realize ambitious projects and enter the world of photojournalism. This is where TruePicture: We are committed to leading the medium of engaged documentary photography into the future and supporting a new generation of talented photojournalists.
After 40 years of professional experience, I know how difficult it is to work in challenging economic conditions. My network and my name allow me to finance projects, but young photographers rarely have access to good connections. That's why I want to pass on my knowledge and network to them, so they can tell their stories and make the most of the power of photography.
What initiatives, projects, or practices do you think are most effective today to concretely support the work of young photographers and help them follow a free, ethical, and sustainable path?
This was exactly the question I cared about, and that's how TruePicture was born. Our approach goes beyond a traditional photography award: we specifically support talented photographers who demonstrate the potential to make a real impact through their stories. A nominating committee identifies these young photographers and invites them to submit their applications to TruePicture.
We don't just reward portfolios; we support long-term reportage with funding and mentorship. Photography today requires more than mastery of a camera: it requires political, journalistic, and historical thought, a strategic approach, psychological sensitivity, and a clear ethical awareness.
Photographers often work in extreme conditions: deprivation, fear, insomnia, and intense emotional stress are part of daily life. Targeted attacks on journalists are dramatically increasing. TruePicture helps young photojournalists develop professional survival strategies, reflect on their own position, and tell relevant and impactful stories. We also support them in engaging with different cultures, developing effective narratives, and building networks, supporting only projects of social relevance. This way, we want to foster sustainable development: talents become entrenched in the profession, can become role models, and advance the power of documentary photography. It's a contribution to democracy and human rights.
How do you imagine the future development of documentary photography and photojournalism?
"It's a great joy and a real surprise for me to see so many young people continue to choose documentary photography and photojournalism, despite the risks and difficult economic conditions. They recognize the importance of their medium and see it as a contribution to positive development in the world.
This new generation is highly educated, committed, and technically skilled; it deserves support and encouragement. Their existence gives me hope: it shows that people still believe in the value of image and are ready to take responsibility for the truth. The future of TruePicture It consists of strengthening these talents and providing them with the resources necessary for photography to continue to exist as a credible and effective medium. I am fortunate to have already found some supporters and foundations that share our values and beliefs."
Finally: what risks exist?
The greatest risk is economic: the risk of no longer finding funding. Without the necessary resources, without patrons and supporters willing to support long-term projects, there's a danger that the power of photojournalism will weaken, and with it, a medium capable of making social realities visible and transforming them will disappear.
TruePicture
TruePicture It is a training and mentoring program dedicated to promoting young talents in committed photojournalism. Every year, TruePicture supports four long-term photo reportages by photojournalists from Switzerland, Germany, and Austria. Funding decisions are made by an international nomination committee and a renowned jury of experts. TruePicture.
TruePicture It is committed to democracy and informed photojournalism, staying close to world events where others prefer to look away. The program is open to new forms of visual expression and promotes diversity, both in the selection of photojournalists and the thematic variety of their work.
