The relationship between the photographer and the printer is an extremely important one, as we know. Like that between Cartier-Bresson and his printer Gassman, with whom I think he worked his whole life. Davide and I started working together almost 20 years ago and we grew up together He’s also come a long way in our relationship as far as my work is concerned, and we have reached a point of symbiosis. He’s fantastic, but most of all he really knows my work inside out. Give a touch of contrast here, all over. But just a touch. This is all fine, and so maybe we could try and run off a few prints? I’d say more than fine look how sharp it’s coming out. It separates all the tones nicely, the detail that it manages to bring out is great… Now let’s mount this one and frame it without glass. When I came here for the first time to see the space, I must say I was fairly overwhelmed. I work a lot with the space, with the notion of making the show to measure, i.e. sewing and cutting the exhibition to fit the space. This is the photo at the entrance, this Japanese falcon staring at us. It represents something of an other-worldly presence, perhaps a bit of a cry of nature, so much under threat from human activities. These constant couplings of darkness and light, in which light almost seems to subtract matter from the darkness. I always imagine the world as a shrouded in darkness. I struggle with it to try and draw something out of it, a bit like a sculptor but the other way round; I mean drawing something out of the matter, in this case making beams of light emerge from the darkness. For us, going about this kind of production also means getting confirmation of what the technological evolution is… Absolutely. …of the product portfolio. It means managing the darkness that was previously something destined to be unseeable. Exactly, and in fact this is the great gift that we received from digital photography. We can support you and be of help also in the transposition and display of the exhibition with regard to the printing process. I never use glass on my prints because ideally, I would like to think that someone might be able to touch them. That someone might get up really close. and perhaps even reach out to them.