Federico Sutera, born in Venice, graduated in Tourism Economics from Ca' Foscari University of Venice. He then completed a Master's in Reportage Photography at the EFTI School in Madrid, marking his entry into the world of professional photography.

In 2010, after returning to Venice, he opened Xframe, his first photography studio on the island of Giudecca island.

He is actually working at Ostello Fotografico, founded on 2025 where is actually presenting two main projects:

Postcards from Venice, a series of black-and-white photographs sold in limited editions. These images capture moments and views that the author describes as 'timeless,' deliberately excluding any element that could indicate a specific era.

He recently managed a photography store dedicated to his project Postcards from Venice, a series of black-and-white photographs sold in limited editions. These images capture moments and views that the author describes as 'timeless,' deliberately excluding any elements that could indicate a specific era.

The choice of black and white evokes the classical photographic tradition and enhances the sense of mystery and nostalgia. In the Postcards from Venice series, the city seems suspended outside of time, like a place of stillness and poetry. Shadows, light, architectural details, and reflections on the water create an urban landscape that, while real, takes on the quality of a dream: a personal and deeply intimate vision of the city.

'For this photographic series, I wanted to immortalize Venice by excluding everything that disturbs its beauty, its tradition, and its thousand-year history.'

His photographic work focuses on the city where he was born and lives, evolving into two distinct yet deeply intertwined projects that capture opposite facets of its Venetian soul.

Venice for Sale, explores another side of the city: the one surrendered to mass tourism. The approach here is radically different: bright, saturated colors transform Venice into an almost pop and surreal landscape. His photographs depict a city turned upside down, where the contrast between historical authenticity and the superficiality of tourist consumerism is starkly evident. These images, deliberately detached from traditional Venice, show a place that, while retaining its iconic beauty, appears unrecognizable—alienated from its history and culture. The project serves as a visual, almost ironic critique of Venice’s transformation into a commercial product, accentuated by the use of vivid colors and a surreal style.

In summary, Federico Sutera's work explores two contrasting dimensions of Venice: one, dreamlike and timeless; the other, overwhelmed and transformed by mass tourism. Through different visual languages, he captures the complexity of his city, its eternal charm, and its contemporary contradictions.

His photographs have been published in both Italian and international magazines, including L'Espresso, Io Donna, Style, Der Spiegel, Bauwelt, Geo Wissen, Geo, Le Courier, L'Illustré, and many others.

For more information about his work, visit: www.federicosutera.com.

Paolo della Corte was born in Venice, where he still resides, although his work often takes him across Italy and abroad.

After earning a degree in Art History from Ca' Foscari University of Venice, he quickly turned to professional photography, specializing in portraiture and cultural reportage, while also teaching Digital Photography at the Academy of Fine Arts in Venice.

His academic background led him to narrate the world of contemporary art through images. Thanks in part to the many editions of the Biennale of Visual Arts, he had the opportunity to meet — first in Venice and later in their studios — some of the most renowned international artists, including Louise Bourgeois, Jim Dine, Jannis Kounellis, Roy Lichtenstein, James Rosenquist, and George Segal.

In recent years, having returned more permanently to the lagoon, he has focused on more personal projects, aiming to tell the story of Venice through its inhabitants — the Venetians who continue to resist amid high tides, over-tourism, and cruise ships.

Among his most significant works is "(R)esistere a Venezia" (2019), where a number of Venetians are portrayed standing still in the urban landscape, surrounded by swarms of moving tourists. Using long exposure times, the tourists appear as a blurred wave overwhelming the static subjects — a metaphor for the increasing difficulty of living in a city that feels ever more alienating.

In "Venice 2050 A.D. – And Then Came the Great Water", he imagines what the city might look like in thirty years, when — according to recent studies — it is expected to be frequently submerged by exceptional tides. For this project, about twenty Venetians were photographed underwater in the aquarium of Hotel Aquarius in Campo San Giacomo. Transformed into amphibious beings, they appear to swim and live among the submerged calli, adapting to a lagoon that has become almost like an amniotic fluid.

In "Flooded Souls", the natural environment of the Venetian lagoon takes center stage. The work consists of 20 still life images of lagoon fish, printed on cotton canvas and submerged in different locations across the lagoon. After 4–6 weeks, the canvases were retrieved and analyzed by the Department of Chemistry at Ca’ Foscari and the National Research Council (CNR), providing a visual and scientific narrative about pollution and the effects of wave motion.