The pictures offered here are particularly significant examples of the two chronologically successive ways in which the Emilian photographer has approached the theme of the urban landscape. In the first one he investigates the charm of Rome but does so avoiding the most predictable visions: he lurks in the night in search of a seductive theatricality because the foreground that occupies the lower and right part of the image acts as a backdrop to give depth to the vision and make the soaring Pyramid stand out better against the background of a dark sky on which the moon glances. In the second everything has changed just as has happened to China where the bicycles of the 1960s have been replaced by cars, while the roads now defy modernity by creating paths that rise and fall as in roller coaster. The helicopter shot and the idea of blurring the definition toward the distant horizon create an effect of miniaturization of the landscape, however, questioned by the generous size of the print.