According to the canons of photography suggested by Giuseppe Cavalli in the "Manifesto della Bussola" of 1947 and reworked on the concepts of Croce's aesthetics, what really matters is only the way of representing the subject, not the historical, social or political context in which it is inserted. If we want to simplify, this means chasing beauty as such. Ferruccio Ferroni had made this choice with conviction and not without a subtle polemic against reportage that did not inscribe itself within the boundaries of art. In his photographs, which Mario Giacomelli considered "poetic fragments, exquisitely composed formal images", each element loses its specificity to be inserted in a dimension dominated by harmony. You have to admire these works up close to observe not only the balance with which they insert the elements into space: this applies both to the distant figures of the seminarians who stand out on the sand, and to that study on the ball resting on the cabin on the beach that has the compositional balance of a still life.