If in the endless production of a photojournalist like Gianni Berengo Gardin we wanted to identify the works that made him most famous, the three presented here are among the chosen. To reiterate the style of the great photographer, the images were made with a coinciding but different gaze, alternating slow reflection with the lucid rapidity of the fleeting moment. One day in 1977 in Great Britain he saw a car, a classic and elderly Morris, parked with its nose turned to a beach. Inside he saw the heads of a couple and immediately understood that the image aroused curiosity: why are the two standing there, what are they saying to each other, what are they going to do? He lurks behind them, puts the car in the center that stands out in an almost metaphysical atmosphere. Something similar animates him in front of two young Parisians kissing on a bench regardless of the traffic and the world that revolves indifferently around them: in this case it was necessary to shoot quickly because otherwise the image could change the balance achieved there. The shot of the Tuscan countryside is different because here it was a matter of synthesizing in a single shot a series of characteristics that make the landscape of that region unique. The photograph is taken from afar in order to show the lively sense of the hill but the formidable element of this whole is constituted by that winding road that draws narrow curves that juggle between the soaring cypresses and in their whiteness of a dirt path. The presence of a couple who are about to walk along it gives the whole a dynamic sense.