“Io non ho mani che mi accarezzino il volto” is his best-known and most highly regarded work because, in the blinding white of the snow against which the black of the seminarians’ robes stands out, it embodies the most striking features of Giacomelli’s style. However, this image must be studied carefully, for the contrast is metaphorical rather than merely aesthetic, juxtaposing the carefree cheerfulness of the subjects with the emotional loneliness that awaits them. Nor should we forget that here the true spirit of the photographer from Senigallia is revealed: that of being a refined interpreter of poetry, in this case of the eponymous poem by David Maria Turoldo. Truly fascinating. “Scanno” (the only Italian photograph featured in the 1964 exhibition “The Photographer’s Eye” at MoMA) is a veritable exercise in compositional style: the two women in the foreground, crossing the space diagonally, are contrasted, in a brilliant shift of perspective, by the figure of the child advancing directly towards the lens. Alongside these two masterpieces, we finally find one of his highly original landscapes, which is even more distinctive here thanks to the composition that emphasises the stark contrast between the shaded areas and the brighter ones, which seem to stand guard over that intensely worked land.