Hi, I’m Andrea.
I’m a travel and landscape photographer and educator based near Venice, Italy.
My love for the mountains goes all the way back to when I was about ten years old, on my first school trips to the Dolomites. Over the years, I kept coming back with friends, exploring countless trails, hiking from one mountain hut to another, and making memories along the way.
Long before the Dolomites became my favorite playground for photography, they were already a big part of my childhood and teenage years.
That connection has stayed with me ever since. Today, I love sharing my passion for travel, photography, and the outdoors through small-group photography workshops in places that have become a meaningful part of my life.
Alongside the workshops, I work one-to-one with photographers on their editing, helping them understand their images and make more confident creative decisions.
Before photography became my profession, I spent twenty years as a musician and guitar teacher. That experience still shapes the way I teach today: I believe the best learning happens when you understand why something works, rather than simply following someone else's approach.
Experience behind the work
Today, my work combines field photography, small-group workshops, one-to-one teaching, online education, and collaborations across the photography industry.
25+ years of teaching
First music, now photography, with the same focus on helping people understand rather than simply copy.
40+ workshop editions since 2016
Small groups, hands-on field guidance, image reviews and editing across multiple destinations.
Internationally published
Work featured in Landscape Photography Magazine, Outdoor Photographer, Elements Magazine, Digital Camera, Popular Photography, Fuji X Passion, PetaPixel and Fstoppers.
15+ years behind the camera
Photographing landscapes and travel stories across Italy, Iceland and other international destinations.
What I noticed when I started teaching photography
When I first began teaching photography, I ran small classroom courses focused on camera settings, exposure and basic composition. Coming from a background as a music teacher, that approach felt natural.
But I kept seeing the same thing. Photographers could understand how their cameras worked and still feel lost in the field. They knew the exposure triangle, but when the light changed or the scene became messy, knowing the settings didn’t tell them what mattered in the frame.
That changed what I thought good teaching needed to do. Technique matters, but it’s only the starting point. The harder part is learning to make sense of the scene, make a choice, see the result, and understand what to try differently next time.
How that changed the way I teach
I moved away from isolated classroom lessons and built my approach around real photographs and real decisions. In workshops, that means working in the field while the scene is still in front of you. In one-to-one editing sessions, it means working directly on your own images and the choices you’re unsure about.
Groups are intentionally kept small, so I have time to work closely with each photographer—looking at what you’re trying to achieve, refining compositions, solving technical problems and adapting as conditions change.
The goal isn’t to copy my compositions or follow a rigid formula. It’s to understand why one choice may work better than another and become more confident making those decisions when I’m not standing beside you.
The same approach carries into my one-to-one editing sessions and the practical tutorials I share on YouTube.
What I want you to come away with is more than the photographs we worked on: more confidence in the decisions you make and a clearer idea of what to work on next.
When the plan changes
One of the clearest examples came during a Dolomites workshop in October 2024.
We had planned the workshop around autumn colours and golden-hour light. Instead, an unexpected snowstorm covered the mountains overnight and completely transformed the landscape.
One participant told me it wasn’t what they had imagined when booking the workshop. They had been hoping to photograph a particular autumn view, but that scene no longer existed.
Rather than chasing the original plan, we worked with the conditions we had. The group adjusted their compositions and spent hours photographing the snow-covered Cadini di Misurina under the October sky.
By the end of the workshop, that same participant told me they had captured something “far beyond what I had hoped for.”
For me, that is the point: becoming less dependent on getting the conditions you hoped for, and more confident making photographs from what is actually in front of you.
CLIENT EXPERIENCES
What Photographers Say
“I came away with a much deeper understanding of why certain pictures work, and what I could and should do to better my craft.”
“Andrea’s guidance was invaluable. I especially appreciated how he noticed when I was struggling and stepped in gently, without making me uncomfortable.”
“I’ve arranged two photo editing sessions with Andrea and always learn a lot. He is very knowledgeable and really tries to tailor his teaching to what I need. Beyond editing, it was invaluable to see how he approaches composition, perspective, and color. Highly recommended!”
What I actually use
Brands I use and recommend
These are brands whose products are part of my actual photography workflow, in the field and behind the computer. Some of those relationships have developed into collaborations, including my role as a NYA-EVO Ambassador, but the starting point is always the same: I use the gear because it works for the way I photograph.
