“Anthropocosmos “
A Photographic Exploration of Humanity’s Cosmic Leap
Somewhere between science fiction and reality, a new frontier is emerging—one where humanity’s aspirations extend beyond Earth, inscribing our story onto the vast canvas of the cosmos. Anthropocosmos is a photographic journey capturing this transformative moment, where the boundaries between present and future dissolve into a vision of possibility. This project is more than a visual documentation; it is a philosophical exploration of our expanding presence in the universe.
To bring this vision to life, I needed a camera that could translate both the tangible and the speculative—a tool capable of rendering the extraordinary in breathtaking detail.
In 2021, I embarked on the Anthropocosmos project with the Large Format GFX, marking a significant turning point in my photographic journey. It was my first personal project made entirely with the GFX System. Coming from large format in analog photography, I sought a digital camera that could match the quality of film while providing the versatility of digital technology. GFX100 already exceeded my expectations, offering the freedom to explore digital photography while preserving the tonal range and depth I valued in my work.
GFX100 II has been a natural evolution in this journey—a new iteration of the GFX system that was both reliable and high performing. In 2024 I decided to continue working on Anthropocosmos project choosing the latest top-of-the-range within the GFX System, and it was a successful match. GFX100 II has been the perfect companion to help me push the boundaries of documentary photography.
GFX100 II, with its unparalleled resolution and dynamic range, became my portal into these futuristic landscapes. Every texture, every reflection of light, was captured with an almost hyperreal clarity, making the images feel as if they were not just of the future, but from it. The image quality of GFX100 II is truly remarkable, allowing me to see every single detail of the final image with astonishing precision. The color and tonality of the files are incredibly deep, enabling me to capture the true essence of these marvels—places where the future is being built. Every shade, every subtle transition in light, was rendered with a richness that transported me into these spaces as if I were reliving them in real time.
When paired with Fujinon GF110mm Tilt-and-Shift Macro lens, the camera allowed me to manipulate perspective and depth in ways that mirrored the dreamlike and speculative essence of Anthropocosmos. The tilt function of the lens let me isolate specific elements, creating an almost cinematic sense of scale—allowing vast aerospace facilities to feel simultaneously grand and intimate. The shift function, on the other hand, helped correct architectural distortions, essential for capturing the towering structures that define our push towards the stars. The resulting images possess a weight and dimensionality that transcends traditional photography, making the viewer feel as though they are stepping into a parallel reality.
Fujinon GF 55mm F/1.7 R WR was another essential tool in my kit. Its incredible image quality and remarkable depth in detail allowed me to capture scenes with stunning clarity. The wide f/1.7 aperture was especially valuable in low-light conditions, where artificial lighting was either unavailable or impractical. This lens gave me the ability to work with natural light, embracing shadows and highlights in a way that added a cinematic, immersive quality to my images..
Equally indispensable was Fujinon GF 32-64mm f/4 LM WR, a lens that became my go-to when time was limited, and I needed to frame my shot quickly and accurately. The flexibility of its zoom range allowed me to adapt instantly, capturing wide shots of vast engineering facilities or zooming in for tighter compositions without sacrificing image quality. This adaptability was crucial in dynamic environments where moments unfolded rapidly, ensuring I never missed a critical shot. Despite its versatility, the GF 32-64mm maintained exceptional optical clarity, making it an invaluable part of my workflow.
To trace the contours of our cosmic future, I traveled to some of the most cutting-edge aerospace facilities, each one a locus of human ingenuity and ambition. At Airbus, engineers are shaping the next generation of spacecraft, where the interplay of metallic surfaces, shadowed corridors, and suspended modules created a surreal, almost otherworldly aesthetic.
Thales Alenia Space serves as a crucible of innovation, where satellites and space station modules take form, blending raw industrial structures with precision-engineered components to offer a compelling visual narrative of progress.
Lunares presents a simulated lunar environment where the future of extraterrestrial habitation is being tested; its stark, cratered landscapes juxtaposed against robotic explorers evoke the eerie beauty of imagined alien worlds.
Meanwhile, CIRA, Italy’s aerospace research hub, features wind tunnels and test chambers that echo the unrelenting pursuit of flight beyond our atmosphere.
At Altech, a facility pushing the boundaries of miniaturized satellite technology, the idea of the future extends beyond massive rockets to small, intelligent machines shaping the next era of space exploration.
ITER, the groundbreaking international nuclear fusion project, stands as a beacon of human ingenuity, exploring a future where fusion energy could power our cosmic ambitions, mirroring the boundless energy of the stars themselves.
Finally, the Spaceport in Kourou remains one of the most iconic gateways to space, where towering rockets stand poised against the sky, waiting to breach the limits of our world.
Each of these locations tells a story of the Anthropocosmos—the intertwined relationship between human ambition and the cosmos. The images do not just depict technology; they explore the emotions embedded in our quest to reach beyond Earth. There is a sense of reverence, of wonder, and of an unspoken question: what comes next?
While crafting Anthropocosmos, I was inspired by the visual language of classic space exploration—an era when the future was imagined with a mix of optimism and awe. The stark, high-contrast compositions, the deep shadows cutting through industrial corridors, and the luminous glow of control panels all contribute to a retro-futuristic aesthetic. This is a future that feels strangely familiar, as if plucked from the golden age of space-age dreams, yet still profoundly relevant to our present trajectory.
With GFX100 II I was able to enhance this atmosphere, drawing out subtle details that reinforce the tension between past and future, between science and fiction. The medium format sensor captured the smooth metallic surfaces with an almost tactile quality, while the interplay of sharp detail and soft falloff created an ethereal, cinematic depth. The superior image quality of GFX100 II allowed me to push the boundaries of light and shadow, rendering details so intricate that they reveal the very soul of these places—where science and imagination collide.
Anthropocosmos is more than just a photographic series—it is a reflection on humanity’s evolving identity. Just as Marco Polo, Columbus, and Magellan redefined the world by venturing into the unknown, we now stand at the precipice of an even greater journey. The difference, however, is that this time, we are not just explorers; we are architects of new worlds.
The process behind Anthropocosmos has been an act of exploration. Through GFX100 II, I was able to capture not just images, but visions—fragments of a possible future where humanity has inscribed itself onto the stars. The precision, depth, and nuance afforded by this photographic setup allowed me to translate imagination into tangible reality.
Ultimately, Anthropocosmos is an invitation to wonder. It asks us to step beyond the familiar, to embrace the unknown, and to consider the responsibility that comes with our expanding reach into space. The universe awaits, vast and uncharted, and our story is just beginning to be written.
