as placed between himself and nature. What that emerges in terms of iconography, does not belong to the mode of landscape photography. Instead of being explored the subject through the dimension of the trip, is depicted in order to refer to the slow act of contemplation typical for classical and romantic landscape painting .human presence in the paintings that acts as a measure of the scale, takes a different meaning: do not allow the self projection of the viewer into the landscape rapresented, hindering rather the vision. They just look, observe, and, disappointed, turn their backs to the audience. The extras of Sottovetro and their silent choreography outline an essential phenomenology of looking. The nostalgia for the time when nature was to be explored is evoked by objects in the photographs, which overlapped with the memory of childhood, the figures turn into allegories of original purity,