Guido Fino was born in 1948 in Turin, and as a student, he dreamed of moving to Australia. But, instead of the Outback, his love of open spaces led him to the deserts and highlands of the Near East and Afghanistan. There, he spent twenty years of his professional life on Turin University archaeological expeditions, specializing in architectural and archaeological photography.

When he was not traveling for his archaeological work, he made personal trips to Kashmir, Indonesia, Burma, Thailand, Zaire, Tanzania and Kenya. There he devoted himself to his interests in ethno-geographic and nature photography, which, by the end of the 1980’s, was to become an important part of his professional career.

In 1990, he left the University to become a full-time free-lance photographer, working with architectural firms, museums, and cultural and environmental institutions, both in Italy and abroad. In addition to regular photography, he works on graphic and digital projects for these clients.

Also since 1990, a series of new travels has taken him to some of the great wilderness areas of the world: the Southwest of the United States, Alaska, British Columbia, Finland, the Hebrides and the Orkney Islands. This continued pursuit of the “sublime” in nature has allowed him to broaden his early passion for nature photography, while developing his interest in the stark beauty of architectural images, as photographed in black-and-white. The results of these interests are the three calendars, from 1995, 1996 and 1997, produced in limited editions (300 autographed copies of each), a series of color prints of botanical subjects on watercolor paper, and intimate landscapes (still life and colors).

Since 1997, his professional work has concentrated on scientific photography. This has led him to explore the potentials offered by new technologies and to apply them to microphotography. Without abandoning his old and beloved Nikon, Hasselblad Superwide and Linhof, he has turned towards the new pan-format and to applying digital technologies to his new vision of the traditional photograph.

From the darkroom, where he has spent many decades, to the “clear room” of digitalization, he can now create a virtual exhibition, in a gallery displaying what
reflects the breadth and creativity of his work.