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Join Carlo Perazzolo, professional photographer and founder of StoryWorks (@storyworks.it), on a documentary photography journey to observe and document how the concept of “boundary” runsthrough Venice in its architectural, social, and political forms.
We will photograph what lies at theedge—and what has already crossed it: the experimental construction that madeunique architectures possible, the fragile balance between water and stone, and the pressure of overtourism.
Above all, we will look for thesigns of a city attempting to self-determine while risking being overwhelmed byits own image.
WHAT WE WILL WORK ON
Building an editorial narrative
Photographing Venice through this approach means learning how to build asequence with internal logic, a recognizable point of view, and a clear narrative direction. We will work on selection and image sequencing, learningto think in terms of a story unfolding through individual shots.
Sociological perspective andreading of urban space
The city is a text: every street, sign, and body moving through it tellssomething about the system that produces it. We will train ourselves to readurban space as a social document, recognizing in architectural details and collective behaviors the signs of deeper dynamics—economic, political, and cultural.
The relationship betweenaesthetics and responsibility
A beautiful image is never neutral: the way we represent reality contributes toshaping or distorting it. We will reflect on how aesthetic choices—light, framing, distance—are also ethical decisions, and what it means to photographthe fragility of a city.
Transforming an abstract themeinto a coherent visual narrative
“Boundary” is a concept.
The photographer’s task is to find its concrete, tangible, photographable expressions. Starting from an open and elusive theme, we will build together avisual path capable of conveying its complexity, shaped by each participant’ssensitivity.
PURPOSE OF THE TRIP
Venice is one of the most photographed cities in the world, yet also one of the most misunderstood—oftenreduced to an emptied icon, disconnected from real life.
Using a photojournalistic perspective means stepping away from this image and searching for another: more uncomfortable, but more honest—and perhaps more necessary.
This weekend is based on a clearbelief: documentary photography is not only about showing what we already know, but about making visible what we struggle to see.
The purpose of this reportage is to document and expose the boundary between a city that resists—through its inhabitants, architecture, and forms of self-determination—and a city that is being consumed, turned into a commodity, a backdrop, an experience to be purchased.
We go to Venice to understand whatit is becoming, and to let images reveal what words cannot.
To get to the journey with the right tools, each participant must have digital photography equipment, regardless of its quality or technical level, as long as it's at least sufficient to ensure the ability to express themselves according to their own sensibilities.
In addition, to conduct the final editing session together, you'll also need to bring a laptop with basic software (Adobe Lightroom/Photoshop) installed, which will allow you to download the photos and be guided through the essential selection process.
This experience is for you if you are interested in:
- Documentary photography
- Sustainable tourism
- Care for urban space
However, if the trip status is marked as "Confirmed" or "Last tickets", there's no need to worry - it means the minimum number of participants has already been met.
Day 1 - Arrival and firstphotographic exploration
Arrival: Briefing and orientation
The journey begins in the early afternoon with a group meeting at the accommodation. Carlo will introduce the structure of the two photographic days: the theme of boundaries, the reportage approach, and the final objective—building a personal and coherent visual narrative. This will also be a moment to share expectations, questions, and perspectives.
Afternoon: Exploratory session
We begin our first photographic walk through the city. The goal is not yet to produce final images, but to train our gaze: to recognize where boundaries materialize and learn to pause in front of what we usually pass without noticing. Carlo will guide each participant in refining their perspective and translating sensitivity into conscious photographic choices. The daylight hours—when Venice is still lively and crowded—are ideal for documenting how the boundary between sustainability and consumption appears in everyday behaviors: in flows of people, signs, and gestures.
Evening: Venice after sunset
When tourists leave, Venice changes its face. What remains—waste, silence, canals returning to themselves—tells a story the daytime city does not. We will photograph this emptied city as a document: the traces of passage, the fragility of a place reduced to a disposable stage.
Day 2 - The other Venice andbuilding the reportage
Morning: Thematic exploration
The second day deepens what emerged on the first. With Carlo, we will continue exploring the city in search of less visible boundaries: between tourist Venice and residential Venice, between decay and resistance, between water andarchitecture, between what is preserved and what is sacrificed. The focus will also shift to the inhabitants—those who still live in the city and how they do so.
Early afternoon: Editing andnarrative construction
After lunch, we gather for a collective review session. Each participant will select their images and work—with Carlo’s and the group’s support—on building a sequence with internal logic, a recognizable point of view, and a clear narrative direction. This is the most formative moment of the weekend: we will learn that the most beautiful photo is not always the most necessary, and thatthe strength of a reportage often lies in the coherence of the whole rather than the perfection of a single shot.
The program concludes around 5:00PM.
A professional photographer since 2001, Carlo Perazzolo learned reportage in its most direct form - local and national news - publishing in major Italian newspapers and magazines, also collaborating with leading photojournalism agencies such as ANSA, LaPresse, and Fotogramma.
Alongside this, he developed studio and commercial photography, opening his own studio in 2006, where he built a personal vision applied to corporate communication.
Over the years, the reportage approach has become the defining thread of his work, even in industrial and commercial sectors: attention to the scene, sensitivity to context, and trust in coincidence as an opportunity for storytelling.
From this same perspective comesStoryWorks, the project through which he now guides photography enthusiasts inreportage experiences built around authentic subjects and lesser-knownstories—where photography returns to being a tool for understanding andpresence.
Booking Info
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