Armando Rotoletti (born in Messina, 1958) studied photography at the St. Mary College of London and the London Polytechnic (nowadays University of Westminster). In the mid-80s he moved to Milan where he worked as a photo reporter and between 1985 and 1995 his works appeared in both personal and ensemble exhibitions. In 1990 he was invited by Grazia Neri to join her renowned agency and he started taking portrait photographs of personalities from the worlds of culture, entertainment and economy.His work was published on many magazines such as Corriere della Sera’s supplements “Sette” and “Io Donna”, Vanity Fair and The Sunday Times.In the last ten years or so he has been pursuing several larger projects, like Faces, Stories (2005) – about “Casa della Carità”, a shelter run by Father Colmegna – and The Barbers of Sicily (2007), a photo reportage on the last few traditional barber shops on the island. He is also doing landscapes and face-scapes of notorious food and agricultural areas, such as Langhe and Food Valley: People of Barbaresco (2013), is the first result of his new commitment. His Talking Circles of Biancavilla (2013) gives anthropological insight on a town on Mt. Etna facing an uncertain fate and in constant conflict with modernization. Another recently released book, Valelapena, gives an account of redemption stories in the prison of Alba, where inmates are allowed to work in its vineyard. Scicli, city of joy (2014) is a photographic tale of one of the most charming Baroque towns in the South East of Sicily. In 2015 he published Etna: Wine and People, which chronicles Mt. Etna’s extraordinary territory and its wine renaissance, The face of the soul, 50 portraits of Italian philosophers taken throughout the last decade and Noto. Stones, and faces, born out of Rotoletti’s love for the Sicilian town and his resolve to tell its uniqueness and beauty through pictures. With his most recent publication, Striking Piazzas of Sicily (2017), he continued investigating the land of Sicily by working on a complex project that lead him to photograph 82 squares of famous cities and other lesser known towns, by following a rigorous method of emptying the piazzas from cars and precarious installations: a magnificent fresco of these spaces, free -at least for the duration of a shot- from the visual conditioning of our age.