In 1991 he moved to Paris, where he works as set photographer in the movie l’Eclairage, portrait of Henry Alekan, directed by Denis Guedj.
Back in Italy, he is the photographer for the association against death penalty in the world Hands off Cain, founded by Maria Teresa Di Lascia and Sergio D’Elia.
In 1997 together with film critic and film director Marcello Garofalo and Pietro Baldoni, he produces the exhibition Westmoreland Naples. He also co-produced with Marcello Garofalo a medium-length film, based on the exhibition, that was selected for the “14° Festival cinema giovani di Torino” and a documentary Angel in the flesh as photography director (rai 3 Fuori orario). He has also been a technical supervisor of the prints for the exhibition Bertolucci images by Bernardo Bertolucci.
After various works of reportage in Burundi, Burkina Faso, Togo, Benin, Kenya, Qatar and Iceland, he co-produced with Beppe Airoldi the book Burkina Faso for a charitable purpose and with Roadway for others onlus the book Roadway for Africa. Always in africa he worked for the Ministry of Tourism of Burundi.
In 2009 he moved to Beijing where he participated in 2011, 2013 and 2015 at Vision Beijing and exposed in 2011 Polaroid Stories at Pingyao International Photography Festival.
In 2010, he has worked with the Ministry of culture of the Republic of China for the book Rebirth of Sichuan’s post-quake restoration and for the concerning exhibition at the National Museum of China in Beijing.
In 2014 he participated in Naples at Universal Forum of Cultures with the exhibition Where are we now? Vol.1, showed also in 2015 at 3rd International Photography Days in Izmir, at MSC Arts Festival of Oxford and at Siena Art Photo Travel in 2016.
In 2019 Where are we now? Vol.2 at FMAV, Fondazione Modena Arti Visive.
He continues to follow the intuition of Duane Michals:
“People believe in the reality of photographs. But not in the reality of paintings, that gives photographers an enormous advantage. Unfortunately, photographers themselves believe in the reality of a photography”.
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