Photography is a tool that can foster relationships with the environment. Furthermore, it can be intentionally used to investigate local contexts, develop an understanding of past or ongoing transformations, bring to light tacit social networks, or give voice to communities, among many other opportunities. The "Limo" project by Maria Selene Clemente & Christian Pardini is a subtle example of how attention can be drawn to the condition that, borrowing from medicine, I would call "ecographic", the "ultrasound-like" state of Lake Massaciuccoli in Tuscany. A visually diagnostic investigation (akin to an ultrasound) of the decline (of the community) and degradation (of the ecosystem) of the affected area. The collection of images serves as a source of inspiration, evoking stories through portraits and snapshots that can also be read as expressions of the authors' intent. And herein lies a value that is both civic and social.

But let's return to the lake, which is part of a reclaimed river plain, originally entirely covered by wetlands. Some of this land still remains, as residual patches, now part of the Migliarino - San Rossore natural park along with the lake. We discover that the entire area has undergone significant human pressures, including the exploitation of peat bogs and later the extraction of silica sands. There's more, and a glance at the park's website highlights issues such as water depletion and turbidity, the invasion of non-native plant and animal species, and an excess of nutrients from agricultural lands. It is also mentioned that in recent years, special attention has been given to improving the situation: initial efforts have been made for environmental rehabilitation, with further interventions planned or underway.

All of this brings us back to intentionality. Beyond aesthetic results, documentary photography highlights specific case studies, defines priorities, and can enhance their significance by manifesting their urgency, while also giving visibility to the often invisible or submerged folds of history, much like silt (or "Limo," the project's title).

We need more of these intentions in photography, and we need to find ways to bring them out into the world. The alternative (sad) path is resignation. This project has the potential to grow, take on a more recognizable structure, and translate into an even more objective relay/testimony.