Italian photographer Jianluka Rubinachi converts the huge landscape and night sky into emotional narratives. A master of panoramic composition, Rubinai, share with his journey and insight Petapixel.
Gianluka robinasize The passion for photography began with a sense of curiosity and a deep praise for art in all its forms. The busy rhythm of a large Italian city was raised, surrounded by architecture and movement, yet always felt a pull towards the calm of the natural landscape. His first real spark came unexpectedly when he found a set of pictures of Iceland, which hit him on his beauty and scale.
“I was born and nurtured in a large Italian city, there were accustomed to the frantic motion of life, but I have always been fascinated in natural places,” he remembers.
“When I saw the pictures of Iceland, I asked myself, how is it possible to catch such an incredible landscape? I want to do so. From there, my journey started in photography and started searching for ancient places from those I always knew.”
A style built on emotion
Rubiniki’s work lies in landscape photography, but it is not only about documentation of a place; It is also about combining the plan carefully with a deep sense of surprise to the natural world. He approaches each scene as a storyteller, tries to turn the physical world into an emotional. His goal is not just to show what he sees, but rather tells what he feels.
“My photographic style stems not only as images, but also as a desire to explain the landscape,” they explain.
“I try to tell what I think when I look at one place, whether it is illuminated by hot light or drowned in a wires night silence. I want to express what I can see with my imagination, which we can often see.”
This philosophy gives their work a unique perspective, where light and expansion is carefully balanced to reflect both reality and imagination. For Rubiniki, the most rewarding part of making occurs when a planned vision becomes a living image.
“The most rewarding aspect of taking an image for me is definitely looking at an idea that is first planned in my mind. Since the landscape photography is dependent on the weather conditions, the initial idea is extremely difficult to convert into a real picture. When all situations come together and I manage the idea into a tangible image in my mind, it is an indescribable manner, it is unretured,” he said.
From planning to creation
Their process is systematic, yet flexible is sufficient to embrace unpredictable. Rubinichi divides its workflow into three parts: planning, action and final form. He begins by researching the landscape through maps and references, selecting places that inspire them and plan potential shooting conditions with apps such as Google Earth, photopils or platitpro. Once in the area, however, nature often has the last word.
“Planning helps you to get ready, but has limitations. The weather is so variable that it is impossible to predict the real situations of the months. Everything I have learned is that if something does not go according to the plan, I try to see things from another point of view.
After capturing his images, he turns to editing, using software such as Photoshop, PTGUI and Pixinsight. Their editing process is gradual and reflective, often takes up to a week as it represents images at different times to see them with fresh eyes.
“I like this type of approach because it allows me to review the image at different times. In this way, I can notice any defects or possible reforms that need to be made. It’s a slow process, but it keeps me connected to the picture because it develops into its final form,” they say.
Theme and inspiration
Most of Rubinichi’s work revolves around the grandeur of the night sky. The Milky Way, in particular, is a recurring subject in their photography, which is often widely captured to panorama that reveals the full arc of the galaxy. He is also ready for northern lights and the rugged landscape of northern Europe, where most of his journey takes him.
“In general, all my photography is based on the landscape, as much as possible,” they say.
“Sometimes I include human themes in my photos because I like to show how small we are compared to nature. Milk they are definitely the subject that I return to the most often, because it only appears at a certain time of the year, and it challenges me that I can plan carefully to catch it as well.”
Trade equipment
Although Rubinecchi insisted that the gear does not define a photographer, he recognizes its importance in enabling creative goals. His kit consists of two Sony cameras, one of which has been astrologer to expand his sensitivity to light. Wide-angle lenses are central for their work, especially Sony 14 mm f/1.8 g, Soni 12-24 mm F/4 g, and Samyang 12 mm F/2.8. He often involves an air approach with a DJI Mavik 3 Pro drone.
“I think the gear does not define a photographer, but it certainly helps them feel their projects. For me, it is about being the right tool for the image that I want to make, whether it is a wide-angle lens for Milky Way or a drone to capture the landscape from above.
Challenges and victory
Landscape photography is filled with obstacles, waiting for a long time ranging from unexpected weather to correct light. Nevertheless, for Rubinash, these challenges are part of the fact that art makes the art so meaningful. He recalls a particular picture that is deeply important: a panoramic image of the Milky Way captured in the Tide National Park of the Taneurif shown below.
“यह बनाने के लिए 250 से अधिक तस्वीरें ले ली। यह मिल्की वे का पहला पैनोरमिक शॉट था जिसे मैंने कभी भी मोज़ेक प्लस स्टैकिंग तकनीक का उपयोग करके लिया था, और मैंने नेबुला में अधिक विस्तार को कैप्चर करने के लिए एच-अल्फा डेटा को जोड़ा। ईमानदारी से, मुझे नहीं पता था कि मैं सभी शॉट्स को प्राप्त करने में सक्षम था, लेकिन मैं यह भी नहीं चाहता था, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया, लेकिन मैं घर वापस कर दिया था, लेकिन मैं घर वापस कर दिया था, लेकिन मैं घर वापस कर दिया था, लेकिन I was returning home, but I was back home, but I returned home, but I returned home, but I was back home, but I was returning home, but I was back home.
looking ahead
Currently, Rubinachi sells Print And each hosts workshops and cooperation, yet his ambitions continue to grow, with the desire to take pictures of South America’s landscape and refine their artistic voice. Their vision of photography is less about individual images and more about developing a permanent identity.
“My biggest aspiration is to continue my photographic vision deeply,” he reflects.
“I would like my pictures to have a unique identity of my own, and for those who are seeing them should be able to relate me. I believe that photography is an art form, such as painting, and as we can identify a painter from their work, I want my images to take my voice in the same way.”
For Gianluka Rubiniki, Photography is not only an craft, but a lifelong dialogue with the Earth and the sky. Each frame is an attempt to translate into amazement, to catch a fleeting moment of light and preserve it as something permanent. Their images not only ask us to see, but to feel that the world is much larger than us, timeless, and always surprised.
In this way, their work is less about those places and more about the feelings that they wake up, reminding the audience how imagination, perseverance and patience can create how moving art can be made.
Image Credit: Gianluka Rubinichi
