Photography is not a reproduction but a revelation, says Paolo Roversi, recognised the world over as one of the most refined of fashion photographers. For more than fifty years he has carried on a body of work that seems haunted by the fragility of beauty in all its forms. In 1980 he came upon Polaroid film used on a large-format view camera: that coup de foudre opened new grounds of aesthetic research, gave fresh life to his relation with the person in front of him and defined the essence of a style particularly attentive to the use of light. It is an attention he shares with the philosopher Emanuele Coccia, a name of growing weight who is known for his vegetal metaphysics and for his thinking on light as the solar energy that plants pour into the mineral flesh of the planet. On one side a philosopher who has made a trademark of the metaphysics of mixture, able to bring fashion, advertising, religion and biology together naturally by working on their correspondences; on the other a photographer who, in an acrobatic and seemingly impossible feat, has made untimeliness and suspension the subject of his pictures, imposing his way of looking on a genre, fashion photography, where time usually counts for a great deal. The book gathers the exchange of reflections between them.