After the death of his father Giuseppe, Carlo took perfect and highly technical photos of all kinds, especially portraits, though with different aspirations from his father: he did not feel like a professional photographer, conditioned to create stereotypical cartes de visite. Active between 1885 and 1928, he was part of the photography discourse and was well aware of its potentials and the need to revolutionize this new medium. He studied the work of the boldest photographers from Vienna and Munich, rendered with new techniques like gum bichromate or bromoil, aimed at a “flou” effect which he immediately adopted. Carlo dedicated himself to group photography, creating portraits that celebrate varying professions. He also took many family portraits—especially of his daughters—which proves his talent as a portraitist who emphasizes nuances, soft lighting with subtle psychological penetration.