I like night photography and light painting, and I always try to tell a story with my pictures. I'm also a nerd and one of my love is Star Wars. This year I decided to create something about it. I scheduled a trip to Tunisia in September, to visit and shoot the set locations of Episode I and IV (mostly bynight) and recreate some key scenes. For the occasion I started making the costumes and let my beard grow (to be more in character). In August, wile I was still preparing the trip, the Icelandic volcano Fagradalsfjall started erupting, so I had to rush to add to my scenes also the Episode III duel. From this series of events it started a bigger project that saw me shooting around the world making different trips to create as much Star Wars themed scenes as possible: at least one for movie. It took me two trips in Iceland, one in Tunisia and two in Dolomites, but in the end I was pretty happy. The most intriguing location was of course Tunisia, where the real movies were filmed. Especially incredible was the opportunity to exploit the Mos Espa old set (you can see a collection of shoot in the end).

Ep I - SLAVE QUARTERS ------  Preparing my tour in Tunisia I discovered that Lucas invented very little about Luke’s planet Tatooine. All the design of the houses and quarters are just the old berber structures with small changes: like fake tubes or “vaporators” added. The slave quarters, in which Anakin lives in Episode I, were made using a berber village near Tataouine (yes, also the name of the planet was “inspired”). Looking at the light pollution map, I discovered that was a class 3 Bortle, so was possible a milkyway shot. My idea was to shot Qui-Gon Jinn in front of Anakin’s house under the milkyway. I made the foreground at the bluehour and then, as soon as the night arrived, I started playing with lightpaining. I wondered around the abandoned household, lighting up the windows. I needed a lot of shots and not all the window were reachable, but in the end I was able to obtain what I had in mind. The other light painting I wanted to make was with the lightsaber.  As always, I had to try a lot of different positions and combinations of time/iso, before obtaining a good shot of myself as Qui-Gon. Thanks to photopills, I knew that for the sky I had to wait till 11pm before the milkyway was in the correct position between the buildings. The final image is a pano of two. The sky is a staking of 5 pics at 13’’ the ground, a bland of a lot of shots, for me, the building and the lights. The scene is not an exact copy of something in the movie, but I think that fits perfectly.

Ep I - DUEL OF FATES ------  The particular landscape of yardang field features in Episode I in a number of scenes, the most iconic one is the duel between Darth Maul's and Qui-Gon Jinn. Knowing that, I planned to replicate the shot. During my scouting, I found a good spot and left the tripod there in position. In the movie, the duel take places in the middle of the day, so I opted to recreate it at sunset and not at night (as always). I started shooting at sunset, (to catch the changing colors in the sky) but to obtain the best from the lightsabers a bit of darkness was preferred, so I made my two selfies at bluehour. This give me the opportunity of catching some of the red and green light over myself, but also made the shooting more difficult (I had to increase the ISO to freeze the cape in the low light). I had to make tons of attempts before having what needed. The issue was having a good position that could “fake” the action while in reality I was still and alone (fighting without an opponent is difficult!). Also, I had to position myself in both the characters almost blindly, and to position the swords in a way that could really touch. Finally, I was able to create this shot. What you see is all real: the swords and the costumes were actually there (only the face makeup was made in photoshop), and I’m pretty happy with the result.

Ep II - SHIMI RESCURE ------  Being in the most iconic Star Wars location, a night shot with the lightsaber was needed! Trying to make something “canonical”, I decide to recreate the scene from Episode II when Anaking go to rescure Shimi. In the movie, Anakin leave the igloo at sunset, but I decided to merge that with the moment when he draws his sword in the Tusken village. Especially I wanted to recreate the lighting and the mood. For this reason, the light painting was key. The final image was really complex. The foreground is a timebland: a merge of bluehour and night time (for a total of 11 image staked) to conceal both the bluehour light, and the light-pollution of Tozeur from nightime. Than I had to make an HDR for the lightpaing from the igloo’s door.  Then there was my selfie. I had to make tons of photos before obtaining something good. I tried different poses, different positions, different ISO and times. Also the wind made all more difficult. The last touch was tilting the camera up and frame the sky: a staking of 5 pics at 13 sec. I’m really happy with the result: I love the two light, blue and gold, and how the milkyway is perfectly over the igloo. Also the pose is pretty good: heroic and sad, as needed.

Ep III - BATTLE OF HEROES ------ As soon as I saw the first pictures of Fagradalsfjall eruption, a lightbulb lightened up in my mind: «I have to recreate Episode III duel». To do so, a lot of preparations was needed. First, I had to make the costumes: I bought Obi-wan’s vest online, but all the other part are hand-made (Anakin’s leather vest is just a pair of trouser that I putted on the shoulders). Then I had to find the spot. That was very tricky. Most of the pictures of the volcano that you see online were made from the hill in front of it, with either a zoom or a drone. That wasn’t my case: I wanted to make a wide shoot showing the “infernal landscape” and creating the same vibe of the movie. I needed to go nearer the volcano, in the lava field, and use not more than 30mm, to squeeze the perspective and make the crater look bigger. To do so I had to put the camera far from the subjects and put myself nearer the volcano. I had to find a place in the lava field that was completely cold to be safe to climb on. I spent a lot of the afternoon making a location scouting: going up and down the base of the hill, searching the prefect spot and framing. That night I slept in front of the spot, whit the volcano grumbling and illuminating so much the place to make impossible to sleep. The shot was made at the sunrise, a very dark and cloudy one. I made a staking of several shot to merge multiple eruptions and have the entire crater full of exploding lava, and a combination of two selfie to have me doing both Anakin and Obi-wan. Of course, I had to make tons of attempts before making the pose of the two character convincing. Especially difficult was to pose without seeing the opponent, and also imagining the final "merged shot" while watching at the two separate photo on camera. However, in the end I think I nailed it: «It's Over Anakin! I have the high ground!»

Ep IV - BINARY SUNSET ------  The most iconic Star Wars location in Tunisia is the Lars Homestead: “Luke’s igloo”. It’s the exact same old set made in 1977 and recently restored. Was built in the middle of the Chott el-Jérid salt lake, and is reachable only by Jeep 4WD. Driving on the interstate, I saw the small white dome in the middle of the desert plane, so I went off road and tried a way to reach it, drifting on the salt surface of the dry lake.  I arrived at golden hour, and started instantly to prepare the shot. I already knew what to do: replicate perfectly the “binary sunset” scene of Episode IV. I was alone in the desert, in front of the igloo, noting for miles, no sound, only the wind. While preparing the frame, looking in the camera, I had gosebumps: It was like being inside the movie. I looked the sun going down. The sky was completely clear, as always, but this time was exactly what was needed, because it created the same view of the movie. I made a staking of two shots of the same sun, from 30 minutes apart, without moving the camera, to make the binary sunset of Tatooine. Once the sun was under the horizon (and the sunset shots ended), I started my selfies. To dress like Luke I used the same outfit I created for Obi-one, except for the boots that I created using brown gauze rolls. The last touch was the wig, and I was able to reach the position on the hill.

Ep V - BEN GHOST ------  For this shoot I had to wait till the first snow in Dolomites, to recreate the setting of planet Hoth. I studied Luke’s costume thinking how to recreate it (bringing as less things as possible), and while doing so I had the idea for the perfect shoot: the Obi-wan ghost scene. I liked the idea because it could be the opportunity to make some lightpainting but without the usual “lightsaber pose”. There was a lot of pre-production behind the final shoot: I arrived on location with a very clear image in mind and a precise list of all the shoots I had to take to obtain it. After a brief scouting, I found the ideal view: an empty plane full of pristine snow, with small mountain chains in the distance; a perfect Hoth view. I started shooting that was already bluehour. The first shoot was the long expo for the foreground, then (without moving the camera) I made the tons of attempts for the “Luke pose”. I wanted something similar to the movie, but also better fitting the framing. Once finally obtained, I moved to shoot Obi-wan. The initial idea was to make it all drawing with light. After some attempts I decided that was too difficult and opted instead by lighting up myself with the blue light of the lightsaber. I stick the hilt in the snow, and pointed it to me in the hood. The last touch was the sky. I chose the spot because I saw on photopills that at 1am Orion was perfectly over it. That evening the sky was cludy. but in the night was cleared up (as forecasted) by a strong and unbearable wind: I managed to shoot all I needed just before freezing.

Ep V - HOTH ------  When I started to think about a possible shoot for Episode V, the first image I had in mind was the blue light of the lightsaber on the white foggy plane of Hoth. Of course, I wanted to recreate the scene in Dolomites. The initial idea was to hike to Locatelli and use the view from there. Unfortunately, there was too much snow to make that, so I scouted for a new spot in front of the Cadini. The location is the same of the shoot with the Obi-one ghost, but I decided to change the view, framing the opposite side. I made the first shoot the evening (and night), and planned for this one for the next morning. The forecast was bad, cloudy and foggy: perfect for my shoot. I wake up in the dark, to be sure to arrive on location in time for the bluehour. The idea was to show Luke after he escaped from the Wampa cave, arriving on the snowy plane, with still the lightsaber in hand. A key element was a cool landscape and foreground, to give depth to the scene, and fill the frame while showing Luke very little and lost in the environment. The second important thing was a cool “hero-pose”: that need a bit of attempts before achieving it. Last, a cool lightpainitng. After obtaining my selfie, I started lighting up the snow with the blue light of the sword. I made a lot of shoots, in much hurry, to obtain as much as possible before the bluehour ended. I’m pretty happy with the result. I was especially lucky with the mood: the fog and clouds covering the mountains gives really a Hoth vibe. If you look close, you can see the shape of Croda del Toni behind the mist.

Ep V - YODA CAVE ------  This was a dreamy shoot for me. The first time I saw this Icelandic location on Instagram I was sure it was fake. I could not believe that there was really a rocky cave made in the exact shape of Yoda. Once I discovered that was real, I decided that it had to be a stop for the next trip. Being Yoda a green alien, of course the best moment to shoot the cave was not sunset or sunrise, but during nighttime with the Northern Lights. For this reason, I orchestrated the trip to be there two times to be sure to bring home the shot. I went there with perfect clear sky, and a forecast of a K4 aurora. I arrived that was already pitch black and spent the night there waiting the Northern Lights, but nothing happened. Then, finally, once I was already moving the Jeep to transfer to the other location, I saw two guys drinking coffee and looking at the sky... and there it was: the aurora. Another dream coming true! The final image is not an actual scene form the movies, but I think at it as a Yoda portrait, from is unveiling in Episode V.

Ep VI - DAGOBAT ------  I made this shot while waiting for the Northern Lights. Once in the cave with the perfect framing I decided not lose the opportunity of the pristine clear sky and invest the time catching a startrail. For the foreground, the idea was to celebrate the location and make a Star Wars themed shot. Being the cave in Yoda shape, I decided to make homage to Episode VI and create a sad Luke on Dagobat after Yodas departure. I didn’t have the complete costume, so I just dressed up in black with black boots: I think that in the end it works. The shoot was harder than it looks. First of all I had to frame the cave, that without the light from the aurora was pretty dark. I played with my front-torch, making the light bounce and reflect inside it, to have it not completely dark (but also not directly illuminated). Even with this trick, and a 2 minutes exposure, I had to use very high ISO. Once obtained the foreground I had to make a lot of attempts before catching myself in a good position. Same for the lightpainting: I had to try a lot before having something good. The sky was the easy part. I left the camera shooting till the battery died: a total of almost 200 shots.

Ep VI - ENDOR ------  I wanted to do this shot from some time: recreate the iconic scene from Episode VI, of Luke cutting the speeder with the lightsaber on the moon of Endor. I knew that there was a good place to do it in Dolomites, a beautiful woodland with tall straight threes and the perfect light in the morning. I just needed to find the right moment to go there and shoot it. Finally this autumn, after two crazy night of shooting on top of the mountains I was able to arrive here at morning bluehour. I had with me the costume and the sword (because I had already in mind to try the shot), so I rushed with them in the woods searching for the right framing. I immediately went for this one, as soon as i saw it. I think can tell the story perfectly, and even if is not more than 100 meters from the road, it really can give you the idea of being in the middle of a deep forest. I pretty like the result. I had to make several attempts before nailing the pose but i think I get it right in the end...just in time to make the final background shot with the perfect golden light of the sunrise between the trees.

OBI ONE KENOBY ------ Wile preparing the spots for my Tunisian trip at home, I had this image in my mind: Obi-wan Kenoby, on a dune, at sunset/sunrise, as seen in the Kenoby series poster. I had to try to make it the real desert. I grew a beard just to be in the character, and made the costume almost by myself (I just bought the vest online). The first morning in Sahara I knew that I had to try to make the shot. I made some attempts on a different dune, having the sun on my side, illuminating myself in red light, but due to the clear sky I wasn’t happy with the result. So I tried here, putting myself against the sun, and the magic happened. I love how the silhouette is painted by the sun and how the fabric changes color due to the light. Also, there was a strong wind, that made the cape flutter in a very heroic way… I made hundreds of pictures, catching different position of myself and the cape, playing with the sun (I have some good ones with the sunstar on my back), but in the end this one is my favourite. The final shot is a timebland + focustaking + HDR.  I merged the ground of the sunrise with the sky and the light on the foreground of the golden hour. I love the little stroke of light on my hair and legs and the halo of the sun…

MOS ESPA SUNSET ------  Planning a trip in Tunisia, a tour of the Star Wars locations was a must, and the most iconic one is Mos Espa. Is the set created in 1997 for Episode I and left completely untouched in the middle of the desert. Is really cool and strange to be there. Is pretty big, with a lot of buildings and some different alley, so you can really wonder around in it, like in a real village. If you are a fan, is definitely a great experience, especially because you can arrive there only with a 4WD Jeep trough the desert. The most impressive spot is a big square surrounded by the small Tatoine houses, and full with the moisture vaporators. I went three times in the place: one time in the afternoon to do some scouting, then I tried a night but the sky was completely covered, so I had to come back the next day. That day I arrived very early, at the golden hour. I made a complete check of the place, fixed all the spot for the night, and tryed the framing with my 2 tripods and 2 cameras. I arrived with already a plan and some composition in mind, but the place was so interesting that I was able to shot more. This is an example. While there, I saw that the sun was going down behind the house, and I took the opportunity to frame the sun star. I really like the result: very Tatooine-like in my opinion!

MOS ESPA METEOR ------  As soon as I arrived at Mos Espa, I started scouting for possible shots, especially for the nighttime: shooting the milkyway over the Star Wars set was really a dreamy idea. This was the first shoot I planned. I tried the first night and then I made it again the second with better conditions. The foreground was made at the bluehour, then I left the tripod there and made the other foreground shots around with the other one. I loved this framing: the vaporator in the center, with the milkyway perfectly over it, on one side the Tatooine house and on the other the alley with in the distance the small dome building. As soon as I saw the opportunity in Photopills I was sure to frame it. It perfectly represent the location. I decided also to add some lightpainting to give more life at the village, and I think that help too. When in the location I did not saw it, but once at home I discovered that I was also so lucky to catch a meteor. Its there: green and bright in the center of the milkyway.

MOS ESPA STARTRAIL------  While planning the tour in Tunisia at home, I decided that I should make also some startrails, and this was the perfect location to do so. In Mos Espa you can have subjects for 360° so you can plan the shot fitting the sky on the subject and not the other way around. I decided to catch the polar and I found 2 spot to do so. This is the first one. Is the same vaporator I shooted with the sun-star at sunset (West), but from a different view (North). Thanks to Photopills I discovered that was possible to fit the polar perfectly on top of it, so that was the idea. Unfortunately, I had to make something wrong because once at home, and the startrail started to build on StarStax, I discovered that was not aligned. I think that is a pretty good image anyway, so out-of-this-world… as Tatooine should be!

MOS ESPA SUMMER ARCH ------  To celebrate correctly the place I wanted to make a complete milkyway arch. Being in Tunisia at the end of August the arch was really high, so I had to start shooting early in the night. Also due to the dark, I had to make a timebland and shoot the foreground at the bluehour. I arrived on the spot at the golden hour, and prepared the two tripod in 2 of the 4 spot I discovered, to be ready for the bluehour. As soon as the time was right, I rushed to make all my pictures and waited for the night. Looking through photopills the summer milkyway arch framed perfectly the small Mos Espa village and I was very excited. The sky at the bluehor was a bit cloudy, but the forecast predicted a clear sky for the night. I was a bit worried, and the waiting for the night was very anxious: I could not stay still, and I wondered restless around the vaporators. Fortunately at 8 pm the sky cleared up almost completely, except for a small cloud that fitted perfectly under the arch. I was able to do all my staking for all my 7 pieces of the pano, before the sky was covered again. A dream coming true.

MOS ESPA WINTER ARCH ------ After achieving my arch I went to bed. At Douz I discovered that, early in the morning, Orion was perfectly visible in the sky, so I decided to wake up at 3am and try to catch also the winter milkyway. I wake up under a perfectly clear sky. I went to the location in complete darkness, with the stars dancing over my head. Once in the spot I saw that the arch was in a cool position over the little Mos Espa square. I could not believe at my eyes: I rushed to make my staking to catch this incredible view. That morning I was very grateful: I was able, in the same night, to frame my most desired location (and most iconic for a Star Wars fan) under both the night sky, winter and summer milkyway arch. Here in Mos Espa the sky was not without pollution as in the middle of the Sahara, but I was able to obtain someting anyaw, especially in this second pano. I f you look closely you can see that I was able to catch some airglow (the green on the left) and the Zodiacal light (the ray on the right). The orange on the right is the town of Tozeur.