The explicit reference to Zavattini’s concept of qualsiasità and the focus on the day-to-day, which reveals the sense of places, are timeless and continue to display a clear link with neorealism that endures in Guidi’s photography and in a new generation of photographers who testify to his particular aptitude for exploring the landscape.

Artists such as Cesare Ballardini, Cesare Fabbri, Jonathan Frantini, Marcello Galvani, Francesco Neri and Luca Nostri, who attended his lessons in Ravenna or Venice at various times and frequented his home and studio in Cesena, have projected the interest in the marginal landscape into the new millennium as an occasion to reflect on the nature of photography. The qualsiasità of the eye is translated into a photograph of the day-to-day in their work as well, attentive to the minor aspects of the area and devoted to the landscape of the immediate vicinity, taken as the prime observation point.