“Raw” is a file memorization format that allows the highest level of data retention. The word “raw”, moreover, incorporates the meanings of “naturalness”, “not elaborated”, “frankness”. These simple concepts explain the choice of the title and the fundamentals of this book. The pictures concern different subjects, points of view, and themes. However, there is a fil rouge that binds them together throughout the book: a new way of using the digital camera as a simple recording tool, at its minimal technological capabilities. This expedient conveys Carlo’s ideas and communicate his original approach towards reality when seen trough the photographic medium. The use of a strong under exposition, a high sensitivity, and a closed diaphragm force the sensor to collect very few light signals and to react in a way, that we would call unexpected, by exposing its technical imperfections (digital noise). Carlo himself is in a condition of partial photographic unawareness, since he cannot see the shot, but only sense it. He takes advantage of the situation to cleanse his gaze and to see reality in an equally unexpected way. The sensor and the photographer end up as an archetype/newborn and their aim is, on the one hand, to memorize what surround them, and, on the other hand, to look at the world with a closed and unconscious eye. The pictures collected here stem from this approach. With few alterations, performed only in the light room, the pictures are divided into three sections, which indicate a multiplicity of interpretations. A possible itinerary is established by following the sensor/newborn during its/his discovery of the word: from the neighbourhood of its/his house, to the structure of a metropolis, to its inhabitants and back home to its/his relatives. Following this itinerary, we meet food for thought, which encourages us to reason on man, on photography, and on technology. A few interpretations are suggested on the side of the images, using threes references that follows the GRB colours: red for direct quotes of the author, green for my considerations, and blue for the historical/critical/technical definitions. The pictures of this book would be normally considered “errors” due to excessive noise, excessive rarefaction, unrealistic colours, and no technical definition. This opinion, however, is typical of the approach of those satisfied with using a tool, not of those doing proper photography (as mentioned by Flusser). Carlo’s pursuit has the merit of reminding us that the digital age has just begun and that the potentialities of the camera are many, and those of the gaze endless.