Marina Vitaglione is a French photographer, visual artist, photo editor, and writer based in London. Her practice is rooted in environmental concerns, and she works across documentary photography, editorial image-making, and writing. In parallel with her own projects, she has worked as a photo editor, including as an international photo editor at The Wall Street Journal. That dual position—selecting and shaping other photographers’ images while producing her own—informs a practice that is attentive to narrative, context, and the ethical representation of places under pressure.

Her visual language tends to be quiet, poetic, and place-specific rather than spectacular. She is drawn to landscapes and communities affected by climate change, pollution, subsidence, and other slow forms of environmental damage. This differs from much news-driven climate photography: instead of isolated catastrophe, her images often suggest duration, memory, and attachment to a changing home. Her writing and research interests reinforce that approach, giving her projects a documentary grounding while leaving room for ambiguity and atmosphere.

Her best-known photobook is Solastalgia, published in 2017 by the independent publisher Overlapse. The title refers to a form of homesickness experienced while still at home, when the surrounding environment has become altered or degraded. In the book, that idea is explored through Venice, a city whose delicate foundations are affected by tides, subsidence, and pollution. The project matters because it translates an abstract environmental concept into a specific urban and human situation. Through sequencing and book design, Solastalgia asks readers to consider loss not only as an event but as an ongoing condition.

Vitaglione’s work has also received wider attention in contemporary photography. According to her website, a project of hers was nominated for the 2023 Prix Pictet Award for Sustainability and Photography and shortlisted for a 2025 Wellcome award. These recognitions place her within current conversations about climate, health, and visual culture. Her French background and London base connect European and British photographic contexts, while her editorial experience gives her an informed view of how environmental stories are commissioned, edited, and circulated.

For photobook readers and collectors, Solastalgia remains a useful entry point. It is an example of how an independent publisher can give an environmental project a considered physical form, with sequencing and design carrying as much meaning as individual photographs. Readers interested in climate-focused photobooks, poetic documentary, or the relationship between text and image will find it a rewarding study. Her later and ongoing work is worth following because it continues to test how photography can register environmental change without reducing it to spectacle.

Blind Magazine describes Marina Vitaglione as a French visual artist, photo editor, and writer based in London. In its author biography, the publication identifies her as a photo editor in The Wall Street Journal’s London bureau, collaborating with photographers and photojournalists on international assignments, and as a regular writer on photography. It characterizes her personal photographic practice as addressing environmental crises through poetic and documentary approaches intended to make otherwise invisible realities of the Anthropocene perceptible.

Overlapse describes Marina Vitaglione as a French photo researcher, photographer, and journalist in the author information for her book Solastalgia. The publisher states that she was a fellow at Fabrica communication research centre in Treviso, Italy, from 2016 to 2017, and that she earned an MA in Documentary Photography and Photojournalism with Distinction from London College of Communication. The same page describes her then-current work as commissioning editor with Panos Pictures.

The Photographers’ Gallery identifies Marina Vitaglione as assignments and social-media editor at Panos Pictures. Its 19 November 2019 article states that she began her photography career with a year-long residency as an editorial photo researcher at Fabrica research centre in Treviso, Italy. It further records that she worked at Magnum Photos’ Paris office, assisting its cultural and exhibitions team, before joining Panos in 2018.