Alessandra Tarantino, a photographer with The Associated Press based in Rome, has created a striking long-exposure image that attempts to visualize how a blind person “sees” a masterpiece through touch.
Tarantino was inspired by a series of portraits Pablo Picasso made with photographer Gjon Mili in the late 1940s, where Picasso traced light trails in the air. Mili’s photos were published in LIFE magazine in 1949. Decades later, Tarantino wondered if the technique could convey the experience of a blind person exploring art with their hands.
The result is a 24-second exposure taken at the Museo Tattile Omero in Ancona, Italy. In the photo, blind woman Stefania wears a small LED light on her finger as she explores the face of Michelangelo’s David. The long exposure captures the movement of her hand as a trail of light, while her face is faintly illuminated in the background. The museum, which specializes in tactile art experiences, provided the perfect setting.
“I believe that for a sighted person, it is very difficult to imagine how a blind person ‘sees,’ and I thought that with this technique, I could create an image that would give an idea of how hands explore a work of art,” Tarantino said.
The project began after Tarantino learned about Radici, an association that organizes inclusive tours in Rome for blind and other disabled visitors. She joined one of their tours and was fascinated by how blind participants used touch, sound, and scent to connect with art. The experience led her to collaborate with the Museo Tattile Omero and Stefania.
The museum’s guiding principle is “Forbidden not to touch,” encouraging visitors to engage with sculptures through touch. Tarantino’s photo embodies that philosophy, showing how tactile exploration can create a mental image—a “tactile image”—that is as rich as visual perception.
The photo is part of the AP’s “One Extraordinary Photo” series, which highlights unique and compelling images from around the world. It offers a fresh perspective on art, perception, and accessibility, reminding viewers that seeing is not always believing—sometimes, it’s feeling.