Photography is thus used to understand broad ranging group phenomena, in the attempt to build up a coherent narrative that can analyze and explain contemporary crunch points. At the beginning of the 2000s, various photographers tried to five photography a new guise, attributing it with a more topical role. The photographic image was still an instrument capable of seeking the meaning of thins and of putting order in an evermore chaotic world. However, some adjustments were now needed with respect to the past, ones that contemporary dynamics imposed. In particular, it became necessary to broaden the scope of the action of the research, restricted until the 1980s to the confines of its place of origin and the surrounding areas, to instead take into consideration phenomena of a global dimension. Vitali himself began with Italian beaches, but soon chose the planet itself for his research, taking pictures of the places where people vacation and spend their free time from Brazil to Portugal, from Greece to Spain, showing how these places resemble each other and how they are gradually losing they unique identity.

Precisely because of the complexity and the continuous dynamism of the phenomena that photographers found themselves having to deal with, in the 1990s the great narratives were abandoned, which had become impossible to manage; the telling of fragments that breathed life into stories made up of episodes were preferred instead. With respect to the previous decade and in particular to the research brought forward by the group that was formed around Luigi Ghirri, the human figure is once again at the forefront, relating to the contemporary urban landscape in a new way. In the globalized city, the individual becomes a part of a mass and that is why choral portraits are frequently found in the photographs from those years, Vitali proceeds in this direction as well, exploring the places of assembly with the intent of studying and analyzing collective rituals.

The Italy of Photographers. 24 artists' tales, curated by Denis Curti, exhibition catalog, Marsilio Editore, December 2018, p. 183.