È solo per caso che nel 2003, mentre frequenta il corso di laurea in Biologia alla Sapienza di Roma, scopre il suo interesse per la fotografia che lo porterà presto ad essere rappresentato prima dall’Agenzia Grazia Neri e poi a diventare membro di AgenceVU nel 2008.
Lavora come fotografo documentarista e collabora regolarmente con prestigiose riviste internazionali, come National Geographic, TIME e New York Times, realizzando progetti personali incentrati su dinamiche sociali e geopolitiche.
È conosciuto soprattutto per il suo lungo progetto in Pakistan, da cui ha tratto il soggetto del suo primo libro, Lashkars, Ed Actes Sud, prodotto dalla Fondazione Carmignac.
Berruti ha vinto numerosi premi, tra cui il Joop Swart Masterclass, 2 World Press Photo Awards e 3 Pictures of the Year International, un Visa d’Or Award, il Magnum Foundation EF, il Carmignac Photojournalism Award e la Fellowship to the W. Eugene Smith Award, oltre a molti altri.
Il lavoro di Berruti è stato esposto in gallerie e musei, tra cui la Saatchi Gallery di Londra, il Nobel Peace Center di Oslo, la MEP di Parigi e in importanti festival internazionali come VISA POUR L’IMAGE e Arles.
Una selezione delle sue immagini fa parte della collezione Carmignac, della collezione Farnesina del museo MAXXI di Roma.
Dopo aver lasciato AgenceVU nel 2017 è diventato uno dei membri fondatori di MAPS Images, che riunisce un numero importante di fotografi e creativi di fama internazionale.
A native of Missouri, in the Midwestern United States, I worked as a newspaper photojournalist for fourteen years, on stories large and small, local and international. I photographed people and events ranging from local high school athletes to national political conventions and documented the United States’ military interventions in Panama, Haiti and Somalia.
On a spring day in 1997, while photographing in Sacramento, California, a gang of a half-dozen angry young men accosted me, demanding my film. I was summarily beaten, kicked and stomped, left for dead, bleeding on a sidewalk in front of a group of horrified children. I remember almost none of it.
I began to re-surface in the next weeks, and found myself residing at Sierra Gates, a quiet, pine-paneled brain injury treatment residence. I was unclear how I arrived there or even why I was there at all. Over the next 2 1/2 months I took the first unsteady steps I needed in order to rebuild my life, which would include re-learning how to walk and even re-learning how to remember.
My experience of the world had changed drastically, especially my relationship with time, which I learned was due to my diminished short-term memory and attention capabilities. Six months after my release from Sierra Gates, as an exercise with my speech therapist, I decided to return there to photograph. Having been attacked because I was a photographer I needed to learn how to be a photographer once again, and to understand why my life had become so different. As the criminal justice process unfolded over the next two years, I continued to photograph at Sierra Gates until I could no longer emotionally bear it. But it was through this act of fixing images of my experiences outside my injured brain that I learned to place myself once again in time.
I didn’t know what to do with these pictures at first, but with the help of friends I was invited to a printing/editing residency at Light Work and eventually to exhibitions at festivals and galleries in France, Germany and the U.S. After much cognitive and psychological work, I will finally publish a book of the pictures, The Burden of Memory, later this year.
In Mexico, on March 24, 2001, the fourth anniversary of my attack, I took my first pictures for what became an ongoing project focusing on the massive human alteration of the Colorado River.