Rorandelli originally earned a Ph.D. in Biology before figuring out that photography was his calling. He began his career in photojournalism in 2006. His Ph.D. in Biology gave him a scientific approach when analyzing  and developing projects and left him with a profound interest in global, social, and environmental issues. The same year Rorandelli founded the Terraproject Collective with three other Italian documentary photographers. This new adventure aimed to report on social and environmental issues through photography and to develop a portfolio of work featuring longterm field-work projects in Italy and abroad. Terraproject aims to develop a visual language to report on social issues while adopting the investigative gaze of the anthropologist.

The projects Rorandelli created made him one of the most well known and impactful Italian photojournalists. In 2011 he was awarded a grant by the fund for Investigative Journalism for his long-term project on the tobacco industries in China, India, the U.S., Indonesia, Nigeria, Italy, Germany, Bulgaria and Slovenia. The project, called Behind the Smokescreen, exposed the tobacco industry’s exploitative production processes and the health consequences of smoking. Rorandelli collaborated with the Italian newspaper Repubblica for another important online project called  Earthquake in Central Italy. This one-year long project explored the devastating aftermath of the earthquakes in Central Italy between 2016 and 2017, documenting their impact on the lives of real people through their eyes. The Serafini and the Lauri families are the central subjects of the report. Rorandelli captured the first academic year of a school that was rebuilt with 22 containers in just 13 days. He included images of the students who populated the school before and after the tragedy and dove into the changing landscapes and emotions hidden behind the hard-work of a population that does not want to abandon their homes and give up their dreams.

In Kosovo and Mineland, Rorandelli explored the social and economic costs that the wars in the Former Republic of Yugoslavia at the end of the 20th century left behind including 150,000 unexploded ordnances in Croatia, Bosnia and Herzegovina, Kosovo and Serbia. Exposure to depleted uranium, contained in the munitions used during the war, caused irreversible damage to the health of  many involved in the UN missions in these countries, as well as those still living in these heavily mined areas.

Immigration has been another recurrent theme in Rorandelli’s work. In Traces of Identity he collected and photographed objects of unidentified migrants whose bodies were found dead in the apparently calm water of the Evros river between Greece and Turkey. A lighter, a rosary, and a dental prosthesis are just some of the 150 items that he captured as traces of the anonymous existence of those who perished in their journey to reach a better future. With a meticulous forensic eye, Rorandelli engaged in the reconstruction of identities  that otherwise would have been completely erased by the water and indifference. This work was featured in the New York Times. Rorandelli has also been following people escaping the humanitarian crisis in Syria. His project Trans Europe Migration focuses in on refugees who, after arriving in Europe by sea, must trek across the Balkans in order to reach Germany and Northern Italy. In 2015, after an estimated 1 million refugees arrived in Europe by sea, Rorandelli travelled to the Balkans to capture both the historic event in human migration and the personal transformation of identity that refugees experience. In this project he utilizes aerial photography taken from a drone to show a unique physical perspective of the refugees' journeys. This choice reflects his goal to humanize a group of people who are often categorized in political, religious, or economic terms. At its core, this New York Times feature captures the distinctly human instinct to travel in search of a better life.

When Rorandelli decided to pursue photography 12 years ago, he set out to do more than capture beautiful images. His pictures have vibrant colors, fascinating shapes, physical movement, and capture the most intimate moments of human life. Beyond these visual accomplishments, his photos tell stories that extend far beyond the limited frame of his camera. Without bias or judgement Rorandelli gives voice to the smaller human experiences that exist within larger social, political, and environmental trends.