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Late
Late. Again. As ever…
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Yet Another Dawn
Yet Another Dawn Picture. There is a snobbish attitude among “real-photographer” (those tough guys that know all about cameras, lenses, optics, chemistry, physics, hardware, software, journalism, fine-art, landscape, portrait and, finally, Leica – and that barely shot a frame or two once at year) that photo like this one shouldn’t be taken at all. If you need an exposure of a dawn – I’ve read on a website whose link I’ve lost – you’d better go to Google image. I disagree for two reasons: first: shooting is a personal need. If somebody feels like exposing a dawn, a sunset or whatever banal… well that’s matter to him and is none…
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Disagreement
When dogs (like that) start yelling at you with no apparent reason, becoming a bum starts being an option…
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Waiting for the match…
The scene is ordinary, but that’s precisely why I stopped. A teenager in full Givova kit, perched on a cold cement bench in a bare piazza, killing time before football training. A gym bag tagged “Città di Giulianova 1924” anchors the narrative—it tells us this isn’t just a kid hanging out. This is ritual, anticipation, part of the social choreography that surrounds grassroots sport in small Italian towns. Technically, it’s a straightforward frame, handheld and slightly imperfect—edges soft, shadows flat—but that rawness works here. The light is diffused under an overcast sky, producing a muted palette with little contrast. I let the saturation lean just enough to retain the plastic…
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The Argument
A fierce debate in a sunny winter day.
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Different Paths
Street photography has always fascinated me for its ability to compress fleeting moments into enduring visual narratives. In this image, taken on what appears to be a damp, overcast day, the photographer captures two figures heading in opposite directions — a man in the foreground walking towards the camera, his orange cap vivid against the muted palette, and a woman in the distance holding a bright orange umbrella. The composition cleverly plays on symmetry and divergence. While the subjects are positioned on opposite sides of the frame, they are visually connected through the repetition of colour — the cap and the umbrella forming two points of chromatic emphasis that immediately…
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Footprints in the Snow
Footprints in the snow. A lonely path toward a journey in the mountains. I took this shot during a solitary walk across an off-season ski slope, where the infrastructure rests in suspended animation. The snow was untouched but for a single trail—mine—cutting through the soft silence. What drew me to stop and lift the camera wasn’t the cold or the scale of the landscape, but the purity of the composition: a line, a light source, and an expanse. Technically, the exposure required some compromise. Shooting directly into the sun flattens the highlights, but I wasn’t after tonal perfection. I wanted the viewer’s eye to follow the footprints without distraction, and…
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A solitary journey
A man just comes back from a solitary journey into the snow. He’s already missing the peace of the mountains.
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The Waiting
A light rain covers a lonely car. A women, inside, is waiting for somebody that might never come.
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My First Shot (With Purpose)
This is the very first shot I took with the conscious intention of “taking a photo.” No technical skill, no reading of manuals—just a camera, a chair abandoned in a field, and the instinct to frame it. I remember being fascinated by the contrast: the artificial shape of the chair dropped into a plot of neglected green, hemmed by broken walls. No narrative, just a question mark. I had no clue what I was doing. Exposure? Focus? Aperture? The camera was almost fully automatic, and I didn’t even think about composition rules. But the instinct to isolate the subject and centralise the frame kicked in, and so did a vague…
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A Silent Dialogue
A restrained coastal tableau built around stillness and separation. The seated figure is placed slightly right of centre, turned away from the viewer, which shifts emphasis from identity to gesture and mood. The backpack anchors the narrative as travel or pause, while its bulk balances the composition against the open sand. The scene is organised in three calm bands—foreground ripples of sand, a mid-ground strip of beach, and the softly textured sea beyond. This horizontal structure stabilises the frame and amplifies the contemplative register. A lone pigeon, small but sharply legible, introduces a secondary point of attention and a faint counter-rhythm to the figure’s inward focus. Colour is deliberately subdued:…
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An Early Landscape Photography Attempts
The frame centres on a vivid orange butterfly, held in partial profile with its wings closed, set against a dense tangle of grasses and low scrub. The subject’s saturated colour provides an immediate point of emphasis, while the surrounding vegetation introduces a complex lattice of lines that both animates and competes with the focal point. A pale limestone rock occupies the right side as a strong compositional counterweight. Its softly lit surface and visible fissures add tactile interest and a clear tonal anchor, separating the butterfly’s warm hue from the busier greens and ochres behind. The diagonal stems and overlapping blades create a natural, slightly chaotic geometry that conveys a…
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Parallels & Diagonals
This blue-hour cityscape hinges on strong linear perspective: the elevated bridge on the right and the riverbanks on the left converge toward a distant vanishing point, pulling the eye cleanly through the frame. Warm street and architectural lighting contrasts with the cooling sky, creating a balanced teal–amber palette that suits twilight urban travel imagery. Reflections are the picture’s quiet engine. The river reads as a central corridor of light, with elongated highlights from lamps and windows forming a measured vertical rhythm that steadies the scene. Moored boats along the right bank add human scale and texture, preventing the infrastructure from becoming purely monumental. The exposure favours atmosphere over clinical sharpness;…
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My camera’s early test shots
Unlike fishing villages or marinas, they are not built to be looked at. They are built to work. Every object has a purpose, every line leads somewhere, every apparently random piece of machinery exists because somebody, at some point, needed it to solve a practical problem. There is very little room for decoration. This is probably why I enjoy photographing them.
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Has Street-Photography a limit?
Chasing the captain is a series of shots made in Venice (Italy) by Yanick Delafoge, a very good street-photographer whose website I visit almost daily. Chasing the captain is accompanied by an explanation of the circumstances that led to the shots and based on the assumption that the subject was, indeed, a Navy Officer. Thus, the whole mood of the comment was inspired by the suggestion coming from a soldier that crosses the calles’ of Venice. There is a small problem, though: the man portrayed in the photo is a chief petty officer – Capo di prima classe (you can guess it by the three-striped patch on is shoulder) and…
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A new camera and the quest for the missed information
Convinced by the hype raised by the review of a well known camera review website I purchased a bridge camera , just to be surprised and disappointed at the same time. The surprise came out when I discovered that the this camera comes – as standard – with a lens hood, does mount filters and has a remote trigger socket. None of these very important issues were addressed in the review I went through seeking advice and that, as always, focused on image quality, body and functionality, sensor performance etc. etc. Another “non significant” issue has been casually set apart by this review: the 12Mpixel resolution on such a tiny…
