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Caged?
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The El Prat’s Lounge
Airport lounges often exist in a strange, liminal space — neither entirely connected to the bustle of the terminal nor completely detached from it. This photograph captures that in-between feeling with an almost still-life precision. The beige armchairs, glass coffee table, and neatly placed newspaper (“La Vanguardia”) suggest a space curated for calm, yet one can sense the transient nature of those who pass through. The composition is deliberate and symmetrical, the sofa centred with the vase of artificial flowers acting as the visual anchor. The choice to place the glass table in the foreground introduces depth and framing, its reflections adding subtle complexity without pulling attention from the central…
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Small Talk in Las Ramblas
I took this photo in Barcelona, where conversation isn’t background noise but part of the architecture. Las Ramblas is never quiet, never empty—always a current of movement, commerce, and human theatre. Yet in this frame, the flow is briefly suspended by a gesture: one man leaning down to greet another, while a third man stands as witness, folded newspaper in hand, arms set in a subtle brace of familiarity. The scene unfolds naturally, without prompting. I wasn’t aiming for perfection but presence—being there, camera in hand, when a moment coalesced. Compositionally, it’s informal yet balanced. The figures form a loose triangle, anchoring the shot while the rest of the world…
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Much Too Powerful a Knock…
The subject here is as straightforward as it gets: a wall, framed by rusted metal edges, and a hole clean enough to suggest sudden, concentrated force. The image works because it refuses embellishment — no dramatic angles, no post-production theatrics, just a direct record of an event’s aftermath. Compositionally, the vertical framing contains the scene like a display case, while the rust on either side breaks the monotony of the pale plaster. The crack lines radiating from the impact point add an organic texture, guiding the viewer’s eye back to the centre. The absence of any human figure allows the imagination to dwell on cause and consequence. From a technical…
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Cupido’s Fall
There was a time when Cupido ruled the world. Not the cherubic archer of myth, but the man on the torn poster — a champion accordionist, his name blazing in dotted capitals, promising music and spectacle. Now, the paper curls at the edges, bleached and scarred by weather, the glory half-erased by time and graffiti. The god of love meets the fate of every earthly name: reduced to a fading print on a damp wall, fighting a losing battle against rust, mould, and the next layer of urban scribble. The photograph works because it understands the poetry of decay. The black-and-white treatment is an apt choice — stripping the scene…
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Siamese Boats On the Seine River
Two barges, TEMPO and VESTA, lashed together as if bound by some unspoken pact, making their way up the Seine. Seen from above, their pairing creates a symmetry that is almost architectural. The way their bows slice the water in unison feels more like choreography than navigation. The shot was taken from a bridge, directly aligned with their approach, which allowed me to keep both vessels centred and parallel in the frame. That alignment is crucial — a slight offset would have made the composition feel off-balance. Here, the geometry holds everything together: two hulls, two decks, two names, and a doubling of anchor motifs. The light was soft but…
