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Mulberry Street, When Benito II Was Still There…
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Line Of Fire
This image was taken inside a shooting range, but I wasn’t there to document firearms. I was drawn to geometry, symmetry, and control. What struck me was the sheer order of the space. Every line — from the foam cladding to the shooting lanes — channels the viewer’s gaze forward. You don’t look at this picture. You’re funnelled through it. Technically, the space presented a challenge: low, mixed lighting and reflective surfaces. I shot handheld, wide open, leaning into the natural light spread to keep shadows soft and detail intact. The overhead panels, designed for acoustic insulation, created an unusual texture that became an integral compositional element. The ceiling almost…
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Mind The Gap!
I made this photograph standing almost flush with the wall, pointing the lens straight up into the thin slice of sky framed by stone and metal. The subject is not the building itself but the uneasy conversation between its decaying ornamentation and the open void above. The fractured balcony edges lean toward each other without touching, creating a tension in the composition that pulls the viewer’s eye toward the bright gap. From a compositional standpoint, the choice of perspective is both a strength and a limitation. The severe upward angle forces strong converging lines, which add a sense of depth and slight unease. However, the proximity of the elements means…
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Oops!
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Arriba El Mexico!
I took this photograph from the passenger seat of a cab, during that suspended moment when traffic stalls and the city becomes a collage of reflections and colour. The small felt figure hanging from the mirror caught my attention first—bright, slightly absurd, and placed without irony. The tiny sombrero, the stitched flag, the green felt body: a souvenir turned mascot, living in the blurred space between décor and identity. What interested me was how this small object commanded the frame. The background—city lights, signage, fragments of buildings—exists only as colour fields and soft shapes. The mirror picks up hints of the driver, the interior, and the street behind us, but…
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A Zeppelin in The New York Sky
New York, 2000. I remember looking up from the crowded streets and seeing it — a zeppelin, drifting slowly above the jagged canyon of Midtown’s architecture. In that moment, it felt like something out of a different century had quietly slipped into ours. I didn’t have much time to think; I just framed, focused, and released the shutter. The composition is as much about absence as it is about presence. The airship is small, almost swallowed by the negative space of the sky, yet the buildings act as monumental bookends, forcing the eye toward the centre. The turquoise cast of the glass facade on the left and the warm brick…
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Just A Bird
The small sparrow resting on the green stalk caught my attention not because it was rare, exotic, or particularly dramatic, but because it was simply there. A fleeting pause in the ordinary rhythm of the day. The late afternoon light wrapped both bird and plants in a warm, almost golden atmosphere, softening the edges and bringing out the textures of the leaves and flowers. From a technical standpoint, the composition is clean yet unforced. The sparrow is positioned off-centre, allowing the surrounding vegetation to balance the frame. The diagonals created by the leaves and the blurred background help guide the eye naturally towards the bird without resorting to obvious tricks.…
