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Settled in the wrong place
There’s a jolt in seeing something so deeply tied to heat and aridity draped in snow. The prickly pear cactus, its fleshy paddles dusted white, looks almost embarrassed – as if caught wearing the wrong clothes for the season. This is a photograph about displacement, but not in a melodramatic sense; rather, it’s a quiet document of the absurdities nature sometimes hands us. From a compositional standpoint, the image benefits from its layered structure. The cactus dominates the foreground on the left, its irregular shapes and textures pulling the viewer in. Mid-ground, a smaller shrub offers a softer counterpoint, while the horizon – faint and blurred – separates the white…
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Just a Bench (or a Sacrificial Altar?)
When I photographed this bench under a fresh layer of snow, I was struck by its dual identity. On the one hand, it is a piece of public furniture, sculpted concrete shaped into undulating curves to invite rest. On the other, in the starkness of winter light and the thin veneer of frost, it becomes something else—an object that could belong to a ritual, its surface reading like a stone altar abandoned to the elements. The faint streaks of rust along the side even suggest traces of something spilled, though of course it is only iron leaching into the weather. From a technical standpoint, I chose to let the bench…
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Becoming a Human Tripod
An often forgotten topic in the photography schools and courses is the physical (I would say, physiological) side of the game. True, a Leica Noctilux and a Leica M can deliver exceptionally sharp images, but if your hands tremble or your body wobbles, no gear, no matter the cost, can save your shot from being shaken. Ideally, a perfectly steady shot would require a tripod. Yes you can tweak the ISOs and/or the aperture but this is a trade off with image quality , so we’re back to the opening statement: a steady shot needs a tripod. But the truth is that none of us – pros included – can…
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Where Are Skilifts Supposed to Be?
I took this photograph on a surreal winter morning when the Adriatic coastline had been transformed into something closer to the Alps than a seaside promenade. The skier, moving steadily away from me, became the anchor for the scene — his posture calm, almost resigned, as though he knew full well there would be no skilifts waiting for him ahead. From a compositional standpoint, I wanted the perspective lines to work hard here. The lamp posts, the pavement edges, even the faint ski tracks converge toward the centre, guiding the eye deeper into the image. The figure is positioned just off-centre, allowing the street to breathe while still holding the…
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Happy New Year
