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The Calm Newsreader
Piazza del Duomo is never truly still. The stone expanse acts as both stage and thoroughfare, where the pace of life is measured in contrasts. In this pair of images, that tension is laid bare: a young woman, mid-stride, the blur of her step almost audible, shares the same visual field as a man in a red shirt who sits in unhurried contemplation, newspaper in hand. The composition in the first frame benefits from the deliberate use of foreground and background separation. The woman is caught in that decisive moment—foot lifted, eyes focused ahead—while the man remains anchored in his position, reading. The interplay between their postures tells a story…
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The Smoke Teacher
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Red Storm
I took this photo without raising the camera to my eye, resting it against the back of a chair to avoid breaking the rhythm of the scene. The room was full — women mostly, all dressed for the occasion, voices layered like overlapping melodies, echoing off red tablecloths and gold-framed mirrors. At the centre of it, this woman in a storm of colour. Her jumper caught the light — green, crimson, black — like a weather system of yarn. I didn’t need to see her face. Her hand told the story. The composition is crowded, intentionally so. No negative space, no clean lines, just immersion. You’re pulled into the middle…
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The Elders’ Council
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Behind the News
He stands in full sun, blazer buttoned, shirt crisp, mic in hand — delivering his segment with composure. It’s a classic image: the field reporter, live from the square, holding the line between chaos and clarity. But move the lens just a little wider, and the story changes. Because behind the camera, a different truth unfolds. The cameraman, sleeves rolled up, and the tourists slouched in the shade — legs stretched, sandals kicked off, hair tied up in the heat. They’re close enough to hear the words but completely removed from the illusion. And that’s the beauty of it: two realities, divided by a lens, staged in the same space.…
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The Sailor
Hey, there’s no water straight there!
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Trento, After Dark
There’s a plaque on the wall behind them—honouring soldiers of the Austro-Hungarian Empire, fallen in a war a hundred years gone. But they’re not looking at that. Instead, three boys sit shoulder to shoulder on a wooden bench, huddled around a glowing Apple logo. A little too bright for the square. The light falls on their faces the way a fire once would have. They’re focused, not speaking much. Two watch the screen; one taps at his phone. Nobody’s in a rush. This is Trento at night: limestone façades, uneven cobbles, Mediterranean shrubs in planters, and now Wi-Fi in the air. The square is mostly empty. Just a few benches,…
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Nightlife
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As Time Goes By
Lost in thought, as time goes by…
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Rocco Zifarelli, Jeff Berlin, Beth&Danny Gottlieb, Gabriela Sinagra
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The Referees
Shot in a break between rounds. Two officials—one in the ring, one just outside—pass the scorecard without a word. The exchange is procedural, yet visually precise. One hand extends up, the other down. The gesture anchors the frame. I placed myself at shoulder height, slightly off centre, to keep the ropes intersecting cleanly across the image. The ring’s horizontal lines break the vertical repetition of the gym’s back wall and audience. Geometry does the work—no crop needed. Lighting was mixed. Industrial overheads with a cold cast, ambient spill from the crowd, spot highlights off the shirts. Monochrome strips it back. No distractions. Just action and structure. ISO 1600 to hold…
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Cornermen
There’s a rhythm to these images — a quiet, almost ritualistic interlude in a sport otherwise defined by its violence. The corners of a boxing ring are not just places of rest; they are theatres of strategy, whispered advice, and sometimes silent reproach. In each frame, the fighter is turned inward — literally and figuratively — toward those who bear no gloves but shoulder equal weight in the outcome. From a photographic standpoint, these are intimate studies taken from the same vantage point, the ropes acting as both boundary and compositional anchor. The repetition of the ring’s geometry — horizontal ropes, vertical corner post — frames each scene with a…
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Upcoming Call
A call is coming. Maybe…
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The Fighter
A tribute to a brave man. Between rounds, the noise shifts. The roar of the crowd blurs into a muffled hum, replaced by the clipped, urgent tones of a voice you trust more than your own instincts—the cornerman. This photograph holds that moment still. The fighter, bare-chested, gloves resting on the ropes, his breathing heavy but measured, absorbs each word. His eyes, narrowed and locked, aren’t simply looking; they are processing, dissecting, committing to memory. Every bead of sweat on his skin is a testament to the round just fought, every vein and muscle carrying the weight of the one to come. The cornerman leans in, body language sharp with…
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Mind Your Way!
What did grab his attention?
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Guess who’s happier?
Easy, isn’t it? The title “Guess Who’s Happier” finds its answer before you even look twice. In the foreground, a man in a bold red Hawaiian shirt strides into frame, caught mid-motion, mid-laugh. He wears a grey fedora, sunglasses, and the loose, unselfconscious energy of someone untouched by the stiffness of the scene around him. His shirt blooms with white hibiscus prints, a quiet rebellion against the asphalt and glass of the urban backdrop. Behind him, to the right, a man in a dark suit and tie steps forward with a deliberate, guarded pace. His expression is unreadable, but the body language is tight, restrained—functional. The suit, the posture, the context…
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Too Noisy
A Marching Brass Band rehearsing its performance… maybe too noisy even for daylight time?
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A quiet watchdog or long-time friend who enjoys some rest??
I was walking through a narrow street in Rome when I saw him—stretched across the threshold of a dusty antiques shop like a soft barricade. Head down, ears flat, but not asleep. Not quite. He was watching with the kind of calm that doesn’t need to prove anything. The Leica M9 was set to zone focus, aperture around f/5.6, and I didn’t have time to fuss. I framed, stepped slightly left to catch the reflections in the glass, and took the shot. The light was diffuse—no harsh shadows, just a steady wash of warmth from the tungsten bulbs inside, softened further by the grey sky outside. The exposure held nicely,…
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Life is a bitch
Sunday morning. Scorching sun. A work to be done on time. Life is a bitch.
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Couples
Two couples in a square. One seeks rest, the other, food.
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A Master Luthier in his lab…
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An interesting reading
To seat or no to seat?
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In the backstage
There’s a kind of quiet tension in the way they lean against the wall. No people in sight. No instruments visible. Just the outlines of music, sleeping inside their forms. As a photographer, that’s the kind of silence you try to listen to. The room was dark, lit only from one side. The light caught the curve of one case and slipped off the edge of the other. Texture came forward. Shape. Memory. You could almost hear the faint creak of clasps, the echo of strings long since gone quiet. Sometimes the most expressive shots come when nothing is happening. No performance, no sound—just the pause in between. These cases…
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A chat on a lake shore
Countless photos like that have been shot. But enjoying a good moment together always deserves to be recorded
