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Self-Defense
Three against one…
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While the kids grow-up…
While the kids grow-up, a father waits with patience.
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Portrait of a Waiter
Another day is going to start, and the ashtrays are ready to filled by the deadly dust…
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The Barber’s Routine
The barber and the client had clearly known each other for years; the conversation between them was quiet, unhurried, and occasionally punctuated by comfortable pauses. I didn’t interrupt or ask them to acknowledge the camera. I simply observed.
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The Cameraman
There’s a quiet heroism to the figure of a cameraman mid-shoot. This image captures that intensity — the squint of concentration, the firm but fluid grip on the camera, the slight tilt of his head as if aligning himself with the rhythm of the scene unfolding before him. The bright red of the staircase behind him injects energy into the frame, contrasting sharply with his dark clothing and the muted tones of the camera equipment. The composition works in part because it respects the subject’s craft. The frame is tight enough to convey focus, yet wide enough to hint at context: the scaffolding, the staging, the theatre of production. The…
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The Suit
How would it feel like, when everybody around goes to the beach, wearing a suit and going to the office?
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Get Ready for The Duty
Twilight hits differently in industrial spaces — it smooths the sharp angles and softens the glare of primary colours. This shot, taken just outside the Stadio Adriatico, finds a firefighter in quiet preparation while the world behind him begins to stir. The fire engine’s bold typography — VIGILI DEL FUOCO — is less a design element than a declaration, slicing across the frame in a defiant horizontal. I composed this frame to split the visual tension. On the right, a single man and a machine. On the left, a group of police officers huddled in conversation, their presence as much about routine as readiness. The stairs and monumental architecture climb…
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Have fun…
This is the mood music should always create… (so long, jazz players)
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Lorenzo negli stadi
Rockol.it – a music-oriented online magazine I work with – published the reportage I did at the Jovanotti’s “Lorenzo negli stadi tour 2013” in Pescara (IT). Here are the other pictures.
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The SoundMaster
You don’t usually see them—not really. They’re always there, but never in the spotlight. Still, without them, there wouldn’t be a show. I was at a concert recently, camera in hand, doing what I normally do—trying to catch something a little off-stage, something that tells the rest of the story. That’s when I spotted him: back to the crowd, eyes on the board, headphones hanging loose around his neck. Focused, steady. Doing the kind of work that only gets noticed when something goes wrong. I framed the shot from behind. The lights of the soundboard, all blinking and glowing, lit up the edges of his shirt—a simple icon of a…
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Three of a Kind
Shot from street level, this image captures an everyday theatre performed quietly on a terrace. Three people — two women and one man — are held together by proximity but separated by gesture, expression, and posture. It’s a fleeting constellation of personalities, caught just before it disperses. I was struck by the triangular tension: the woman on the left, sporting a bicycle helmet and pursed lips, locked in on the man’s casual delivery. He stands as the pivot, mid-sentence, while the third figure leans away, hand on neck, visibly disengaged. The emotional distance between them expands far beyond the physical. Technically, the image relies on a crisp focus and compressed…
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Evolution of a Guitar Player
It’s strange how a decade can pass in the blink of an eye — and yet carry with it the weight of evolution. The last time I met Roberto Di Virgilio, he had a Steinberger in his hands: all sharp edges, carbon fibre, and the aura of the 1980s futurism that guitarists either loved or dismissed outright. Seeing him now, a Les Paul slung across his shoulder, feels almost like a chapter shift in a novel I didn’t realise I was still reading. The photograph was taken in the kind of setting that usually conspires against the photographer: a stage during setup, flat midday light filtered through the structure above,…
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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
These frames—made on a Leica M9 with an Elmarit 90/2.8—form a compact essay in concert reportage the labour of musicianship. The 90mm perspective is decisive here. It compresses the space, trims away the audience and the room, and turns performance into a sequence of concentrated gestures: hands, shoulders, the angle of a head, the moment a player listens as much as they play.
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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…
