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5 frames with a Voigtländer Bessa R2, a Nokton 35/1,4 and a roll of an expired Kodak Portra 160
Tevere, the river that divides Rome in two, is one of my favourite places. No matter how much chaos there is in the ‘high places’: walking along the banks of the river puts you in another dimension, where time has no meaning and the pace slows down – Initially published on 35mmc.com Anchored boats stand still, in stark contrast to the fast-moving streets, crowded with cars, bicycles, pedestrians and tourists who have returned in droves once the pandemic is over. This is obviously a mirror image, but it looks as if it has been projected onto a digital screen. And here is what was mirrored: There are a lot of…
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The Expired Film Series – Episode 6 – Kodak Portra 400 – November 2016 shot in Sept. 2023
This is the sixth episode in a series documenting the use of expired film in various contexts. Episode 6 features a Kodak Portra 400 shot with a Nikon F4 and a Nikkor 105 F2 defocus at the dock of Pescara. The film was not overexposed, was processed with Affinity Photo 2.
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The Expired Film Series – Episode 5 – Kodak Tri X 400 – September 2015 shot in Sept. 2023
This is the fifth episode in a series documenting the use of expired film in various contexts. Episode 5 features a Kodak Tri-x 400 shot with a Yashica Zoomate 105 at the Marina di Pescara. The film was not overexposed, was processed with Darktable’s Negadoctor module and finalised with Pixelmator Pro. The results are not, by far, definitive.
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Red Beam
Night photography has always been an exercise in restraint and patience. The camera sees differently than the human eye after dark — more unforgiving, more literal. This frame, taken with a Fuji X-T4 paired with the Viltrox XF 85/1.8, is my attempt to balance that literalness with the suggestion of stillness. The subject is minimal: a breakwater crowned by a small red beacon, its reflection trembling down the harbour water. Compositionally, it’s brutally simple — the light dead-centre, symmetry imposed on a chaotic environment. There’s an honesty to the stark framing; nothing distracts from the red flare and its molten trail on the surface. Technically, the exposure was a delicate…
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A Lighthouse
Another example of how the Viltrox XF 56/1.4 performs in very low light.To be honest, the Fuji X-T4’s X-Trans sensor played its part.
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Modern Moai?
Still pushing the Viltrox AF 56/1,4 XF on a Fuji X-T4.The limit has not been reached just yet.
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Sailing Home
The quality of the Viltrox 56 1/4 XF never ceases to amaze me.This image was taken with an X-T4 at ISO1600, so the quality of the sensor plays a significant role in the overall result. However, as the lens is not supported in Affinity Photo 2, the image is wysiwyg in the sense that no profile-based corrections have been applied.
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From Waltham to Boston
‘From Waltham to Boston’, an offshoot of a bigger project on documenting Boston’s pulse, is now available on Amazon as a Kindle e-book.
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Editing a photo taken with a Carl Zeiss Jena 135/4 Sonnar and a Fuji X-T3
A vintage Carl Zeiss Jena 135/4 Sonnar whose RF mount has been replaced with a Fuji X mount by Adriano Lolli (https://www.adrianololli.com).Coupled with a Fuji X-T3, it delivers pleasant results. Post production is highly subjective, so the final outcome might no be ‘acceptable’ to some taste. Still, the lens is very good.
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The Silent Geometry of a Trabocco
This image came out of a walk I almost didn’t take. The light was beginning to fall into that uncertain hour, not quite golden but leaning into it, with a softness that flatters without deceiving. I was drawn to the trabocco — that wooden skeleton of fishing history jutting into the Adriatic like a forgotten broadcast antenna. Technically, the image lives and breathes in its lines. Everything points outward — cables, poles, railings — a quiet explosion of geometry pushing against the calmness of the sea. The house, slightly off-centre, serves as a visual anchor, balancing the thrust of the lines while allowing the scene to feel alive, not over-symmetrical.…
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Fisherman’s Fatigues
I shot this one late in the day, when the light had softened just enough to graze the worn textures without flattening them. The fatigue in the title isn’t poetic—these clothes, half-limp, half-hardened with salt and use, are the remnants of someone’s labour, someone likely still out at sea. I didn’t stage anything. These were just there, draped across makeshift wooden trestles, drying under the weight of their own exhaustion. What makes this image work technically, for me, is the tension between stillness and implication. Nothing moves in the frame, yet everything speaks of motion just ceased—pulling ropes, lifting crates, hours on a rolling deck. The shallow depth of field,…
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A Vessel Moored on the Pier
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A Gull, Posing
A gull sits perched on a bollard by the water, its body angled just enough to suggest awareness of being seen. The rust-stained base, heavy and industrial, contrasts sharply with the lightness of the bird resting on top. It is a moment where function and chance converge, turning a docking post into a stage. Composition is centred and deliberate. The bollard fills the frame vertically, anchoring the image, while the gull becomes both subject and ornament. The blurred surface of the water behind isolates the scene, stripping away distraction so the viewer confronts the simple pairing of steel and feathers. Technically, exposure is well handled. The whites of the gull’s…
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Three Sprouts
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Game Over
Photographs like Game Over remind me that sometimes the most direct visual statements are also the most loaded. Here, a simple, hastily spray-painted message on a makeshift surface is transformed into something more imposing by lens choice and framing. Shot on a Nikon F3 with a Nikkor 16mm fisheye, the image carries the unmistakable spatial distortion of that ultra-wide glass. The curvature of the edges pushes the wall and banner into a bowed shape, making the words bulge towards the viewer. It’s a subtle but effective way of amplifying the sense of confrontation—as though the message is leaning into us, impossible to ignore. Technically, the black-and-white treatment strips away distraction…
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So Long, and Thank You for the Fish
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Soldering
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Black Cat
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Boats
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Toxic Waste in Open Air
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Fixing the ship
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A Street-Skater on the Waterfront
I came across him by the harbour on a day when the wind carried the smell of salt and diesel from the moored fishing boats. He wasn’t performing for an audience—just skating alone, immersed in his own rhythm. His movements were sharp but fluid, somewhere between dance and martial art. I wanted to capture that moment when the body leans into balance, teetering on the edge of a fall but never crossing it. The setting presented an immediate visual contrast: the fluidity of his posture against the static, almost heavy backdrop of the docked ships. I framed him to the left, letting the background breathe, so that the masts, ropes,…
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Inside the Nazario Sauro
An important piece of history of the Italian Navy, at the anchor in the Port of Genova.
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Pop Art Meets Industrial Hamburg
I shot this industrial skyline in Hamburg, initially as a stark monochrome—smoke billowing against a winter sun, the city bathed in a haze of latent threat. But the image called for more. So I bent it, digitally, into a quartet: one frame fractured into four, each processed through a brutalist lens of colour theory—red, green, cyan, monochrome. A nod to Warhol, sure. But also to those old weather warnings on analogue TVs, when the signal bent reality and your retina paid the price. Technically, the base image holds. The stack of buildings anchors the composition in rigid geometry—angular, postmodern, the kind of skyline that doesn’t beg for admiration but demands…
