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Open Interior
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Splinter
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Drying Clothes
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The Last Journey
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Zombie
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Uninterested
No glance. No nod. Just two people moving through the same space, as if the other didn’t exist. This was taken on a beach that should have felt wide open, maybe even freeing—but something about the moment made it feel small, enclosed. The boy looks down at his phone. The girl walks past him, eyes fixed forward. Neither slows. Neither turns. They’re metres apart, yet orbiting separate worlds. I didn’t ask for this scene. It unfolded on its own. A brief choreography of disconnection. Their postures say enough: one drawn into a screen, the other into her own stride. There’s no hostility here—just absence. A quiet kind of loneliness, the…
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Lava Nails
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Pensive
Manual focus needs practice. This photo would have been better if I framed also the top of the cabin and focused better the person.
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A Skater
Framing the whole statue would have made this photo better. The mistake was caused by the necessity to shoot fast, the lens’ field of view and the distance between the subject and the focal plane.
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A droplet
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A Rudder
Pentax K-1/smc Pentax-A 135/2,8
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A Mesh
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An Essay on Composition
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Pentax SMC-A 50/1,7 – Nikkor 50/1,4 – Summicron 50/2
The left slice is taken with a Pentax K-1 and SMC-A 50/1,7, the centre with a Nikon D750 and a Nikkor 50/1,4, the right with a Fujifilm X-T3 and a Summicron 50/2. All the cameras were at their base ISO (100 for the Pentax and Nikon, 160 with the Fujifilm), at F2 and aperture priority. The K-1 and the X-T3 photos were shot in manual focus. Only the K-1 has IBIS stabilization. The jpg is taken in Affinity by slicing each OOC RAW file without post-processing.
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A Lockheed C-130 Hercules
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Kite Surfer Under Duress
The wind was already rising when I reached the beach. Grey sky, hard light, the kind of day most people read from behind a window. But the kitesurfers were already out—lines taut, boards skipping through the chop. What always strikes me about this scene isn’t just the colour of the kites against a flat sky, or the sharp angles they carve into the wind—it’s the resolve. They know what they’re getting into. The cold. The salt in their eyes. The bruises. And they do it anyway. Because this is when it’s real. That’s what drew me to raise the camera. The same drive, maybe. You don’t wait for golden hour.…
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Busker and Covid-19
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Galaxy S21 Ultra 5g. The difference between Marketing and Reality in Image Quality
To put it short, this is what you get by purchasing a Galaxy S21 Ultra 5g using the standard camera app: access to all four lenses is limited to jpg, 108megapixel resolution is limited to one lens (the one Samsung calls ‘wide’ or ‘1x’), RAW format is only availble in ‘PRO’ mode, limited to ‘ultrawide’ (0,6x) and ‘wide’ (1x), with no access to 108megpixel resolution. Samsung advertises the Galaxy S21 Ultra 5g by spinning its 108 megapixel camera. However, it does not make clear that the 108 megapixel resolution is not available in “PRO” mode, the only that records in raw. By contrast, this super resolution is available in normal…
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A Fix for the Wikipedia Photos’ Copyright Scams?
As reported by Petapixel, a new form of copyright (better, ‘moral rights of author) scam hits photographer: the credit stealing on Wikipedia. In a nutshell, as everything on Wikipedia is editable, somebody started changing the photos’ ownership information from the original author to somebody else who, as Petapixel writes, get a series of ‘benefit’. As bad as it sounds, copyright protection on the Internet is a lost battle for an individual. Some services like Unsplash “turned the problem into an opportunity”. However it did not solve the issue in general terms. I’m seriously considering if just going back to a print-only sharing is a better way to handle pictures’ copyright,…
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Easy To Shoot?
This picture might look “ordinary” but for the fact that I shot it with a rangefinder film camera (guess which?) during the scene change between to acts of a theatre play. Scene assistants were placing the furnitures, actors were trying to focus on their parts, there was no time (and place) to design a proper composition and set the camera. No autofocus, no real-time exposure and white-balance setting. Maybe I have been lucky capturing the match flame close to the cigar, maybe it was because of “muscle memory”, but I did it nonetheless. Problem is that I could not be sure if I succeeded until, one week later, I saw…
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Dai Shodo@Kyoto
Kyoto ‘s Teramachi-dori is full of suprises. Amidst shops of the most different kind and attire, booklovers can find this small gem. This is Dai-Shodo, a quiet print shop tucked into a narrow Kyoto street. I stepped inside on a grey afternoon with no particular plan. The light was soft, filtered through old windows and the hushed presence of paper. Everything in the shop seemed to lean inwards—frames, shelves, stairs—as if holding its breath in reverence. What struck me most wasn’t the prints themselves, but how they were displayed. Ukiyo-e woodblocks and vintage ephemera layered on every surface, propped rather than hung, as if caught mid-conversation. The stairway invited you up…
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Nagoya’s reportage featured in The Good Life
The Good Life‘s October issue features my photoreportage of Nagoya.
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Fuji X-T2 records audio at 16bit/48Khz
Neither the user manual, nor the Youtube ‘experts’ tell this open secret: the X-T2 samples audio at 16bit. Although the sample rate is 48khz (a standard in video production) 16bit may not be enough to record (a minimum) professional grade audio. This is not a big deal for the rest of the humans, but If you want to ‘go pro’ or need to unleash your Gear Addiction Syndrome be advised that to have 24bit/48Khz audio you must switch to the X-T3.
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Meaning in Photography
In this picture, taken during the reportage I did for the Teatro Marrucino’s I Miserabili, an old and exhausted fighter rests while a young citoyen waves the French flag defying the fire of the royalists. The strength of the picture is in the dialectics created by the two protagonists, hinting at a “relay” between an old man that “gave all”, resting while a young man steps in.
