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A Haunted(?) House
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Urban Desolation
This photograph is part of a study I’ve been developing on marginal architecture—spaces neglected by urban development yet still clinging to presence. The building isn’t ruined in a picturesque way. It’s just exhausted. Scarred concrete, flaking plaster, and rusted grates stand as accidental testimonies of permanence beyond usefulness. I composed the frame to draw the viewer’s eye along the length of the structure, ending with the blurred outlines of new buildings in the background. The juxtaposition isn’t subtle—it wasn’t meant to be. These walls hold layers of past usage, from the makeshift repairs to the graffiti tags now fading like old memories. Technically, the photo rides a fine line between…
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Street Crossing
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Ramping Up
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Windows
The photograph isolates a stark interior: two narrow barred windows flanking a central wall, and above them, a single rectangular window letting in pale light. Geometry dominates—verticals and horizontals align, while the bars break symmetry with their irregular grid. The result is a study in confinement and release, the eye inevitably drawn upward toward the light source. Composition is strict, almost architectural. The side windows anchor the lower frame, their darkness reinforcing the weight of the walls. The brighter upper window, positioned centrally, becomes both focal point and escape. Depth is minimal; the flatness of the surfaces intensifies the sensation of enclosure. Technically, the black and white treatment enhances austerity.…
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Food For Thought
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Via Collina, Empty, From Above
The perspective is vertical, as if leaning out and looking straight down. Cars line both sides of the narrow street, parked in strict succession, their roofs forming a patchwork of tones. The pavement and façades edge the scene, flattening into geometry under the camera’s angle. At the centre, however, the street itself is bare—an unexpected strip of emptiness in a crowded frame. Composition relies on symmetry and repetition. The rhythm of vehicles, rectangles of windows, and parallel lines of pavement create a structured grid. The lamppost, suspended on its wire, interrupts this order with a curve, offering a counterpoint to the rectilinear logic. Two pedestrians near the corner introduce scale,…
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An Old School Workstation
It’s not just a desk. It’s a time capsule. A stack of worn books. Pages thick with annotation and use. The chipped edge of a hardcover bent from years of handling. And just out of focus, the heavy presence of a typewriter—silent now, but once the loudest voice in the room. This photo is titled An Old School Workstation, and it says more than it shows. There’s no screen here, no cursor blinking for attention. Just tools. Weighty, tactile, deliberate. This was how knowledge was built—layer by layer, keystroke by keystroke, turned page after turned page. The contrast to today is hard to ignore. Now we scroll, we skim, we tap…
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A Rusted Window
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The Chicken
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A Sailors’ Warehouse
I took this photograph inside a boathouse, looking down into a storage system built from large industrial pipes. What struck me immediately was the rhythm of repetition: the orange-red circles forming a grid, each cradling a piece of fabric, rope, or gear. Practicality drove the design, yet visually it became something else—an ordered chaos, a taxonomy of a sailor’s life. The top-down perspective was deliberate. Shooting directly overhead flattened the objects into patterns, stripping away depth in favour of geometry. It is a photograph about compartments and how objects settle into them. The symmetry of the circles is slightly broken by the irregular bulk of the bags and fabrics, which…
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Autumn Leaves
There’s nothing particularly striking about this photo at first glance. Just a flower box tucked against a weathered wall. A few green leaves still stubbornly clinging on, others browned and curled, caught mid-fall. It’s the kind of street element you pass without noticing, or maybe glimpse and forget. And yet, it’s a portrait — not of a person, but of a moment in life. That in-between moment.When you’re no longer young, but not yet old.Not blooming, not dying. Just… suspended. There’s resilience in the remaining green, still pushing out colour despite the changing cycle. But there’s no hiding the signs of decline. Age creeps in at the edges first —…
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The Shoesfixer
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God Save the Queen!
The Union Jack, proudly emblazoned—not on a mast or parade, but wrapped around the rear-view mirror of a Mini Cooper. Once a symbol of British ingenuity and resilience, the Mini now serves as a rolling contradiction: a British icon, manufactured under the ownership of German automaker BMW. This photograph, titled with deliberate irony, compresses decades of cultural transformation into a single detail. “God Save the Queen” here becomes less anthem than marketing slogan. The monarch’s presence lingers not in statecraft or ceremony, but as a lacquered pattern on consumer machinery. The mirror itself is a fitting metaphor. It reflects, but only partially. What was once national pride has become exportable…
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The Lost Hotel
I photographed this derelict façade in an Italian town on a walk that started with no intention and ended with this frame. “Albergo Aterno,” barely legible beneath a coat of turquoise decay, is what’s left of a forgotten hotel. I didn’t need to know its history to feel the abandonment radiating from every peeled layer of plaster. The frame is pulled tight—the architecture becomes a subject in itself, the wires and conduit lines accidentally composing a crude symmetry that holds the chaos together. This isn’t a pretty picture, and that’s the point. The scene punishes clean aesthetics. Harsh light from the afternoon sun exacerbates the texture—flaking walls, rusted metal, and…
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Fishing Shelter Under The Bridge
Photographs like this one always pull me in—not for their glamour, but for their quiet, unvarnished truth. This image, titled Fishing Shelter Under a Bridge, captures a space that seems to exist on the fringes: part makeshift workspace, part refuge, part survival mechanism. The fishing net suspended in the frame is not the tool of a hobbyist, but a means to secure food, a reminder of the precariousness of life for some. From a compositional perspective, the photograph is anchored by a strong sense of depth. The viewer’s eye is naturally drawn from the shaded, cluttered foreground toward the brighter, open water and the moored boats in the distance. The…
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London Swash
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Ready for lunch
An osteria table waits, set with blue cloth, inverted glasses, and neatly placed napkins. The chalkboard menu leans forward in the foreground, announcing “Pranzo Veloce” with its modest prices and straightforward promises. Chairs stand empty, the cobbled street quiet, yet the scene already holds the expectation of voices, cutlery, and conversation. Composition divides into two parts: the angled menu board on the left, pulling the eye with text and bold frame, and the table on the right, stable and orderly. The brick wall and wooden door in the background add texture and intimacy, rooting the setting firmly in an Italian street. The balance of objects, slightly off-centre, leaves space for…
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TicTacToe
There’s a curious satisfaction in photographing something utterly ordinary and discovering that it holds more visual weight than you’d expect. This playground tic-tac-toe frame caught my attention not because of its intended purpose — a children’s game — but because of its worn, slightly battered state. The fading X’s and O’s spoke of countless small hands spinning those yellow cubes, of games that probably never reached a conclusion before someone was called away for ice cream or a turn on the slide. I framed it dead-centre, allowing the game board to occupy most of the image, boxed in by the green plastic casing. The symmetry gives the photograph a formal,…
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The Road To Justice
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Lost Cellos
There’s something unsettling about musical instruments left alone. Cellos, in particular, carry a visual weight even when silent — the curve of the body, the arch of the bridge, the scroll’s delicate twist. In this scene, set against the pale facade of an Italian street, they lie scattered, leaning awkwardly against bright red plastic chairs, as though abandoned mid-performance. I was drawn to the tension between elegance and neglect. The geometry of the composition came naturally — the red chairs punctuating the frame, the arc of the white wall detail acting almost like a silent proscenium arch. The absence of people intensifies the stillness, making the instruments feel orphaned. From…
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A Fisherman
There is an honesty to this image that immediately draws me in — a straightforward, unembellished portrait of labour and craft. The fisherman, head bent in concentration, works his net with the steady rhythm of someone who has done this countless times before. The choice to focus on the act of repair, rather than the act of fishing, shifts the narrative from the sea’s drama to the quiet maintenance that sustains a livelihood. Compositionally, the photograph benefits from its use of leading lines. The fishing net, stretched out toward the left of the frame, guides the viewer’s gaze straight to the fisherman’s hands — the heart of the story. The…
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Red Curtains
It caught me as I was leaving a small trattoria, the kind where wine glasses reflect years of conversation and meals stretch long into the evening. The curtain—the protagonist here—isn’t just a physical separator. It’s a thin veil between what’s public and what should remain private. I let the fabric dominate the composition. Its translucent quality distorts the background just enough to suggest, not show. The folds create a rhythm, a vertical cadence against the more chaotic, lived-in blur of the interior. The exposure was tricky. Balancing the warmth of incandescent lighting with the saturation of the red was key—push too far, and the tones bleed; underexpose, and the shadows…
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A Broken Gearwheel
I came across this fragment of concrete by chance — two heavy, jagged halves lying on a bed of smooth stones, their shapes echoing the teeth of a gearwheel. It looked industrial, almost mechanical, yet entirely static and inert. There was no motion here, only the suggestion of it, frozen in decay. When I composed the frame, I aimed to make the gear the clear focal point while still allowing the surrounding textures to play their part. The roughness of the stone bed contrasts nicely with the flat, worn surface of the concrete pieces. The diagonal orientation of the gear halves gives the image a touch of dynamism that the…
