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A Grocery Store in Rome
Some photographs emerge not from the pursuit of the exceptional, but from the quiet insistence of the everyday. This frame, captured in Rome, is one of them. I didn’t wait for decisive moments or orchestrate elements. I simply stood in front of this unassuming mini market, with its fluorescent signage blinking “COLD DRINKS” and “APERTO,” and let the banality speak. The storefront is wedged into a stone facade, a brutal contrast softened by the cluttered joy of cheap pleasures: laminated posters of ice creams, fizzy drinks stacked like bricks, and a faded theatre poster wedged between glossy wrappers. You can almost smell the dusty coolness inside — a refuge from…
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Silver Pottery
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A Blue Vespa
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Billiard On The Field
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Ready For Lunch
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Tiles
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The Heart Of Giulietta
There is something about an Alfa Romeo engine bay that resists anonymity. Even in a close crop, stripped of context, you know you are looking at more than mechanical function—you are seeing Italian engineering as an act of design. This photograph of a Giulietta’s twin-cam engine captures that balance of precision and personality. The aluminium cam cover, its surface softly patinated by years of heat and breath, bears the proud Olio cap in crisp relief. The lines are clean but never sterile, the casting both purposeful and beautiful. Four orange ignition leads arc neatly toward the distributor, their gentle curves as intentional as the arcs of a sculptor’s chisel. The…
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A Fishnet – 2
Fishing boats, when they’re not at sea, have a stillness to them that’s almost deceptive. You look at this image and all you see at first are the nets — layered, coiled, heavy with their own weight. But you know that once the boat moves out of the harbour, these same nets will vanish into the water, turning into something entirely different: a tool in motion, an extension of the crew’s livelihood. The shot is a straight-on composition, framing the netting in the foreground so it fills most of the image. It creates a natural barrier for the viewer’s eye, almost demanding you examine the knots, the frayed edges, the…
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Handling the Fishnet
I shot this on 35mm film, standing just close enough to feel the humidity roll off the hulls. The frame came together fast—nets lifted mid-air, a weather-worn fisherman pausing in the background, boats docked like tired beasts. The timing wasn’t choreographed. It was observational. The kind of moment that offers itself, briefly, before it folds back into routine. Technically, I trusted the light meter and let the film carry the tonality. Overcast conditions gave me a flat, diffuse wash—ideal for capturing texture without losing shadow detail. The greens of the net, mottled with rust stains and bleached ropes, became the visual anchor. It’s a dirty, complicated green that only salt…
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The Seagull And The Sentinel
In front of the solemn geometry of a royal palace in Oslo, the eye is drawn not to the grand columns or orderly facade, but to the understated absurdity playing out on the forecourt. To the far right, a sentinel paces with ceremonial rigour — upright, focused, unyielding. His role is one of symbol and service: a visible reminder of authority, history, and order. But his dedication unfolds before an almost entirely empty square. Almost. Because to the left, alone and unconcerned, a seagull meanders across the open expanse. It neither salutes nor flees. It simply exists — indifferent to the weight of flags, uniforms, or palatial power. This…
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Boat Dock Bumpers
I made this photograph on a quiet, overcast day when the water was calm enough to reflect tone more than light. The ferry was easing in slowly, its pace unhurried. The dock’s side, lined with worn tires acting as bumpers, formed a long diagonal that led straight to the vessel. The structure looked utilitarian and weathered, shaped entirely by function rather than aesthetics. That mattered to me. I wanted to capture the work of the place, not the impression of it.
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A Two-Masted Schooner
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The Oslo Opera House
I’ve always believed that architecture reveals a different truth when seen from the water. Shooting the Oslo Opera House from the sea reinforced that idea for me. From this vantage point, the building doesn’t just sit on the waterfront—it seems to grow out of it, its sloping planes echoing the movement of the harbour while anchoring themselves firmly into the city skyline. For this photograph, I chose a framing that allowed the Opera House to dominate without isolating it. The surrounding water occupies enough of the lower frame to set the context, while the upper section leaves room for the building to breathe against the sky. This separation of planes—sea,…
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@Rome Maker Faire – 7. Mobile Rest
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Whithin The Cage
There are moments when photography benefits from what it chooses not to show. This frame — a boxing glove in the foreground, satin shorts in deep royal blue and gold just behind — tells me almost nothing about the bout itself, but everything about its atmosphere. The mesh of the cage runs diagonally through the scene, an ever-present reminder of the boundaries in place, both literal and metaphorical. The choice to focus tightly on detail works here. By avoiding faces and action, the photograph shifts into an almost abstract study: the textures of worn leather, the gloss of fabric catching the light, the dull metallic blur of the chain-link. The…
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@Rome Maker Faire – 6. A Statue(?)
I saw her elevated on that concrete block — standing still, upright, focused — and couldn’t not take the photo. For a moment she looked monumental, absurdly dignified, like a civic sculpture in summer sandals. Phone raised in that familiar vertical salute, frozen mid-frame as if cast in bronze. The tension between the everyday and the iconic was too rich to ignore. The humour in this image comes not from mockery but from geometry. The white tent backdrop flattens the space, stripping it of any visual depth and turning her into a cutout against a temporary canvas. Her floral dress softens the hard lines of the block and rigging, while…
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Before The Match
There’s a quiet tension in the moments leading up to a fight. Adrenaline builds, but so does focus. Before the Matchcaptures that suspended instant—not in the face of the fighter, but in the ritual of preparation. The gloves are being adjusted, the tape snug against the wrist, the tattoos on the arm speaking their own language of identity, history, and intent. From a photographic standpoint, the tight framing is a deliberate and effective choice. By excluding the face entirely, the image avoids cliché and instead hones in on the tactile and symbolic. The red leather gloves dominate the frame, their texture and creases suggesting both wear and readiness. The contrasting…
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Gloves
I photographed these boxing gloves just after a match, piled together on a table, their colours and textures telling their own story. The red, blue, and black contrast vividly, each pair carrying marks of use—creases, scuffs, and sweat-darkened leather. They are objects of sport, but in this moment they sit quietly, stripped of motion and impact, reduced to still life. The composition is tight and intimate. By focusing closely, I eliminated any sense of the surrounding gym, letting the gloves dominate the frame. Their curves and folds form an almost sculptural arrangement, with the contrasting colours creating a natural rhythm. The diagonal placement of the gloves adds a sense of…
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@Rome Maker Faire – 5. Pensive
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Downtown Pulse
This photograph captures the rhythm of a city centre street, a place where architecture and human movement converge. The composition is anchored by the façades: the mix of brick and ornate plasterwork recalls different eras of urban growth, while the signage and shopfronts bring the scene firmly into the present. The café on the left introduces a quieter layer — seated figures just visible through the glass — while pedestrians animate the open space in the middle ground. Technically, the exposure holds balance across the tonal range. The overcast light provides a diffuse softness, avoiding hard shadows and allowing the details in both masonry and pavement to remain legible. The…
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@Rome Maker Faire – 4. The Hands Controller
This photograph came from a fleeting moment of curiosity—small hands interacting with a larger idea. On the tablet’s bright display, a robotic hand glows in cool, almost clinical blue, juxtaposed with the warm, human fingers controlling it. The setting was a science exhibition, the kind of place where technology and wonder mingle in the air, and where gestures can bridge the gap between imagination and mechanics. From a compositional standpoint, the frame is tight and deliberate. The cropped view keeps our focus locked on the hands—both human and mechanical—without distraction from the surrounding environment. The diagonal placement of the tablet brings energy to the image, preventing it from feeling static,…
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Norwegian Suits
A missed opportunity for a good photo. I shot too early and failed to frame the guy with the bicycle whose look would have been a nice “counterpart” with the serious attire of the businessmen he was crossing.
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An Old Portable Camera
I didn’t stage this. The camera was already set up for a workshop in the park, a portable wooden box on a tripod, complete with focusing cloth and a ground glass screen. What drew me wasn’t the device itself—it was the reaction it triggered. The boy shielding his eyes, squinting into the past through a lens designed long before smartphones flattened photography into a gesture. The composition is dense in its centre, almost chaotic with overlapping limbs and sneakers. But the tripod anchors it. The machine, primitive and precise, holds its ground in a circle of discovery. I kept the perspective low and frontal to emphasise its presence as a…
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@Rome Maker Faire – 3. Stare Of The Mechanical Man
I’ve always been fascinated by that moment in an exhibition when human curiosity meets mechanical indifference. In this frame, the robot’s gaze — fixed, almost expectant — seems to cut through the bustle of the Maker Faire. There’s a quiet in its stare that stands in stark contrast to the crowded, noisy energy of the scene. I chose to let the human operator stand slightly behind the machine, not in front of it. This composition allowed the robot to dominate the foreground while still including the person who, ironically, brings it to life. The presence of an out-of-focus head in the bottom left was a conscious choice to keep the…
