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Thirthy years behind…
I took these two shots unbeknownst of the work of Luigi Ghirri and Mimmo Jodice. These photo cannot be at all compared with those from the two masters, nevertheless what amazed me is the similarity of the compositions between what I did and those of Ghirri and Jodice. It seems that I’m into a path already explored since some thirty years or so. Now the challenge is how long will it takes to evolve into a contemporary (and, possibly, original) style.
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Sideways Through the Tunnel
This photograph was taken in the last leg of a trip to Rome, from inside my car while standing still because one of the many and usual traffic jam on the Tangenziale. I tried to have the road not to dominate the frame, fragmenting it, instead. A dark curve cuts through the image, separating two visual registers: the solid, static wall on the left and the receding tunnel of lights on the right. The image is less about travel than about perception while travelling. The motion blur and softness at the edges weren’t deliberate; they happened by chance. However, I like the result nonetheless. The photo would have felt dishonest…
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When the day is gone
… there are plenty of ways to still make a newspaper useful.
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Forgotten Bike In A Forgotten House
I found the bike in a room whose doors had not been opened in years. Paint flaked from the plaster. Light slipped through a broken pane and laid a clean rectangle across the floor. The bike stood where someone once left it mid-errand, an everyday object promoted by neglect into relic. I built the frame around planes and diagonals. The window sits high and left to keep the eye moving across the shaft of light to the handlebars, then down the front wheel to the scuffed tiles. Floorboards and wall seams act as guides, converging behind the saddle to hold the gaze. I kept a little headroom above the bars…
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High-Tech Elder Care Tool
When I first saw this image, the irony of the title struck me. High-Tech Elder Care Tool—and yet, before us is a stark black-and-white photograph of a row of battered, utilitarian wheelchairs, one with “Geriatria” scrawled across its back. This is not the glossy, high-tech medical equipment we often see in promotional brochures, but the reality many encounter in underfunded wards and overstretched hospitals. From a compositional standpoint, the image benefits from its simplicity. The wheelchairs are positioned in a way that leads the viewer’s eye naturally from left to right. The empty, flat wall behind them offers no distraction, instead amplifying the focus on the subject matter. The angle,…
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Hard Spam
Sometimes spam doesn’t hide in your inbox. It glows in a pharmacy window. Shot on a quiet evening walk, this storefront display in Rome—or somewhere very much like it—caught my attention with the subtlety of a neon bullhorn. A perfectly literal interpretation of hard advertising: Viagra, Levitra, Cialis. Bold red font, urgent discounts, official decree cited. Street-level pharma meets street-level comedy. The scene is absurdly human. Framed by a closed shutter and a lonely Gaviscon box, the paper sign is taped like a last-minute school notice, but the message is anything but shy. There’s no algorithm, no clickbait. Just unapologetic, front-facing capital letters offering a prescription-strength punchline. It’s spam—but analogue. No filters,…
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A Contemporary-Art Installation?
I framed this shot as I found it — no rearranging, no cleanup, no staging. A raw space, forgotten in function but rich in visual contradiction. On one hand, it reads as abandonment: scattered rubbish, a deflated tyre, a dirty sink hanging by a thread, and a cupboard that’s outlived its utility. On the other, it holds a disconcerting balance of form and void, of placed objects that unintentionally echo the tropes of installation art. You could easily walk into a gallery and find something not unlike this, recontextualised and labelled with a price tag. The camera’s low perspective exaggerates the volume of the room, pulling the viewer into its…
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An update on the poor Canon EOS-M autofocus
It seems that by setting the autofocus mode on FlexiZoneAF centered the performance of the camera improves slightly. Still far from being usable for street-photography, though.
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A true friend
They enjoy their time together, as true friends ever should… No leash. No command. Just a gesture—and absolute trust. In this intimate frame, the lens captures a silent language spoken only between companions of a certain kind. The man’s hand rises gently, fingers curled, holding nothing yet holding everything that matters: attention, affection, history. The dog, massive and solemn, gazes upward with reverence—not out of obedience, but because it wants to. This is not a portrait of a pet and its owner. It is a document of friendship forged over countless days walked together, of shared silences and mutual understanding. The bond, invisible to the eye yet utterly present, transcends words. Loyalty…
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Canon EOS-M. Useless for Street-Photography
A friend of mine handed over a Canon EOS M with the 22 (35mm equiv.) lens so I thought to give it a try during a street-photography session in Rome. To put it short, the EOS M is a useless camera. I don’t enter into a tech-talk since there are already many on the internet, just focusing on the practical side. Though, for general purposes, the EOS M isn’t worse than other competitors, the autofocus – as clearly stated by many reviewer – is deadly slow, making impossible to shoot from the hip and the touch screen often messes up the settings while “palming” the camera. Furthermore, there is no…
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Don’t Forget!
It’s the moment between words that makes this picture. You can almost hear the shop owner’s voice, half command, half reminder, as the young man in the doorway glances back. The raised hand, the turned head, the slight lean forward — everything about his body language says, “You’ve got this, but don’t mess it up.” The frame itself is tight, almost conspiratorial. We’re standing just behind another figure — smart jacket, cigarette in hand — as if we’ve stumbled into a private exchange. That foreground figure acts as an anchor and a barrier at the same time: we’re part of the scene, yet removed from it, observing through a filter…
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Abruzzo’s made Coke??
Didn’t know that Coca-cola was a speciality of Abruzzo…
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The Long Way Up
I’ve always been drawn to stairways — not for their architectural elegance, but for what they suggest about human effort. This photograph, taken in a steep Italian hill town, is less about the stones and more about the person halfway up, leaning forward into the climb, each step a small battle against gravity and fatigue. From a compositional standpoint, I deliberately placed the vanishing point at the top of the stairs, where the light spills in from the open street beyond. The walls on either side act as vertical guides, forcing the viewer’s eye along the incline toward the lone figure. The choice of black and white wasn’t an afterthought;…
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Dreaming of a Lancia Delta Martini…
… while driving a Nissan.
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A Bitter Sweet
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The Power of Music
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Foto-Grafo featured on Yanidel.net
The (temporarily now) Argentina-based street-photographer Yanick Delaforge kindly published a couple of shots from Foto-Grafo, Quis Custodies and The Last Waltz, in his “Sho(r)t Stories” series.
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Hell Behind — Tiny Holes Reveal the Flames
This image came to life in a place most people would overlook—a weathered metal surface, pitted and worn, pierced by three small holes. From behind, the glow of fire seeps through, each point of red surrounded by the darkness of oxidised steel. It is a minimal scene, but one that brims with quiet menace. The composition is as simple as it gets: three points of light, vertically aligned, slightly imperfect in their spacing. That imperfection matters—it stops the image from feeling sterile and gives it the organic quality of something made by hand, or by time and decay, rather than design. The surrounding textures—the rust speckles, the gradient of heat…
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Seeking Directions
is a complex task, not only on the streets.
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A Kiss In The Shade
I made this photograph late in the afternoon, when the sun was low enough to turn ordinary walls into canvases. Two people leaned in — unaware or unconcerned — and their shadows became the real subject. The kiss itself wasn’t visible, only its echo in light. That absence, the translation of intimacy into silhouette, was what drew me to press the shutter.
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The Bored Bassman
Jazz stages have a way of amplifying not just the music, but the moods of those who inhabit them. This frame, taken mid-performance, says less about the notes being played and more about the space between them. The singer is in her moment, eyes closed, wrapped in the phrasing of a lyric. The bassist, by contrast, rests his chin on his hand — a gesture that could be concentration, fatigue, or simply waiting for his cue. From a compositional point of view, it’s an image split in tone and focus. The spotlighting was harsh, and while it gave the singer’s red dress and skin a luminous presence, it also pushed…
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An inconvenient way to spend time.
Waking up at dawn, layering up like a World Cup slalom contender, waiting your turn at the ski-lift, gliding up to 1,800 metres… and then, instead of carving lines on powder, seeking out the perfect sunny corner to unfold a deckchair and read a magazine. De gustibus, indeed. I took this photograph partly amused, partly curious. The two figures, bundled in ski gear, are frozen in a still life of leisure that feels completely at odds with their surroundings. It’s an unspoken reminder that the mountains aren’t only for the adrenaline-seekers — they’re also for those who see them as a backdrop for a slower kind of pleasure. Technically, the…
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Overexposed?
The scene was candid — two figures, winter jackets zipped to the chin, one holding a small camera at arm’s length, the other patiently posing. The patchwork of snow and rocky ground under a hard midday sun gave me a chance to play with tonal contrast, though it came with its own technical hazards. Snow in bright light loves to trick meters, and the risk here was losing detail in both the highlights and the shadowed areas of the coats. I exposed with the snow in mind, letting the darker parts fall slightly under, trusting that I could lift them later without ruining texture. The clouds, stretched across the frame…
