-
@ Mediterrean Beach Games 2015 – Italian Beach Soccer Team (and a primer on sport-photography, part 4)
Part 1 – Intro, Before the event, getting your media pass Part 2 – Before the event, having your media pass working for you Part 3 – During the event, get ready for the show 2 – How to choose which event attend to Possibly the most difficult thing to handle in multi-competition events is how to select the sport and the stage (qualifications, semi-finals, first-second place final etc.) Unless you’re working for a specific team as its official photographer or asked to mainly portrait sponsor’s banner (yes, this happens in sport-photography: athletes are just a way to channel the eyes on a chocolate bar or a bottle of wine),…
-
Shaken
The frame is a study in disarray — not in subject matter alone, but in its very execution. The scene, taken on a busy street, is blurred throughout: the figures, the car, the elegant repetition of arches behind them. Whether caused by an unsteady hand, a slow shutter, or a deliberate choice, the result is an image where nothing stands still enough to become the focal point. Two figures anchor the composition: one in the foreground to the left, caught mid-turn, the other to the right, hunched over something in his hands. Their outlines dissolve into the tonal softness, denying the viewer access to facial expression or fine detail. The…
-
@ Mediterranean Beach Games 2015 – Italian Beach Handball Female Team (and a primer on sport photography, part 3)
During the event 1 – Get Ready for the Show a – Check the logistic Be sure to have the competitions’ timetable at hand. Every day go first and early to the main press room and ask for last minutes changes. Ask how to check further possible issues (delays, cancellation, venue shifting. etc.) For each venue try to locate a “safe spot”, a place where you can rest or leave your bag (relatively) safe. b – Check the weather forecast If the competitions you’re attending is outdoor, checking the weather forecast is of the utmost importance. Among other things, it helps you choose what gear and dresses bring with you:…
-
A cigarette
-
A Waiter in via Sardegna
-
@ Mediterranean Beach Games 2015 – Italy Beach Soccer Team’s Goalkeeper (and a primer on sport photography, part 2)
2 – Have the media pass working for you Part 1 of this primer dealt with the topic “Getting Your Media Pass”. Now is the time to use it properly. a – Meet the media-manager and participate to the technical briefing (or anyway get the relevant information about the competition) If the competition is big enough, chances are that the organizing committee has appointed a media-manager in charge of handling all the issues related to broadcasting services and photographers. You definitely need to talk to him as early as you can, to get: your numbered “photographer jacket” (often needed to access the competition fields), a leaflet with all the relevant…
You May Also Like
Waiting for the hearing
A Panorama
When We Thought We Would Have Changed The World
-
@ Mediterranean Beach Games 2015 – Italian Anthem (and a primer on sport photography, part 1)
Intro Working on assignment is different than loitering around “waiting for the moment”. This is true, in particular, for sport photography where you have to handle multiple issues at a time, most of them not related to the actual shooting activity. While there are a lot of sources to drink from that hint about how to assemble and check the gear, which lens is better suited for the job and so on, a less fancy but nevertheless critical issue to be aware of is how to handle the logistic and administrative stuff. Before the event 1 – Getting your media pass a – Accelerate the shipping of the accreditation…
-
Inside The Palace of Power
I took this photograph inside a government building, in the afternoon, when the corridors echo in silence and the light is all reflected memory. The image focuses on a phone—old-style, maroon, hanging uselessly from its hook—framed by dark wood panels and infinite reflections. It’s a cliché of power, really: opulence, silence, and an obsolete instrument of control. The technical conditions weren’t ideal. I had no tripod, the light was dim and uneven, and I was working with a handheld digital camera not built for low-light finesse. ISO had to go up, and with it came the noise. But I decided not to clean it. Grain, in this case, felt appropriate.…
-
Roots On The Roof
-
Off Duty
From the back, their posture says almost as much as their uniforms. Four policemen walk away from the viewer, the word Polizia split and partially hidden by their movement. There’s no confrontation here, no heightened drama — instead, the image captures that moment of decompression, when the weight of vigilance begins to lift. The decision to shoot from behind removes the personal identifiers that a front-facing portrait would reveal. We are left with silhouettes of authority in retreat, the curve of a shoulder, the relaxed drop of an arm, the natural slouch of someone whose shift may be ending. In the background, the urban night hums along: signage, faint light,…
-
A Smoker
Some portraits are not posed; they happen between moments, in that thin sliver of time when the subject is simply being. This was one of those. The woman — cigarette in hand, wrist adorned with metallic bangles catching stray light — had the stillness of someone lost in thought. The background was unremarkable, and that suited me: no distractions, no narrative clutter, just her profile against a soft blur. The shot was taken in available light, which was far from ideal. The conditions pushed me to raise the ISO more than I’d have liked, and as a result, the image carries a touch more grain than a studio portraitist would…
-
Shadow On The Wall
-
Mind The Step
-
The Stare of a T800
-
Who The Hell Killed the Light Off?
There’s a certain magic to photographing night-time events — the glow of street lamps, the hum of a crowd, the way artificial light sculpts a scene. But it also comes with its share of battles, and this image is a perfect example of working on the edge of what’s technically possible. The scene is rich in story: a vintage race car, its scarlet paint dulled slightly under the sodium and LED mix of city lights; two men in matching white overalls, one bending towards the vehicle’s front as if inspecting or coaxing it to life; a small crowd leaning over barriers, caught in their own observations. The moment feels candid…
-
Lotus Tweak
At first glance, it’s a straightforward scene — two men leaning over the open engine bay of a bare-bodied Lotus, spanners in hand, eyes locked on some mechanical nuance that only they understand. But to me, it’s also a portrait of intimacy — not between people, but between man and machine. The bond here is tactile: the smell of fuel, the heat radiating off aluminium, the gentle precision of a carburettor adjustment. The Leica M9 lends itself well to this kind of work. The CCD sensor has that distinctive tonal rendering that keeps the colours honest but rich — the brushed metal gleam of the car body, the deep reds…
-
Last Check Before the Start
There’s something undeniably brilliant about this photograph. You can smell the oil, feel the worn leather between your fingers, and almost hear the mechanical clink as the strap finds its buckle. It’s a moment of quiet before all hell breaks loose — the pre-race ritual that separates the daydreamers from the drivers. From a compositional standpoint, it’s deceptively simple: two hands, a strip of leather, and the curved flank of what is clearly a well-loved vintage racing machine. But simplicity is precisely what works here. The frame is cropped tight, no wasted space, no distractions — just the intimacy of man and machine. The exposure is spot on. The late…
-
Waiting For The Bus On Las Ramblas
-
Tattoos in Barcelona
The sunlight was sharp, bouncing off stone and glass, cutting strong highlights across shoulders and pavement. I didn’t ask them to slow down or acknowledge me; I simply kept pace for a few steps, paying attention to posture, rhythm, and the way bodies occupy shared space.
-
A Jazz-Manouche Guitar Player
-
Waiting To Board At Santa Margherita Ligure
Crowds have their own choreography. This moment, taken on the waterfront of Santa Margherita Ligure, is less about any single subject and more about the small, unspoken narratives that weave together in a public space. Nobody is looking at the same thing, yet they are all connected by the same purpose — waiting for the boat. From a compositional standpoint, I deliberately let the frame fill with people, favouring density over isolation. The image works because of its layers: the foreground with its sharply focused details, the mid-ground of partially obscured figures, and the soft backdrop of the harbour and town. Each layer adds depth without distracting from the central…
-
Pentax k-5 And The Aquapack 458
Like the other two previous pictures, this one too has been taken by a Pentax K-5 housed into an Aquapack 458. This underwater housing, at least for APS-C dSLR, is a cheaper alternative to the more expensive, though bigger and better engineered, Ewa Marine. It fairly easy accommodates the camera and the DA* 16-50, but using this lens that has a 77mm filter thread forces the use a focal lenght of at least than 40-45 mm, otherwise the border of the external cap fills-in the picture. A DA* 16-50 at 16mm (I repeat: with a 77mm filter thread) is the bigger lens that can be accommodated into the housing, but…
-
Under The Rocks
I made this photo from a pier, camera pointed straight down. No filter, no polariser — just sun, salt, and a moment of stillness on the surface. Below, the usual tangle of seaweed and barnacles on stone, but what caught me wasn’t the marine life — it was the way the water rearranged the image as I watched. Distortion became a kind of painterly gesture. The composition is almost accidental. I didn’t frame with precision — I let the edges fall where they would. The stone fills the middle, but it’s the border between water and air, between visibility and motion, that gives the photo its tension. You’re not just…
-
On The Rocks
The sea’s edge is a place where chaos and order coexist — a shifting dialogue between water, light, and whatever lies beneath. In On the Rocks, my attention was drawn to the intricate textures created as the tide caresses clusters of dark, glistening molluscs anchored firmly against the current. At first glance, the subject might seem unremarkable, but in moments like these, photography teaches us to see beyond the obvious. Here, the composition works by bringing the viewer down to the water’s level. The low angle compresses perspective, creating an almost abstract layering of sharp foreground detail and softly diffused background. The bokeh of golden reflections in the upper part…
