Colour
Vivid colour photography showcasing light, detail and atmosphere to capture life’s moments with depth, energy and emotion.
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Access Denied
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Planetarium
The Zeiss projector at the Palais de la Découverte has an undeniable presence. It is both a piece of scientific equipment and a sculptural object, an embodiment of precision engineering turned into theatre. Under the dome’s dimmed lights, the machine sits like a mechanical deity, ready to conjure the heavens onto the curved canvas above. Photographing it was a matter of honouring its shape without reducing it to a mere technical diagram. I centred the composition to give the machine the stature it deserves, allowing its symmetrical arms and lenses to extend outward in all directions. The warm backdrop of the dome was a natural contrast to the cooler, magenta-tinted…
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Amex
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Floating Flower
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Home on the Range
There’s a moment—right before the shot breaks—when everything else falls away. This frame captures that exact moment. The quiet before the concussion. The balance between intent and mechanics. Taken in a professional range under full control, it documents not violence, but discipline. Focus. Precision. The brass tells its own story: just-fired casings scattered like punctuation marks on the shooter’s rhythm. The rifle rests steady on a bipod—cold, functional, ready. The shooter’s hand is not tense, but deliberate. His chain bracelet glints faintly in the sterile light, an unexpected human contrast to the black polymer and steel. This isn’t combat. It’s not theatre. It’s a place where performance meets protocol. Where…
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Trespassed
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Pipes in Colour
I photographed this section of wall for its unexpected interplay between infrastructure and colour. The rusted pipe, running vertically through the frame, is not remarkable in itself, yet in combination with the graffiti and stains, it becomes part of an improvised composition. The red spray paint, the rough blue marks, and the muted grey stone surface transform a functional corner of the street into an abstract tableau. The framing was deliberate: I aligned the pipe with the vertical axis to divide the picture almost in two, while allowing the barred window to creep in at the bottom left. That small intrusion anchors the image, reminding the viewer that this is…
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Hammer and Sickle
The image presents a straightforward urban fragment: an electrical cabinet bearing two layers of graffiti, one in red, one in blue. The red, unmistakably, forms the hammer and sickle symbol — sprayed quickly, with visible vertical striations from the cabinet’s ridged surface disrupting its edges. The blue tag below is broader, more gestural, perhaps made with a thicker nozzle and without concern for the political overtones of what sits above it. Compositionally, the vertical framing suits the subject, containing the entire cabinet and the immediate environment. The flanking pipes and textured wall create a symmetrical boundary, keeping the viewer’s focus on the graffiti itself. The alignment is square and deliberate,…
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Rusted Platform
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Springtime
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Italian Stardust
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Where Did I Left My Car?
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Money Doesn’t Smell
The main photo depicts a Syrian kid surrending to a photographer, whose camera she thought was a weapon, while the side pictures are automatically displayed by the advertising engine of the online newspaper. There is a contrast between the brutal reality where the kid lives and the luxury aura implied by the two fashion shot that shows how insensitive magazine editors can be. I understand the need to monetize every click or content, but I’m not sure that this is the right way to do it. Why don’t chose, for instance, to advertise a fund raising campaign supporting UNICEF or Doctors Without Borders? And, by the way, I don’t understand…
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YANE – Yet Another Nepal Exhibit
This the poster of Yet Another Nepal Exhibit. It is hard to see the point in going to the other end of the world to take pictures that, as a Google Image Search shows, have already been shot zillions of time. In other words: taking original photos in Nepal is very hard. This teach a simple lesson: going overseas in the belief that the place makes the photo is wrong.
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The Street Photographer Dilemma: Film or Digital
To me Street-Photography is digital. I missed this shot because I wasn’t able to properly focus my full-manual kit, as I would have do with an average digital camera. There is no point in wasting film in an highly fault-rate activity such as Street Photography.
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Milan
There are street scenes that announce themselves loudly, and then there are those that slip into your view almost without you noticing—until the details start to unfold. This was the latter. I was standing at the corner of Via Francesco Sforza when the alignment of people, traffic, and light presented itself in a way that felt quintessentially Milanese. The group waiting at the crossing tells a quiet story of the city: a man lost in his phone, another holding a leather briefcase, a woman dressed sharply but practically, and a cyclist easing forward, impatient to move on. Behind them, the ECOBus—route 73 to San Babila—anchors the scene firmly in the…
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From Camera to Print…
This is what happens when a shot is not taken thinking of its final destination (or when a graphic editor doesn’t consider what the outcome would be once printed): a poor rendition.
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Dress Different
According to the fashion-photography standards this is a perfectly usable shot. To me, that’s simply a missed photo.
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The Sharp Shooter
Midday light in snowy terrain is rarely a gift—high contrast, flat textures, blown highlights. Yet it matched the tone of this frame. The intensity of the shooter’s expression, the harsh sunlight, the targets standing in silent defiance—all fed into a sense of clarity and control. He isn’t performing. He’s working, and the cold has no bearing on his focus. The image demanded precision. Exposure had to be managed tightly to avoid losing detail in the whites without choking the blacks of the tactical jacket. I metered for the shadows and pulled slightly in post. The result is contrasty, yes, but not artificially so. The white balance swings cool despite the…
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A Lonely Table
I took this photograph through a glass window — not by oversight, but with full intention. The resulting layers were unpredictable, and that was the point. The sea outside, the perfectly set table inside, and the accidental human form reflected between them, all merged into a single ambiguous frame. At first glance, it’s just another seaside restaurant, waiting for guests. But spend a little time and the structure begins to unravel. The light played into my hands: late afternoon, strong enough to shape the objects on the table, yet soft enough to allow the reflections to register without dominating. The glass acted both as barrier and canvas. What you’re looking…
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Stripes of Light and Decay
Shot just after sunset, this image pivots on contrast—between elevation and erosion, movement and stillness, designed flow and neglect. The high-speed overpass above, lit with sodium arcs, forms an uninterrupted stream of engineered repetition. Below, the descending ramp is paved with crooked bricks, softened by moss and time, sloping into a dim alley where parked cars and old plaster tell a slower story. I waited for the last of the ambient light to thin out before releasing the shutter. The idea was to balance the residual blue of the sky with the warmer artificial tones bleeding off the lamps and roadways. Technically, it’s not pristine. There’s a softness in the…
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Out-of-Focus Once Again
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Run Like Hell, Pinocchio!
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Open Window
