Colour
Vivid colour photography showcasing light, detail and atmosphere to capture life’s moments with depth, energy and emotion.
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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?
When I framed “Where Did I Left My Car”, I was chasing absence, presence, and the city’s quiet accusation. I recall stepping into a narrow lane, scanning facades, light and shadow, empty spots. I trained the lens not on what was there, but on what was not. The void became subject. I waited until all cars had passed, until the frame was emptied. Then I held the shutter, letting the urban grid, the lines of curb, doorways, and windows become witnesses. The emptiness sits heavy, like a question mark in concrete. I chose a vantage point slightly off-centre. The negative space on one side is meant to feel unbalanced—echoing the unease…
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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
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Bicycle
He wasn’t fast. He wasn’t racing. There was no crowd, no peloton, no finish line. Just a single rider in a red jacket, slowly making his way up the ramp with the morning light at his back. I took the photo because it didn’t feel like sport. It felt like something quieter. The kind of repetition that builds into ritual. The kind of ride that’s not about fitness or medals—but about showing up, again and again, no matter the weather, no matter the hour. There’s a lot said about cycling: the tech, the stats, the watts and splits. But this image reminded me that, at its heart, cycling isn’t a…
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Wire Stylist
When I photographed “Wire Stylist”, I was struck by the absurd elegance of decay — a rusted doorbell, its wires splayed like an eccentric haircut. The scene felt alive without life, playful and tragic in the same breath. It wasn’t planned. I noticed it while walking past an old building, the kind of wall that’s been painted too many times and forgotten once too often. The exposed wires twisted outward in chaotic curls, catching light in a way that almost mocked order. The eccentric “hair” needed asymmetry to feel spontaneous. Straightening the shot would have sterilised the humour. I left slight tilt and irregular framing to preserve its found quality.
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Pillars
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The TelcoMan
Kneeling on the pavement, the technician works in silence, half-hidden by the open cabinet. Bundles of pink cables spill out like veins, each one carrying invisible conversations, connections, lives. His tools lie at his side, modest instruments set against the tangle of modern infrastructure. Composition is direct, almost humble. The man’s back occupies the centre, his form sturdy against the geometry of pavement and wall. The cabinet, with its warning signs and exposed wiring, becomes both workplace and frame. Foreground lines in the stone lead the viewer’s eye inevitably towards him, emphasising the solitary nature of the task. Technically, the exposure is balanced in soft outdoor light. The dark blue…
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Crate
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Red Dot
Some images announce themselves with complexity; others with quiet restraint. This one does so with a single point of vivid colour—the red hat—set against a palette of muted sand, sea, and sky. It’s a study in minimalism, yet it avoids sterility. The human figure, bent slightly forward, and the small dog at their side bring a sense of companionship to an otherwise expansive emptiness. Compositionally, the frame is built on horizontal layers: foreground sand, a band of ochre beach, the blue strip of sea, and a pale sky. The subject stands almost dead centre, which in some contexts could flatten the dynamic, but here it serves to anchor the eye…
