Colour
Vivid colour photography showcasing light, detail and atmosphere to capture life’s moments with depth, energy and emotion.
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An Old-Style ATM
This frame came together in the blink of an eye — or perhaps more accurately, in the blur of one. No carefully plotted composition, no tripod, no second chance. Just a brief exchange at a café counter: a plate extended, a hand offering payment, the warmth of human transaction before contactless cards made it all vanish into invisible transfers. The motion blur here is both the flaw and the essence. Technically speaking, the shutter speed was far too slow for handheld shooting in this kind of lighting, resulting in softness across the entire image. If sharpness were the sole measure of photographic merit, this would be an immediate reject. But…
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No Tablet, No Problem
Airport Gate, Early Evening No screens. No earbuds. No glowing rectangles in sight. Just two people passing time with cards and conversation, waiting for a flight that’s probably delayed. The bench is metallic, cold. The lighting is flat. But between them, something human is happening—casual, quiet, and becoming increasingly rare. I didn’t stage this. I just noticed it. In a terminal where most people were curled into devices, these two were leaning forward, sharing space, actually looking at each other. He speaks, she listens. She gestures, he laughs. Their luggage is there, sure—but this moment isn’t about where they’re going. It’s about the pause before it. The photo isn’t sharp…
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Who is the mannequin?
… not sure.
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The Urban Chase
Not all of the urban chases, involve a couple of Alfa 159 trying to catch an Aston Martin. I shot low to the ground, framing the chase diagonally to emphasise tension. The perspective lines draw the viewer forward, while reflections and shadow gradients anchor the movement. Technically, exposure was demanding: harsh daylight, reflective surfaces, and metallic tones required a slight underexposure to preserve highlights. The result holds texture without burning whites. Compositionally, I favoured asymmetry. The cars don’t sit in comfort; they slice through balance. It’s a study in velocity disguised as stillness. If I could refine it, I’d add micro-contrast in the midtones for depth in asphalt and chrome.…
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So what?
There is a certain energy in candid street photography that cannot be replicated in a controlled setting, and So What?captures it in full stride. This frame offers a slice of urban life in the late afternoon, when the sun hangs low and the streets teem with a mix of idle chatter, cigarette breaks, and casual posturing. The photograph hinges on the central figure—a tall man in sunglasses, cigarette poised mid-gesture—whose slight tilt of the head and half-smirk seem to issue the titular challenge. To his left, another man, hand to face and gaze averted, projects an entirely different mood: contemplative, perhaps guarded. The third figure, seen only from behind, forms…
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A young Iron Maiden fan
He might never have seen them, but who cares? Metal is immortal…
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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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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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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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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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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
The story is all in the child’s eyes
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Supporter or Photographer?
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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…
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Rest in peace
after half a day of ski.
