Colour
Vivid colour photography showcasing light, detail and atmosphere to capture life’s moments with depth, energy and emotion.
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An Abandoned Book…
When I came across this scene, it struck me immediately as a still-life already composed by chance. There, on the coarse, sun-warmed pavement of a dock, lay a copy of Il Marchese di Villemer, its painted cover portrait staring off to the right with aristocratic detachment. A torn scrap of red foil—perhaps once wrapping for a sweet—sat nearby, an almost absurd counterpoint to the book’s refined image. From a compositional standpoint, the photograph is anchored by the bold horizontal yellow line running across the frame. This not only divides the image but also provides a visual base upon which the book rests. The warm tones of the line complement the…
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Quis Custodiet…
I photographed these two men standing guard outside a government building, their uniforms marking the distinction between routine policing and ceremonial presence. The man on the left, in standard attire, leans casually, his stance relaxed. The man on the right, draped in a cape and holding a sword, maintains rigidity, his posture ceremonial, as though embodying an institution rather than an individual. Compositionally, I framed them against the imposing stone architecture, the vertical columns echoing the upright form of the ceremonial guard. The iron gate behind them adds depth and formality, while the shadows creeping into the arch contrast with the brightness of the façade. The pairing of the two…
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Killing Santa? Really?
This image came out of one of those moments when absurdity and bureaucracy collide so neatly you’d think it was staged. But it wasn’t. A plastic Santa Claus, mid-climb on a balcony railing, hangs over a military facility—camouflage netting, barred windows, and a glaring yellow sign that reads ZONA MILITARE – DIVIETO DI ACCESSO – SORVEGLIANZA ARMATA (Military Zone – No Access – Armed Surveillance). The juxtaposition is so stark, it borders on the surreal. I composed the frame tightly to maximise that tension. Everything sits on verticals: the iron bars, the camouflage mesh, the uniformity of the railing. Against this grid, Santa—soft, cartoonish, deliberately naive—becomes a kind of visual…
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The last waltz
Everything is ready for the last waltz. The Master of ceremony has just come. Let the celebration begins.
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Lost in iPhone while the wind blows
A man walks along the seafront, head bowed, gaze fixed on the tiny black rectangle in his hand. His grip is firm, the frown on his forehead faint but telling. Behind him, palm trees bend slightly under the steady breath of a marine wind, and the horizon dissolves into a washed-out Mediterranean haze. It could be spring, or autumn—hard to say. The light is neutral, as if suspended. This is the image of the now: digitally connected, sensorially detached. The tide rolls, the wind whispers, figures drift in the background—and he is elsewhere. Not here, not in the place his body inhabits. Not with the sea, not with the moment.…
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Sunny Afternoon
I remember pausing before pressing the shutter on this scene, aware that nothing in it was extraordinary in the dramatic sense — yet everything in it felt essential. Two elderly men, sitting outside a restaurant that promised wood-fired pizza and grilled fish, leaning into the pale, low winter sun. There was a stillness to the moment, the kind of quiet that speaks louder than movement. Technically, the shot is simple, almost matter-of-fact. I framed with the entrance and signage as a backdrop, balancing the image so the men sit firmly on the right third, their presence anchored against the visual weight of the restaurant’s architecture on the left. The light…
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Friend or Foe?
A suspicious stare, Tails up, Get ready for the rumble!
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Paths of Life
Some images carry weight not because of their complexity, but because of the simplicity of the encounter they capture. This photograph, with its two human figures on converging yet separate trajectories, speaks quietly about direction, purpose, and the unspoken narratives we project onto strangers in passing. Compositionally, the scene is divided into two clear focal points: the cyclist pushing her bike from the left, and the hooded figure standing in contemplation on the right. The visual balance is well handled — the figures occupy opposing thirds, leaving space for the layered cityscape and soft mountain backdrop to stretch between them. This negative space is not empty; it’s where the tension…
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Mirror
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Sic Transit Gloria Mundi
Some photographs do not simply depict a scene; they whisper about the inevitability of time. This image — a weathered wall plastered with torn layers of posters — is a meditation on memory and impermanence. At its heart is the fragmented portrait of a man, likely once an emblem of style or aspiration, now fading beneath the relentless work of sun, rain, and neglect. Around him cluster obituaries, each a stark, matter-of-fact record of a life lived and now concluded. Together, they form a quiet but profound juxtaposition: the glamour of an image meant to sell an idea, and the final notices marking real human departures. Compositionally, the frame is…
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The Unintended March
Strangers walk at the same pace
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PizzaPizza
I want a pizza!
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The dilemma
Should I Buy It?
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Humannequin
This frame was one of those taken on instinct—no tripod, no second thoughts, just a camera pointed through a pane of glass and a question forming even before I pressed the shutter: which one is the mannequin? The scene unfolds in a boutique window and interior where light, reflection, and posture blur the lines between display and presence. The mannequin on the right is dressed in earth tones, her boots absurdly plush, almost cartoonish. She’s poised with deliberate stillness, sculpted as expected. But it’s the figure just beyond her, partially obscured, that catches the eye. Upright, still, backlit—almost mimicking her. You could pass by and assume they’re both props, frozen…
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Mind Your Business…
Paths that shall never cross.
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Busy
Busy, taking her time…
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Action shot
With a little help of the Fortune, even a non-sport camera proves to be good for (relatively) fast moving subjects.
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Modern Times
A man walks through a square as ever did, and ever will. In the meantime, the world changes.
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ChitChat in a sunny day
I saw the two of them before I saw the light. They were already locked in conversation — not animated, but steady, the kind that only happens between people who’ve known each other for years. One leans back, hands in pockets, the other gesturing mid-sentence. Nothing theatrical, no drama. Just the architecture of ordinary talk. What made me lift the camera wasn’t them alone — it was the composition the shadows drew around them. The tree, out of frame, cast itself perfectly on the metal shutter behind. Two vertical lines from the trunk, branches spreading just above the heads. A stage set by sunlight. Geometry by accident. Technically, the exposure…
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Purple Haze
Early on a winter morning a purple haze…
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Out for a ride…
The light was brittle—thin, like the quiet that hangs in the streets after a long, noisy night. New Year’s celebrations had just emptied out, leaving behind a silence filled with expectation and leftover firecracker smoke. I didn’t plan this frame; I was out walking off the heaviness of the night before, camera slung under my coat, when I caught this rider coasting through the city’s near-emptiness. What struck me was the sheer casualness of it. No drama, no destination, just movement. The world still had the sleep in its eyes. The bike and rider sliced through the morning like punctuation—bare, direct. Technically, the exposure leaned toward the soft end. Shadows…
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Silent Among Many Voices
This photograph was taken inside a crowded bar, late afternoon, just as daylight began surrendering to the low amber of early evening. It was a warm space, socially speaking—laughter, conversation, the usual clatter of espresso cups and cutlery—but this particular moment stood out for its subtle, emotional dissonance. In the foreground, a young man leans against the table, eyes lowered, expression withdrawn. He’s physically close to others, yet mentally and emotionally absent from the shared space. That’s the tension I was drawn to: proximity without connection. The glass chair’s curvature frames him in a way that feels almost isolating, like a barrier—not physical, but psychological. From a compositional standpoint, I…
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Late
Late. Again. As ever…
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Yet Another Dawn
Yet Another Dawn Picture. There is a snobbish attitude among “real-photographer” (those tough guys that know all about cameras, lenses, optics, chemistry, physics, hardware, software, journalism, fine-art, landscape, portrait and, finally, Leica – and that barely shot a frame or two once at year) that photo like this one shouldn’t be taken at all. If you need an exposure of a dawn – I’ve read on a website whose link I’ve lost – you’d better go to Google image. I disagree for two reasons: first: shooting is a personal need. If somebody feels like exposing a dawn, a sunset or whatever banal… well that’s matter to him and is none…
