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Priority Pass Lounge at Fiumicino Airport
A black leather sofa sits squarely in the centre, its creases marking years of passengers waiting, resting, or passing time. In front, a glass table reflects the curved lines of the airport ceiling above, while a remote control lies to one side, a small symbol of temporary control in a transient space. The setting is clean but impersonal, designed for comfort without intimacy. Composition is frontal and symmetrical. The sofa occupies the full width, anchoring the frame, while the table stretches forward as an intermediary between viewer and seat. Depth is layered by repetition: another sofa behind, a lamp, wood-panelled walls. The geometry enforces a sense of order, reinforcing the…
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Cold Stuff
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Perfectly Framed
Shot mid-morning, full sun. The geometry did the work before I raised the camera—white steel structure aligned perfectly with the vanishing line of the tiled path. I didn’t move to exaggerate it. I centred and waited. The figure stepped into place on her own. No staging, no instruction. The image hinges on alignment. Horizon dead flat. Frame edges square. The walkway pulls the eye through sand to sea, leading to the human anchor: black silhouette, back turned, red scarf cutting the blue. She’s secondary in scale but critical in balance. Focus was locked on the frame structure. Aperture at f/8 gave enough depth to keep the figure and horizon legible…
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A Modern Orpheus
Shot in a southern Italian city on a humid evening, this frame owes as much to the ambient noise as it does to light. The man with the guitar wasn’t playing to be heard. He was playing because he had to—sitting on his amp, cables like roots spilling out beneath him. What I saw through the viewfinder was not a performer, but a figure entirely absorbed, distanced from the crowd that had only half noticed he was even there. The Orphic analogy came naturally—not out of romanticism, but necessity. Like the myth, he’s turned away from the world, pleading into the void for something irretrievable. His face is hidden, not…
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Washed
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Belgian Chocolate – Godiva
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The Jewels Sale
Photographing through glass is always a test of patience. Here, I wanted to capture not just the jewellery but the human presence behind it—the quiet choreography of selling and browsing. The glass served as both barrier and canvas, introducing subtle reflections that blend the sparkle of the display with the blurred outlines of the people behind it. Compositionally, the image leans on the central placement of the black necklace bust. Its matte surface contrasts with the glint of gold and the shimmer of stones around it, giving the frame a clear focal point. The surrounding watches and earrings fill the edges without overwhelming the centre, leading the viewer’s gaze in…
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Belgian Chocolate – Neuhaus
Photographing in a place like this Neuhaus boutique is always an exercise in restraint. The scene is a sensory overload: gold, red, pastel blues, mirrored surfaces, and the intricate geometry of countless chocolate boxes. It’s easy for the camera to drown in the details, and the trick is to find an anchor point—the human presence that gives context and focus. Here, that anchor is the shop assistant, absorbed in her task, the bend of her head drawing the viewer into the very centre of the composition. The overhead golden arc with the reversed “1970” is not accidental—it creates a frame within the frame, hinting at the brand’s heritage while subtly…
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A Lamp
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Glancing Books In A Brussels’Night
A casual walk in a Brussels’early evening, wandering through the old streets near the city centre. The light from a comic-book shop window cut into the dark pavement like a beacon. Inside, Tintin, Snowy, and the bright spines of Hergé’s world stood stacked and waiting — nostalgia perfectly lit for passers-by. Then a man stopped with his bicycle, leaning slightly toward the glass. He didn’t enter; he only looked — half-curious, half-distracted. The glow of the display made him a silhouette, almost part of the window’s composition. His reflection blended with the books, erasing the boundary between observer and story. For a moment, the scene assembled itself.
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Fancy a Beer?
In the warm light of a Brussels beer shop, shelves stacked floor to ceiling with bottles, two men weigh a purchase. One holds the bottle carefully, the other studies it with interest, a wicker basket dangling between them. Their small exchange sits at the heart of the frame, illuminated against the darker figures of passersby drifting in and out of the doorway. The composition splits into layers: the inviting glow of the shop interior, the mid-ground where the buyers stand, and the silhouetted outlines of those entering or leaving. This layering gives depth, making the viewer feel both inside and outside at once. The shelves, neatly arranged in repeating verticals…
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Inside the Palaces of Power – Bruxelles
The first thing that strikes me about this image is its deliberate sense of distance—not just physical, but psychological. We see a woman from behind, walking away toward a set of glass doors, her stride steady, her posture contained. There’s no attempt to catch her expression; her anonymity allows her to stand in for anyone navigating the quiet, often opaque corridors of authority. The architecture plays as much of a role here as the human subject. Vertical wooden slats flank either side, creating a symmetrical frame that channels our gaze straight toward the central doors and the clock above them. The space is clean, polished, almost acoustically still. The high-gloss…
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RedLight
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Sweet Dilemma
I took this photograph in one of those shops that could easily bankrupt anyone with a sweet tooth. The window was a theatre stage, and the protagonists were mountains of meringues, chocolates, and sugared confections, all arranged with military precision. The display was so perfectly composed it demanded to be photographed — though translating that abundance into a frame without losing the sense of order was a challenge in itself. I shot head-on, centring the display so the symmetry would hold the composition together. The large glass bowls act as visual anchors, while the pyramid of packaged goods in the middle draws the eye inward. Behind, two figures — the…
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Belgian Macarons
In Brussels, indulgence is not hidden—it’s celebrated, displayed like a jewel in a shop window. Here, two towering martini glasses overflow with macarons, their shells in perfect rows of pastel and jewel tones. Pistachio green, raspberry pink, lemon yellow, cocoa brown—each one a promise of texture and flavour, crisp edges giving way to soft, rich fillings. The composition draws the eye first to the abundance in the foreground, then to the warm wooden shelves receding into the shop’s interior. A figure in a red apron moves in the background, blurred but purposeful, the quiet curator of this edible gallery. The lighting is golden, not harsh, bathing the scene in the…
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Buying Chocolate
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2015 Italian Beach Volley Team – Marco Caminati, Enzo Rossi
Shot this with the Canon 5D Mark II paired to the EF 100-400—reliable combo when you need to stay off court and still frame clean, controlled tension. This isn’t peak action. No sand flying, no bodies mid-air. But it’s still competition—quiet, simmering, focused. Marco Caminati holds the ball like it weighs more than it does. Not physically—psychologically. Shoulders squared, gaze dropped. The light from above slicks off his skin, catching just enough detail in the sweat without turning it into gloss. I didn’t correct the warmth much in post. The yellowish cast from the stadium lighting is honest, and artificial as it looks, that’s what the court gave me. Enzo…
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Seeing What Isn’t There
There’s no I Ching here. No coins. No symbols. No prophecy. And yet. This photo isn’t about what’s captured by the lens — it’s about what the mind decides is there. Three indistinct shadows above. Two sets of parallel lines below. That’s all. And yet, somewhere between them, something ancient is conjured. A trigram. A casting. A flipped coin in mid-air. Logic says: it’s a vent and the shadows of round objects on a backlit surface. But vision isn’t logic. It’s memory, pattern, story — all stitched together before you’re even aware you’re looking. Photography is often obsessed with truth. With freezing the real. But sometimes the most compelling images…
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@ Mediterranean Beach Games 2015 – Italian Female Rowing Team
Conclusions As much as knowing your way through the photography maze populated by ISO settings, lens choice, (auto)focus performance and so on, successfully shooting sport competitions requires a lot of background work and social skills, as well as stamina and concentration. You’re not supposed to attend a Marines bootcamp, a con men conference and a crash course in volleyball, rowing or whatever the sport you have to work with to develop such specific capabilities. But it would definitive helps… 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…
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Macarons. Again
I made this photograph inside a pâtisserie, focusing on a glass bowl overflowing with pastel-coloured macarons. The shallow depth of field brings the confectionery into crisp attention while softening the background, where figures and shelves dissolve into warm blur. The arrangement of sweets, piled almost carelessly, conveys abundance rather than the rigid order usually associated with patisserie display. Technically, the image works through contrast of light and tone. The reflective surface of the glass bowl catches highlights, while the soft illumination keeps the delicate textures of the macarons intact. The exposure holds steady despite mixed lighting, managing both the bright surfaces of the sweets and the darker recesses of the…
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@ Mediterranean Beach Games 2015 – Italian Beach Volley Female Team – Laura Giombini, Giulia Toti
In beach volleyball, there is no hiding place. The court is small, the sand unforgiving, and every move is laid bare in the sun. This frame captures the Italian National Beach Volleyball Team mid-assault, in that heartbeat where effort and instinct fuse into pure action. The player lunging forward is all tensile strength and precision—shoulders squared, arms extended, eyes locked on the ball as if it were the only thing in existence. Her teammate hovers just behind, reading the play, ready to carry the attack forward. The sand tells its own story—scattered divots from past dives, streaks from sudden stops, a textured record of the match’s ebb and flow. The…
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Belgian Gloves
There’s a certain satisfaction in encountering a composition that seems to have arranged itself for the camera, as though the visual world conspired to present its colours and forms in perfect order. Belgian Gloves offers just that: a tight row of leather gloves, each perched on a mannequin hand, marching in a perfect gradient from cool blues through greens, yellows, oranges, and finally deep reds. It is at once commercial display and chromatic study. From a compositional perspective, the image benefits enormously from its frontal, symmetrical framing. By positioning the gloves parallel to the camera, the photographer creates a sense of order that invites the eye to travel along the…
