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Under an Old Roof
A scrap of newspaper clings to the surface of a wooden beam, yellowed by time, softened by dust. The print advertises used cars, once a promise of mobility and new beginnings, now only a faded record of another era. Above, the roof beams reveal gaps, through which light seeps, fractured and uncertain, illuminating what remains. The photograph works in layers: the brittle newsprint, the rough wood, the dim background of tiles and sky. Each element bears marks of age, but together they tell a quiet story of storage, neglect, and survival. It is less about the subject itself than about what it represents—the persistence of the ordinary beneath the erosion…
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Time Runs Fast And Unstoppable
This photo was staged to convey the idea that life is slipping away inexorably quickly. The subject is simple: a pocket watch suspended in space, its leather cord taut, its face briefly legible before dissolving into motion. The watch was not chosen at random. I borrowed an Eberhard Tazio Nuvolari, which is named after one of the greatest drivers of all time. Nuvolari was unstoppable and his most successful win was against the German Silver Arrows in the 1935 German Grand Prix. Despite driving an Alfa Romeo Tipo B/P3, which was believed to have no chance against the faster and more powerful Mercedes, he succeeded against all odds through sheer…
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The Hamlet’s Dilemma
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Somewhere in Japan
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Portrait of Keyboard Player
He had just finished a piece when I took the shot. Head tilted, hand still resting on the keys, that slight smirk not forced but earned. This wasn’t posed—it was a breath between moments, a performer halfway out of character and halfway into self-awareness. The ambient energy of the room still swirled around him—soft voices, chairs moving, blurred motion in the background—but he held still. I composed tight to emphasise the contrast between stillness and motion. The background drags slightly, figures abstracted by a slower shutter speed, but the face and fingers are crisp—anchoring the shot where it needs to be. The lighting was mixed: tungsten overhead, cooler light from…
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A Fountain
I made this photograph in a small corner where a public fountain once served a purpose. Now it stands fenced in by corrugated metal sheeting, isolated, its basin removed, its function suspended. The graffiti—“un po’ di panna”—is not aggressive. It reads more like a private joke left in public space, a whisper rather than a shout. That small phrase is what drew my eye first. It adds a voice to an object that has otherwise been silenced. The metal barrier creates an accidental stage. Its vertical ridges repeat across the background, directing the gaze inward toward the fountain. The pink stone base, stained and unevenly worn, introduces texture and a…
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Yes, We…Can
I took this photo because it stopped me mid-step. A banal object — a crushed Coca-Cola can — pierced on a historic stone spike, suspended in defiance or perhaps pure indifference. The tension between the industrial red cylinder and the worn, centuries-old limestone was too stark to ignore. The composition leaned heavily on perspective and focus. I shot wide open, letting the background melt into soft abstraction, just enough to hint at an ancient setting without overpowering the main subject. I tilted the frame slightly to echo the absurd balance of the can, breaking away from textbook horizontality to embrace the odd equilibrium of the scene. Exposure was critical. I…
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Between Two Sets
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Inside the Garrison
In a usually busy day, the bomberos enjoy a moment of relax.
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The New Church
In the XXIth Century, a new church grows, to satisfy old needs.
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Guru Meditation
Airports are temples of waiting. They strip away the illusion of control, leaving travellers suspended in time between one place and another. In that in-between, people invent ways to cope. Here, in a lounge of muted reds and glassy daylight, a man folds himself into a private space. One leg drawn up, back curved, cap pulled low, he cradles a tablet as if it were a small book or a talisman. His fingers rest lightly on it, not tapping, not scrolling—just holding. The surrounding noise and movement dissolve in his stillness. This is meditation for the digital age. Not in a forest clearing or a candlelit room, but in an…
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60×40 Borderless Printing with a HP Z3200ps 24
Printing a 60by40cm image on a A1 roll (61cm wide) should be a pretty straightforward task: well, not on a printer like the HP Z3200. To cut the story, here are the settings: set your image landscape, and size it 60 by 40 cm, set your CANVAS size to 61,8 by 41 cm with a white background (highlighted in red, in the picture) so that the final image size is, indeed, 61,8 by 41, In the Print Settings menu select the Paper Size option and set a custom page size of 61 by 40,5, Again, in the Print Settings menu select the Margins/Layout menu and check the Borderless radio button,…
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A Sunny day in Rome
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Inside the Elevator
Escher’s Relativity inspired these shots.
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Falling Tree
Again, an impossible perspective…
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WTF Are They Looking At?
Street photography often unfolds in fractions of a second that resist tidy interpretation. This frame emerged from one of those moments — brief, slightly absurd, and quietly revealing. The photograph shows three men crossing the same urban space yet seemingly inhabiting different psychological trajectories. The bald man in the foreground, dressed in a vivid orange jumper that stands out against the subdued tones of the pavement, appears momentarily detached from the flow of movement around him. His posture is firm, almost statuesque, as if he had paused mid-stride to reassess the scene. The shopping bag hanging from his hand becomes less an object of practical use than a compositional counterweight,…
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An Unplausable Perspective
There is something odd in this photo, isnt’it?
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For Sale
Long gone is the time when people loved to live in the countryside
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Protected: Black&White
There is no excerpt because this is a protected post.
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Portrait of a young guitar player
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Portrait of a (former) bike champion
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Belgian Ghosts
Midnight still has to come. But in Bruxelles even ghosts wake up early… The air was damp, the pavement glistening faintly under the sodium lamps. I wasn’t chasing a scene — only watching light. Then someone walked through the frame, absorbed in their own path, and the moment shaped itself. The passer-by moved too quickly for the shutter speed I’d set. At first, I thought I’d lost the shot. Then, reviewing it, I realised that the blur was the picture — motion distilled into presence. The figure became anonymous, spectral, more gesture than person. It summed up urban life in that hour: everyone moving, no one quite seen.
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Noon on the Beach
this image hinges on simplicity and distortion. The sun was directly overhead, leaving the shadow of the pole as a near-perfect sundial, slicing the centre of the frame from bottom to vanishing point. That shadow was the whole reason to shoot: absolute verticality rendered into graphic contrast on a near-featureless plane. The lens dictates the structure. At 16mm, lines bow. The horizon curves. Perspective exaggerates. I leaned into it—there’s no attempt to correct distortion in post. The intention was not to imitate a rectilinear frame, but to emphasise space as abstraction. The beach becomes a sphere, the sky a ceiling, and the tiny trace of buildings at the perimeter only…
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Ninja-Turtles?
I couldn’t help but smile when I saw this line of turtles perched neatly along the log, each one angled just so to catch the warmth of the midday sun. It’s a scene that strips away the pop culture fantasy of katana-wielding reptiles and replaces it with something far more universal — the quiet pleasure of simply doing nothing. From a compositional standpoint, I did well to let the log form a natural leading line, drawing the viewer’s eye from the cluster on the left to the stragglers on the right. The surrounding foliage frames the scene nicely, adding depth and a touch of chaos to balance the orderly arrangement…
