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The Misplaced Buoy
Kneeling in the surf with the camera just above waterline, I framed this beached buoy like a stranded witness—half-devoured by barnacles, its functional past eroded by time and tide. The wave motion is deliberate: a slow shutter gave the water its painterly strokes, pulling the viewer toward the object with a sense of gentle urgency. The wide-angle perspective exaggerates scale and places the buoy in stark contrast with the horizon. The red-orange plastic punctures the cool blues of sea and sky, a sharp chromatic discord that anchors the entire composition. It’s an aggressive intrusion into the otherwise pastel calm of the shoreline, yet visually satisfying because of the balance created…
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The Eye
Another example of the constant brain’s meaning quest in the things the eye sees. It wasn’t supposed to look back. This is the underside of a building’s curved overhang, a detail most people would never glance up to see. Shot from the ground in perfect alignment, it becomes something else entirely: an iris of steel and shadow, a lens with no glass, watching the world below. I titled it The Eye not just for the shape, but for the feeling. The symmetry is strict—deliberate, almost mechanical—yet the reflection in the polished granite softens it, turning precision into something poetic. A full circle emerges where there’s only a half. What’s solid becomes imagined.…
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Footprint
Still… wideing.
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Two Beers, One Cigarette
Not staged. Swear to God!
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On the Edge of the World
This image is the outcome of a technical test as much as it is a commentary on environment and perception. I wanted to see how the venerable 1973 Nikkor 16mm f/3.5 fisheye would behave on the full-frame sensor of a Nikon D700. The result is a picture pulled to its edges, both optically and metaphorically. What this lens gives in distortion, it returns in expressive tension. The beach curves like the edge of a planet. The sky presses down as if it’s wrapping itself around the scene. A single line of debris cuts through the frame, pulling the eye toward a loosely gathered group of people, whose presence feels both…
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Bent
When I first lifted the camera to my eye for this shot, the Nikkor 16mm fisheye was not the lens you’d expect for such a pastoral, rolling landscape. Fisheyes, after all, are often the tools of cramped interiors, extreme sports, or deliberately surreal perspectives. Yet here, in the middle of vineyard country, I wanted to see what would happen if I let its inherent distortion play with the natural undulations of the hills. The result is a scene that feels almost elastic. The road on the right curves away more dramatically than it does in reality, while the vineyard rows tilt into an exaggerated arc, their geometry bending to the…
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Damned Autofocus
I like this photo very much. The two travelers, mutually unbeknownst, stroke a pose like if they were on duty fashion models. Unfortunately, the Fujifulm X-E1 autofocus didn’t work fast enough and, as I’ve already told, zone-focusing is a pain in the neck without a properly marked focus-ring. Long live to Hasselblad, Zeiss, Leica and Nikon…
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Brain vs Camera
The picture on the left is what the camera saw. The picture on the right is what I had in mind while shooting. Thanks to Photoshop I’ve been able to bend the “objectivity” of the camera along the line of my creativity.
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Las Ramblas’ Lifestyle
Who cares about pickpockets?
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Reasonable Privacy Expectation
There is something almost cinematic about this frame. The architecture dominates: a vast façade of marble and glass, its verticality emphasised by the tall, narrow windows, the symmetry broken only by the two small human figures at the bottom. They are dwarfed by the structure, physically and visually, and yet they animate the space just enough to draw our eye away from the grand design and towards the everyday. Compositionally, the image is measured and deliberate. The camera is held level, avoiding converging verticals, which is crucial in architectural photography. The placement of the figures — one ascending the stairs, the other absorbed in a phone — adds a natural,…
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Which One?
The Abundance’s Paradox
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A Fujifilm X-E1 Annoyance
The X-E1 is a good camera, though has some annoyances that make it less handy for Street Photography. Contrary to Leica, (some) Zeiss or (some) Nikon lenses, zone-focusing is not set on the lens barrel. You must do it either through the viewfinder or the LCD, and this makes problematic the switch from one technique to another. Same is true for aperture settings. Operating the camera one-handed, happened twice to me, led to a change of the image quality settings from RAW to Jpg. Unfortunately I wasn’t aware while shooting and I’ve wasted half a day in Barcelona getting inferior quality pictures.
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Same Seats, Different Lifes
They’re close, but never been so distant
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The Bodyguard in Red
This frame happened in a square full of motion, but all I saw was this frozen pair: a woman checking a map, and her dog—a small, white, overdressed sentinel—standing squarely on duty. What amused me wasn’t just the dog’s outfit (hood up, leash taut, plaid trim), but the posture. Alert. Angled. Watching the flow of pedestrians like a security detail in fur. I made this image with the intention of isolating a moment within the broader current of urban transit. The pedestrian stream moves left to right—fast, disengaged, anonymous. Meanwhile, the woman and her dog form a perpendicular axis. They’re static. They interrupt the flow. That tension is what holds…
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Too Busy to Enjoy the Life…
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Flashes’ Forgotten Powersuits
When I pressed the shutter, I wasn’t chasing irony. It emerged later, in the edit, when I realised this looked less like a street photo and more like a comic panel stripped of its ink—The Flash and Kid Flash mid-sprint, anonymous in civvies, caught in a blur between timelines, rushing to fix a multiverse misstep but forgetting the suits that gave them identity. The angle was deliberate. I tilted the frame to exaggerate imbalance, to underline the diagonal force of movement surging left to right. The grand stairway of Milano Centrale—the actual location—becomes a stage. Lines, shadows, steps: they all stretch and funnel speed. The architecture is static but theatrically…
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Quality Check. Try Before You Buy
This image was taken outside a Parisian bookstore, a moment as classic as it is current: a man stands in the entrance, thumbing through a photobook, absorbed but casual. It’s not staged—he didn’t even glance at the camera. He was too focused, as anyone who’s spent hours weighing the purchase of one more photography book will understand. His expression wasn’t about doubt; it was about judgment—quality check, plain and simple. The composition offered itself. Framed by the bookstore’s open door, the man becomes the central figure in a visual funnel, surrounded by vertical stacks of books, postcards, and prints. The image flattens space into layered density—foreground filled with titles, background…
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Mario Asks for it!
The political campaign for the European election is started. This is one of the posters showing the Democratic Party (PD) strategy: fooling the voters into thinking that PD cares about what its constituencies have to say…
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Street-Photographer’s eye side effect
Seeing the world through the Street-Photographer’s eye makes you more aware of your surroundings both at a conscious and unconscious, Zen-like, level. A side-effect of this state is that you can exploit-it for personal safety when traveling in risky places, like big stations where pickpockets are doing their tricks.
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Traffic Jam in Bruxelles
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Parisian’s Bags
On a brisk afternoon in Paris, the pavements fill with people moving at slightly different speeds, each carrying the traces of their own direction. What drew me to the scene was the convergence of three figures—unrelated to each other yet momentarily aligned—walking toward me with distinct rhythms and expressions. Their presence formed a kind of spontaneous procession, defined not by ceremony but by the simple momentum of city life. The woman on the left moved with purpose, her large green bag swinging in counterbalance to her stride. The scarf softened the sharp lines of her businesslike outfit, adding a touch of looseness to an otherwise structured silhouette. The woman on…
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Perfect Strangers
This was shot at a crossing in Brussels. Late afternoon, golden hour starting to lean into haze, and the kind of sidelight that makes the most mundane street scenes feel sculptural. I wasn’t looking for a story—I was just following the light. What I got instead was this: two people, frozen in proximity, framed by urban geometry and indifferent routine. They didn’t know each other. That much was clear. No shared glances, no body language suggesting connection. Just two people waiting for the light to change, locked in that brief, suspended moment before movement resumes. But visually, they worked in tandem—her neon green jacket, his mustard ochre coat, both cutting…
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National Security
A danger for the National Security? This picture is nothing special, but for the fact that while I was taking it a security guard at the European Parliament tried to stop me on the “National Security” excuse, by claiming that photos were not allowed. Minding the lesson of “Stand your ground” I countered politely the requests of the guard, by telling him: – First: shooting in public spaces is perfectly legal, – Second: there where no “no-photos allowed” signs, – Third: “I am a lawyer and a journalist. I checked both EU and Belgian Law and find nothing that could prevent me to do what I am doing. Could you…
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Protected: Mr. and Mrs. Fabiotritapepe
There is no excerpt because this is a protected post.
