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Opposites
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Busy (again)
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A perfect match
You don’t pose the street. You chase it — and sometimes, if your reflexes are fast enough, you catch it. In this image, it happened in a split second. A man sat reading the newspaper at a café table. For the briefest of moments, he held it in such a way that his own profile aligned perfectly with the image printed on the page — a fashion ad, a male model in a similar pose, eyes half in shadow, fingers near the mouth. Two men, one real, one imagined, locked in a mirrored gesture of casual confidence. Then it was gone. That’s the essence of street photography: the unrepeatable alignment…
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An outdoor theatre?
… no, just two friends debating vigorously.
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The Odd Couple
This shot came together almost accidentally. I had been tracking the pigeons on the sand, their erratic movements making them elusive subjects, when the man entered the frame and sat down. His stillness was in complete contrast to their nervous pacing — two worlds side by side, sharing the same strip of beach without truly interacting. From a compositional point of view, the layering works: foreground sand, mid-ground human subject, and the blurred stretch of sea behind him. The diagonals created by the man’s posture and the birds’ orientation give the image a subtle sense of direction, even though nothing dramatic is happening. It’s quiet, almost muted in mood. Technically,…
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A Missed Pricetag?
This frame was taken in the heart of a southern Italian city where IKEA briefly turned the central square into a showroom of absurd proportions. A towering yellow Klippan sofa and a monolithic orange bookcase stood awkwardly monumental, surrounded by the iconography of price tags and corporate identity. At first glance, the scene could pass as whimsical urban installation. But the more I looked through the viewfinder, the more it began to speak a different language — one of quiet irony. The man in uniform, arms crossed, positioned centre-right, is what holds this image together. His stillness is incongruent with the playful intent of the installation. He isn’t enjoying the…
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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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Tough Enough
Winter light in Rome has a particular sharpness to it—crisp, but never cruel. I took this frame on one of those days when the air was cool enough to see your breath, yet the sun still carried the weight of the Mediterranean. The man in the foreground walked past with the easy stride of someone immune to the season. Sleeveless, tanned, a newspaper in hand—he looked more like August than January. The scene unfolded quickly. The scooter-lined curb, the idling bus, and the kiosk stacked high with papers gave the photograph its Roman DNA. The cluttered street corner made for a textured backdrop, but compositionally I placed him just off-centre,…
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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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Fireworks on Film
There is a different kind of alchemy at play when working with Kodak T-Max 400. Unlike Tri-X, with its pronounced, almost romantic grain structure, T-Max offers a modern, cleaner rendering — sharper edges, smoother tonal transitions, and a capacity for detail that rewards precision. This photograph, made during the fleeting moment of lighting a fuse, plays perfectly to the film’s strengths. The composition is minimal and deliberate: three vertical elements in a horizontal frame — two cylindrical fireworks flanking the central act — with a hand entering from the left. The eye is drawn instantly to the burst of sparks, frozen mid-flight, their delicate lines rendered with razor clarity. Against…
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Visual
This image is, in many ways, a study in simplicity—yet one that rewards a longer look. What appears at first as a mere grid of evenly spaced horizontal lines soon reveals itself as a layered surface, a play between the tangible and the abstract. The photograph offers no obvious focal point; instead, the viewer’s attention is pulled rhythmically from edge to edge, caught in the hypnotic repetition of the slats. I composed the shot to be almost perfectly symmetrical, letting the central vertical seam anchor the frame. That symmetry is key—it provides a sense of stability amidst the visual vibration created by the parallel lines. There’s a slight tonal gradation…
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Mirror
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Why on Earth people, in Italy, still eat junk food?
A cold night in an Italian piazza. The air carries the scent of roasted chestnuts, espresso, and wood smoke—but here, under the halo of fairy lights, the smell is unmistakably different. Oil. Sugar. Processed salt. A small crowd stands in front of a street cart, its bicycle frame weighed down with canisters, bags, and the faint hum of a generator. The vendor moves with practised speed, ladling batter, folding paper, handing over parcels of deep-fried comfort. The queue is patient, hands buried in pockets, eyes following the ritual as if it were part of the winter tradition. Beyond the cart, a carousel spins in soft blur, its music faint against…
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Watch My Back
There’s a charged stillness to this image — a tension that sits somewhere between street observation and a quiet cinematic moment. Two men occupy the foreground: one turned away, phone to his ear; the other facing us, his gaze piercing the lens with an unreadable mix of caution and assessment. The title primes us to read this as a scene about alertness, and the body language supports it. The boulevard behind them is busy but not chaotic. A woman pushes a pram, silhouettes cross in different directions, shop signs glow faintly in the night. The interplay of light and shadow here is critical: the background is brighter, with the shopfront…
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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?
