Bottles&Cups
Bottles & caps photography highlighting shapes, textures and details, turning everyday objects into striking visual compositions.
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Fancy a beer?
I caught this Peroni bottle resting on a worn wooden post at the marina, the kind of accidental still life you don’t stage — you simply recognise and frame. The Pentax K-5, paired with the DA* 50-135 f/2.8, made the job effortless. That lens has a way of pulling a subject into sharp relief while letting the world behind it dissolve into painterly abstraction. Here, the background of masts, ropes, and blurred hulls becomes more a wash of colour than a setting, yet it still whispers the story of where we are. I shot wide open, wanting the bokeh to take the harsh edges off the busy scene. The glass…
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Don’t They Drink Tea, Instead?
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Writer Inspiration’s Tools
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Silver Pottery
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Not A Photography Anymore
I approached this shot with the intention of exploring the point at which photography begins to lose its documentary role and drifts into the territory of constructed image-making. The Leica M9, with its CCD sensor, is unforgiving in its rendering of highlights, and here I chose to exploit that to push the tones far beyond their natural state. The result is an image that wears its artificiality openly. The composition is rigidly symmetrical: three vases, evenly spaced, under a line of metallic coffee pots and creamers. The symmetry is disrupted only by the interplay of colours — magenta, amber, and white — and the bold shadows they cast. These shadows…
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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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Red Wine Makes Good Blood…
I made this image at the end of a long lunch — the kind where conversation lingers long after the plates are cleared, and the table becomes less of a place to eat and more a canvas of what just happened. The residue of red wine had bled into the paper surface, leaving behind those familiar circular stains — not accidental, not staged, just there. And I leaned in, glass still in hand, and shot. Technically, this is an exercise in distortion and proximity. I used a wide lens, close focus, and a shallow depth of field. The resulting visual field is warped, but purposefully. You can see the sweep…
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Lost Bottles
I found them by accident, tucked into a shadowy corner of a collapsing shed — still standing, still sealed, thick with dust and memory. The light coming in from a broken window caught the glass just enough to animate the greens and browns. These weren’t just empty bottles; they were forgotten time capsules — unopened, useless, and somehow alive. This image is all texture. The rough chalky surface of the dust, the worn corks, the splinters in the labels. I didn’t clean or move anything. What mattered was fidelity to the scene, not styling it. Every bottle sits where it was found. The composition is tight, cropped to eliminate the…
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Behind the Beer
Behind the beer’s sockets, a barman discretely fulfills the order placed by his clients.
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The Straycat
Alterness becomes second nature, for those who live on the streets.
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Coffee Doesn’t Need a Table. It Needs a Moment
I didn’t need to wait for this shot to compose itself—it already had. The empty espresso cup, still fresh with crema residue, sat on the curve of the car roof like it belonged there. No fuss, no coaster, just placed with the kind of instinct that only comes from repetition. Mechanics don’t schedule coffee breaks. They take them where they stand. The car’s soft metallic paint reflected just enough light to form a clean, curved foreground. I used a wide aperture to isolate the cup, letting the background—raised vehicles, industrial stairs, soft chaos—bleed into blur. The contrast between the sharp plastic rim and the defocused scene behind it is where…
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Spumante (Italian Champagne) ready to fuel the party
There is no better way to do it.
