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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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Skating on Avenue Louise
The architecture of Avenue Louise is built to impress — symmetrical, imposing, wrapped in glass and concrete. It speaks the language of power, efficiency, and institutional gravitas. Yet here, cutting across the uniformity of its grid, a lone skateboarder defies gravity and symmetry alike. In mid-air, suspended between takeoff and landing, the young skater rewrites the function of space. This plaza wasn’t designed for movement like his — spontaneous, raw, unruly — yet it hosts it with unexpected grace. The stark concrete façade becomes a backdrop, not a boundary. This is the city as canvas, the act of skating as resistance and reinterpretation. While others walk briskly from meeting…
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Off-Duty Eurocrats in Bruxelles
Late afternoon outside the European Parliament is a curious time. The intensity of the day’s debates, meetings, and bureaucratic rituals evaporates into the chill air, leaving behind something more recognisably human. I caught this scene as the sun was sinking, the light flattening into that pale, slightly diffused wash Brussels often wears in winter. I framed the shot to emphasise the contrast between the rigid geometry of the architecture and the small figure of the man stepping into the foreground. The curved glass façade on the right dominates, its repeating elements pulling the eye deeper into the image. The building almost seems to lean forward, pressing its presence into the…
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Mid-Morning Break at Place Jourdan
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Early Leave at Bruxelles-Midi
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Lost in Another World
Bruxelles, late afternoon. The light was fading, but not fast enough to kill the warmth spilling across the stone. I was walking the perimeter of the European Quarter when I caught this boy, not moving, not restless—just elsewhere. Legs crossed, Red Bull in the shade of his knee, a pair of thick-cushioned headphones pulling his attention far from the buses trundling behind him. The city was loud, but he was silent. I framed him against the soft curve of the road, letting the concrete bench anchor the composition. The wall bisects the image cleanly, dividing the raw street texture from his calm, introspective stillness. He became part of the architecture—concrete,…
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Cold Night, Hot Drink
A cold night calls for a hot drink…
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Next Time, Maybe…
I made this image in one of those narrow alleys in central Brussels, where restaurants compete not just with food but with neon, colour, and attention. It’s visual overload by design. Menus on easels, signs screaming prices, waiters halfway between invitation and insistence. But what caught me wasn’t the display—it was the woman walking straight through, uninterested, unmoved. She wasn’t choosing where to eat. She was choosing not to. The photo hinges on that gesture. Her hands are in motion, her shoulders hunched from the cold, her gaze slightly lowered. She becomes the counterpoint to the street’s whole premise. All this effort around her, and none of it lands. That’s…
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What an Elegant Chocolatier!
Brussels wears its chocolate heritage like a badge of honour, and this image captures that sense of refinement and indulgence with a quietly cinematic touch. The composition is cleverly split between the interior glow of the shop and the poised figure outside. The chocolatier, dressed in an understated but impeccably tailored suit, stands just beyond the threshold, his profile framed by the shop’s edge. The counterpoint to his form is the rich, inviting display of chocolates, boxes, and ribboned confections bathed in warm light inside. This juxtaposition — cool tones on the left, warm tones on the right — creates both visual and thematic tension: the disciplined elegance of the…
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Welcome in the New (?) Year
The year is new, but the job is same old. Work hard, earn your day.
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Ceci n’est pas un cadre
A few, different meanings. The most evident (?):it is a mirror, actually. Thus is not a peinture. The less evident: the title is a sleight of word on the famous Magritte’s masterwork “Ceci n’est pas une pipe“. The lesser evident: I shot the picture in Bruxelles, where is located the Magritte Museum.
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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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A Curious Bystander
Rue de la Regence, at night. A fast pace calls the attention of a bystander.
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Late Afternoon Workers
At Place de la Monnaie, in Bruxelles, late-afternoon workers look their life go by, while the rest of the world, enjoy the fun. This photo felt less like a building and more like a roll of exposed film. Fifteen windows, side by side. Fifteen little theatres. The framing is perfect—not by accident, but by architecture. A row of lives unfolding under fluorescent light. You can almost hear the hum. Some rooms are empty. Some are dim. In a few, people remain—cleaning up, wrapping gifts, turning off screens. There are Christmas trees, forgotten chairs, coats slung over partitions. And above all, stillness. Each window holds its own shot. Unrelated, disconnected. A…
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A Bookstore in the Gallery
Taken in Bruxelles with a Leica M9, this photograph is as much about the atmosphere of a winter evening as it is about the subject itself. The bookseller, wrapped in a red scarf, is absorbed in the simple act of handling a book — a gesture that feels timeless, insulated from the passing crowd outside. The “Joyeuses Fêtes” decoration strung above her offers a seasonal frame, hinting at the warmth inside against the cold beyond the window. The composition is direct and frontal, using the shelves of books as both background and structure. The vertical and horizontal lines create order, their rhythm occasionally broken by a tilted spine or a…
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Shopping in Bruxelles
Early afternoon in Bruxelles, The best moment to go shopping.
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The Chess Players
Well, this is not Alechin vs Capablanca but… who cares? The photograph captures two men deep in thought over a chessboard, in what appears to be the dim, warm interior of a Brussels café. One sits with his back to the camera, the word Corvette stitched boldly across his jacket. The other, leaning forward with his hand pressed to his temple, peers at the pieces through half-slipped glasses. Between them, the board sits in a pool of light — the only element in sharp enough focus to feel anchored — while the surrounding chairs and tables fade softly into the background. Compositionally, I opted for a perspective that placed the…
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An Intense Conversation
Some photographs hold silence. This is one of them. Shot in a small restaurant in Bruxelles — the kind you’d only find by chance, and never the same way twice — this frame preserves what no longer can be: a place, a conversation, a quiet evening at a table now vanished. Two women sit facing one another, generations apart, mirrored by the soft geometry of light and posture. One speaks — or perhaps listens. The other waits — or perhaps remembers. Their hands do most of the talking, resting, folding, rising to punctuate a point. There’s water on the table, a half-empty bottle, a flickering red votive. Nothing staged. Everything…
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So what?
There is a certain energy in candid street photography that cannot be replicated in a controlled setting, and So What?captures it in full stride. This frame offers a slice of urban life in the late afternoon, when the sun hangs low and the streets teem with a mix of idle chatter, cigarette breaks, and casual posturing. The photograph hinges on the central figure—a tall man in sunglasses, cigarette poised mid-gesture—whose slight tilt of the head and half-smirk seem to issue the titular challenge. To his left, another man, hand to face and gaze averted, projects an entirely different mood: contemplative, perhaps guarded. The third figure, seen only from behind, forms…
