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@Rome Maker Faire – 1
I made this photograph during Rome’s Maker Fair, where the noise of servo motors and animated enthusiasm filled the air. The scene, however, was quiet. Not in sound, but in intent. A man and a machine facing each other, both wearing headsets, locked in an interaction so human in posture it almost defied the clinical setting around them. From a technical perspective, I chose a shallow depth of field to detach the primary interaction from the noise in the background. I wanted the robot and the man—particularly their faces and hands—to carry the emotional weight. The focus falls on the robot’s articulated fingers and the man’s hands raised in some…
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Free Shoes On A Hot Day
I took this photograph on a brutally hot afternoon, the kind where the pavement seems to radiate heat back at you with equal force. The scene was simple: a young woman, barefoot, perched on a low ledge in the sun, her shoes neatly placed on the ground below. The shoes caught my eye first — perfectly aligned, toes pointing towards the wall, almost as if waiting for their owner to return to them. From a compositional point of view, I like how the image naturally splits into two planes. The lower half — brick, pavement, and shoes — is all about structure and order, while the upper half — bare…
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Vive La France, The Oslo’s Way
Occasionally, photography rewards us with moments where irony, design, and national symbolism collide in a way that demands to be captured. Vive La France, The Oslo’s Way is one such moment. Here, three public toilets stand in perfect alignment, painted in the tricolour of the French flag—blue, white, and red—each proudly labelled with one of the national motto’s words: liberté, égalité, fraternité. From a compositional standpoint, the image works because of its symmetry and spacing. The photographer has placed the trio dead centre in the frame, allowing the architectural rhythm of the background—trees and modernist façades—to act as a neutral backdrop. The careful alignment ensures that each structure has breathing…
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Out Of Focus, Once More
Missed focus. Again. And no, it wasn’t intentional. This wasn’t a conceptual experiment, nor a nod to dreamlike abstraction. It was simply a technical failure, shot with a manual lens, rushed framing, and an optimistic assumption that I’d nailed the hyperfocal distance. I hadn’t. Still, I kept the frame. It’s a street in Munich, pigeons pecking at the ground, firemen walking down the centre. A homeless encampment crowds the left edge. None of it sharp. But despite that—or maybe because of it—the image speaks. Context persists. Silhouettes are enough. The story doesn’t vanish with the detail. Technically, the photo lacks precision: the aperture was too wide, depth of field too…
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Lady Gaga Art Rave
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Cold Freezing Tour Through Oslo’s Fjord
I took this photograph aboard a ferry cutting through the Oslo fjord in winter. The cold was penetrating, the kind that seeps into bones despite layers of clothing. The passengers’ body language tells the story more effectively than words: one figure wrapped in a blanket, hands folded in stillness; the other with a camera resting idly on his lap, shoulders hunched, jeans stiffened by the chill. Compositionally, I aimed for a low angle, using the perspective of the floor and the rug leading diagonally into the frame. This draws the eye directly toward the two figures without needing to show their full faces. The benches on either side narrow the…
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Free Ride
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Behind a Shop Window in Oslo
This was one of those scenes that unfolded on its own terms. No decisive moment, no split-second drama—just a man behind glass, cleaning or adjusting or both, surrounded by faceless mannequins and the awkward geometry of retail preparation. I raised the Nikon 35 TI and pressed the shutter before overthinking it. Shot through the shop window, the glass worked both against me and with me. It introduced layers—literal and symbolic. Reflections were minimal but present, just enough to remind us we’re on the outside looking in. The man is inside a constructed world, arranging it, tidying its surfaces for consumption. The mannequins—blank-eyed children—stand frozen, already staged, while he works between…
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The Wild Bunch
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The Path To Freedom
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Running On The (Oslo’s) Docks
The moment lasted a fraction of a second. I was walking along the Oslo harbour, camera hanging loosely, eyes half on the ships and half on the geometry of the paving stones when he entered the frame — the runner. Perfect posture, right leg extended mid-stride, left arm balancing out the rhythm, and most crucially, isolated against the background clutter of docked ships and cranes. This image isn’t about the athleticism. It’s about pace, solitude, and counterpoint. The city rests behind him, still and orderly, while he pushes forward, cutting through the quiet with motion and intention. He’s small against the marine industrial backdrop, but all attention lands on him.…
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Ceci N’Est Pas Une Pipe
The man stands on the pavement, absorbed in the small object between his fingers. From a distance, it could be mistaken for a pipe, but it is not — hence the title. The illusion, momentary and context-dependent, mirrors Magritte’s provocation: our assumptions often run ahead of the facts. I composed this with a clear separation of subject and background. The warm, textured brown of his jacket isolates him against the cooler tones of concrete and foliage, pulling the eye immediately toward him. The alignment along the right-hand third of the frame keeps the sidewalk stretching away into the background, giving a sense of space and urban depth. Technically, the exposure…
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A Taxi Night Fleet At Oslo’s Central Station
I took this frame at a moment of pure symmetry and friction. The way taxi lines form outside Oslo Central Station at night—almost militaristic in their discipline, yet each vehicle pulsing with its own colour rhythm—felt like an urban ballet set to the low hum of idling engines and the soft scuff of rubber on wet cobblestones. Technically, night shots like this are unforgiving. The cold light from the LEDs clashes sharply with the warmth of the taillights and the overhead sodium vapour glow, which is why I resisted neutralising the colour balance too much. The visual tension between the icy blue reflected on the left and the bleeding red…
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Street Crossing
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Via Collina, Empty, From Above
The perspective is vertical, as if leaning out and looking straight down. Cars line both sides of the narrow street, parked in strict succession, their roofs forming a patchwork of tones. The pavement and façades edge the scene, flattening into geometry under the camera’s angle. At the centre, however, the street itself is bare—an unexpected strip of emptiness in a crowded frame. Composition relies on symmetry and repetition. The rhythm of vehicles, rectangles of windows, and parallel lines of pavement create a structured grid. The lamppost, suspended on its wire, interrupts this order with a curve, offering a counterpoint to the rectilinear logic. Two pedestrians near the corner introduce scale,…
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London Swash
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Waiting For The Bus On Las Ramblas
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Tattoos in Barcelona
The sunlight was sharp, bouncing off stone and glass, cutting strong highlights across shoulders and pavement. I didn’t ask them to slow down or acknowledge me; I simply kept pace for a few steps, paying attention to posture, rhythm, and the way bodies occupy shared space.
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Santino’s Photo& Video at Broadway
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The Street Photographer Rights In Italy. The Leaflet
Here is an easy-to-carry A4 leaflet to be used in case you are confronted by a law enforcement agent of officer that question your Street Photography activity. Legal issues apart, please remember to always be polite and to help the officer not to look goofy or ignorant (as he actually would) in front of the public. Q. Does taking people’s photography in public spaces infringes sec. 615 bis of the criminal code? A. NO. Under the Corte di cassazione ruling n. 47165/2010 outdoor there is no reasonable privacy expectation, as there is no reasonable privacy expectation in case of tacit – while non equivocal – withdrawal of this right, as…
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Just Another Times Square View
I made this photograph in 2000, standing in Times Square with a Canon film camera loaded with Portra 160. It was a different city then—louder in some ways, rougher at the edges, less polished than the LED-saturated spectacle it would later become. What interested me was not the chaos itself, but the uneasy coexistence between permanence and transience: stone and steel on one side, light and commerce on the other. The composition is deliberately vertical, almost architectural. The frame stacks elements upward rather than outward: the dense mass of midtown buildings rises on the left, while the illuminated billboards dominate the right. The Budweiser sign acts as a visual anchor,…
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Mulberry Street, When Benito II Was Still There…
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Arriba El Mexico!
I took this photograph from the passenger seat of a cab, during that suspended moment when traffic stalls and the city becomes a collage of reflections and colour. The small felt figure hanging from the mirror caught my attention first—bright, slightly absurd, and placed without irony. The tiny sombrero, the stitched flag, the green felt body: a souvenir turned mascot, living in the blurred space between décor and identity. What interested me was how this small object commanded the frame. The background—city lights, signage, fragments of buildings—exists only as colour fields and soft shapes. The mirror picks up hints of the driver, the interior, and the street behind us, but…
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A Zeppelin in The New York Sky
New York, 2000. I remember looking up from the crowded streets and seeing it — a zeppelin, drifting slowly above the jagged canyon of Midtown’s architecture. In that moment, it felt like something out of a different century had quietly slipped into ours. I didn’t have much time to think; I just framed, focused, and released the shutter. The composition is as much about absence as it is about presence. The airship is small, almost swallowed by the negative space of the sky, yet the buildings act as monumental bookends, forcing the eye toward the centre. The turquoise cast of the glass facade on the left and the warm brick…
