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Now You See It…Street Juggler at a Red Light in Barcelona
Caught this just as the traffic paused. The juggler—or maybe illusionist—stepped onto the zebra crossing like it was a stage, pulling a contact juggling sphere from his pocket with the same ease most reach for a cigarette. No microphone, no music, no hat on the ground. Just confidence, and a tight, silent routine aimed at no one and everyone. I shot from slightly above, which flattened the scene into layers: the motorcyclist on the left, the car breaking the frame in front, and the performer, suspended mid-gesture. The composition benefits from the crosswalk marks, which slice the image horizontally and echo the performer’s stance. It’s geometry meeting theatre. Technically, this…
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No, You Don’t Need To Change Your Glasses
This was intentional. No missed autofocus, no technical glitch. I set the lens manually, focused nowhere, and waited for someone to walk into the blur. He did—carrying two bright yellow bags, dressed sharply but casually, perfectly unremarkable in the sharp world we expect from street photography. The concept was simple: remove clarity and see what remains. What I found was structure. Colour. Gait. Gesture. A kind of abstraction that doesn’t erase the human, just detaches it from identification. No face. No detail. But still a presence. Technically, the image defies critique by design. It isn’t sharp—at all. The highlights push into soft bloom, the street dissolves into haze, and the…
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Lost In Barcelona’s Beauty
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Catching the Tube in Paris
Street photography often thrives on the interplay between the static and the fleeting, and this frame from Paris captures that balance with precision. The scene is anchored by the familiar visual cues of the city — the “METRO” sign, the Haussmannian stonework, the ordered chaos of bicycles, cafés, and traffic further down the street. These elements provide a stable architectural stage against which the human drama plays out. The blurred stride of the man crossing the frame injects the shot with movement and urgency, the sort of kinetic energy that turns a documentary image into a narrative one. His presence, slightly soft due to motion blur, contrasts sharply with the…
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Just In Case
Should you have some doubt, by reading the banner you can’t be mistaken. Clarity can be a virtue, even when it delivers its message with the blunt weight of inevitability. Here, a simple blue sign announces the location of the mortuary—not just once, but three times, in three languages. French, Latin, English. No ambiguity, no chance of misunderstanding. Just in case. The composition frames the sign against the muted greys of the surrounding architecture, a deliberate choice to strip away distractions. The words stand out, rendered in stark, functional typography, their neutrality belying the emotional weight of the place they indicate. Photography thrives on layers of meaning, and here the…
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Ni État Ni Patron
Brussels. A quiet wall, a passing car, and a message that’s louder than both. The slogan is old—older than the paint used to scrawl it—Ni État Ni Patron. No state, no boss. A phrase that echoes from factories, barricades, pamphlets. And now, here it is again, on a half-covered stretch of rendered concrete. It wasn’t written to decorate. It was written to remain. The graffiti stands out not just for what it says, but for where it says it: in the middle of a freshly patched rectangle, painted over what was clearly another message before it. The wall becomes a palimpsest—layers of resistance, erasure, and return. Below it, a car…
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Poetry Still Survives
Blessed be the city, where somebody can earn his day, by selling poetry.
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The El Prat’s Lounge
Airport lounges often exist in a strange, liminal space — neither entirely connected to the bustle of the terminal nor completely detached from it. This photograph captures that in-between feeling with an almost still-life precision. The beige armchairs, glass coffee table, and neatly placed newspaper (“La Vanguardia”) suggest a space curated for calm, yet one can sense the transient nature of those who pass through. The composition is deliberate and symmetrical, the sofa centred with the vase of artificial flowers acting as the visual anchor. The choice to place the glass table in the foreground introduces depth and framing, its reflections adding subtle complexity without pulling attention from the central…
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Small Talk in Las Ramblas
I took this photo in Barcelona, where conversation isn’t background noise but part of the architecture. Las Ramblas is never quiet, never empty—always a current of movement, commerce, and human theatre. Yet in this frame, the flow is briefly suspended by a gesture: one man leaning down to greet another, while a third man stands as witness, folded newspaper in hand, arms set in a subtle brace of familiarity. The scene unfolds naturally, without prompting. I wasn’t aiming for perfection but presence—being there, camera in hand, when a moment coalesced. Compositionally, it’s informal yet balanced. The figures form a loose triangle, anchoring the shot while the rest of the world…
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Siamese Boats On the Seine River
Two barges, TEMPO and VESTA, lashed together as if bound by some unspoken pact, making their way up the Seine. Seen from above, their pairing creates a symmetry that is almost architectural. The way their bows slice the water in unison feels more like choreography than navigation. The shot was taken from a bridge, directly aligned with their approach, which allowed me to keep both vessels centred and parallel in the frame. That alignment is crucial — a slight offset would have made the composition feel off-balance. Here, the geometry holds everything together: two hulls, two decks, two names, and a doubling of anchor motifs. The light was soft but…
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The Teleferic de Montjiuc
Towering the Barcelona’s Marina
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Whatever You Stand For, Vote!
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Inside the Garrison
In a usually busy day, the bomberos enjoy a moment of relax.
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The New Church
In the XXIth Century, a new church grows, to satisfy old needs.
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Guru Meditation
Airports are temples of waiting. They strip away the illusion of control, leaving travellers suspended in time between one place and another. In that in-between, people invent ways to cope. Here, in a lounge of muted reds and glassy daylight, a man folds himself into a private space. One leg drawn up, back curved, cap pulled low, he cradles a tablet as if it were a small book or a talisman. His fingers rest lightly on it, not tapping, not scrolling—just holding. The surrounding noise and movement dissolve in his stillness. This is meditation for the digital age. Not in a forest clearing or a candlelit room, but in an…
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A Sunny day in Rome
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Inside the Elevator
Escher’s Relativity inspired these shots.
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WTF Are They Looking At?
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An Unplausable Perspective
There is something odd in this photo, isnt’it?
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Belgian Ghosts
Midnight still has to come. But in Bruxelles even ghosts wake up early…
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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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Two Beers, One Cigarette
Not staged. Swear to God!
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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.
