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The Teleferic de Montjiuc
I framed this high, tight, and in monochrome. The tower holds its geometry clean against a washed-out sky, bisected by the tension of support cables that anchor the structure both physically and compositionally. The decision to exclude ground and context wasn’t aesthetic—it was structural. I wanted the image to stand on line, angle, and steel alone. Shot with a mid-telephoto to flatten depth slightly and reduce parallax across the girders. The light was diffuse but not flat. A break in the clouds gave enough gradient to define planes without creating shadow noise. The exposure leaned conservative: highlights retained in the clouds, midtones preserved in the riveted panels and pulleys. No…
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Whatever You Stand For, Vote!
A large digital screen mounted on the exterior of a modern building, prominently announces the European Elections scheduled for 22–25 May 2014. The display uses a bright, cool-toned light that contrasts sharply with the dark perforated metal surface behind it, ensuring high visibility even in daylight. The message is framed within clean geometric lines, reinforcing the institutional clarity of the communication.
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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?
Street photography often unfolds in fractions of a second that resist tidy interpretation. This frame emerged from one of those moments — brief, slightly absurd, and quietly revealing. The photograph shows three men crossing the same urban space yet seemingly inhabiting different psychological trajectories. The bald man in the foreground, dressed in a vivid orange jumper that stands out against the subdued tones of the pavement, appears momentarily detached from the flow of movement around him. His posture is firm, almost statuesque, as if he had paused mid-stride to reassess the scene. The shopping bag hanging from his hand becomes less an object of practical use than a compositional counterweight,…
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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… The air was damp, the pavement glistening faintly under the sodium lamps. I wasn’t chasing a scene — only watching light. Then someone walked through the frame, absorbed in their own path, and the moment shaped itself. The passer-by moved too quickly for the shutter speed I’d set. At first, I thought I’d lost the shot. Then, reviewing it, I realised that the blur was the picture — motion distilled into presence. The figure became anonymous, spectral, more gesture than person. It summed up urban life in that hour: everyone moving, no one quite seen.
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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.
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Las Ramblas’ Lifestyle
Who cares about pickpockets?
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Reasonable Privacy Expectation
There is something almost cinematic about this frame. The architecture dominates: a vast façade of marble and glass, its verticality emphasised by the tall, narrow windows, the symmetry broken only by the two small human figures at the bottom. They are dwarfed by the structure, physically and visually, and yet they animate the space just enough to draw our eye away from the grand design and towards the everyday. Compositionally, the image is measured and deliberate. The camera is held level, avoiding converging verticals, which is crucial in architectural photography. The placement of the figures — one ascending the stairs, the other absorbed in a phone — adds a natural,…
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Which One?
The Abundance’s Paradox
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A Fujifilm X-E1 Annoyance
The X-E1 is a good camera, though has some annoyances that make it less handy for Street Photography. Contrary to Leica, (some) Zeiss or (some) Nikon lenses, zone-focusing is not set on the lens barrel. You must do it either through the viewfinder or the LCD, and this makes problematic the switch from one technique to another. Same is true for aperture settings. Operating the camera one-handed, happened twice to me, led to a change of the image quality settings from RAW to Jpg. Unfortunately I wasn’t aware while shooting and I’ve wasted half a day in Barcelona getting inferior quality pictures.
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Same Seats, Different Lifes
They’re close, but never been so distant
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The Bodyguard in Red
This frame happened in a square full of motion, but all I saw was this frozen pair: a woman checking a map, and her dog—a small, white, overdressed sentinel—standing squarely on duty. What amused me wasn’t just the dog’s outfit (hood up, leash taut, plaid trim), but the posture. Alert. Angled. Watching the flow of pedestrians like a security detail in fur. I made this image with the intention of isolating a moment within the broader current of urban transit. The pedestrian stream moves left to right—fast, disengaged, anonymous. Meanwhile, the woman and her dog form a perpendicular axis. They’re static. They interrupt the flow. That tension is what holds…
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Too Busy to Enjoy the Life…
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Flashes’ Forgotten Powersuits
When I pressed the shutter, I wasn’t chasing irony. It emerged later, in the edit, when I realised this looked less like a street photo and more like a comic panel stripped of its ink—The Flash and Kid Flash mid-sprint, anonymous in civvies, caught in a blur between timelines, rushing to fix a multiverse misstep but forgetting the suits that gave them identity. The angle was deliberate. I tilted the frame to exaggerate imbalance, to underline the diagonal force of movement surging left to right. The grand stairway of Milano Centrale—the actual location—becomes a stage. Lines, shadows, steps: they all stretch and funnel speed. The architecture is static but theatrically…
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Quality Check. Try Before You Buy
This image was taken outside a Parisian bookstore, a moment as classic as it is current: a man stands in the entrance, thumbing through a photobook, absorbed but casual. It’s not staged—he didn’t even glance at the camera. He was too focused, as anyone who’s spent hours weighing the purchase of one more photography book will understand. His expression wasn’t about doubt; it was about judgment—quality check, plain and simple. The composition offered itself. Framed by the bookstore’s open door, the man becomes the central figure in a visual funnel, surrounded by vertical stacks of books, postcards, and prints. The image flattens space into layered density—foreground filled with titles, background…
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Mario Asks for it!
The political campaign for the European election is started. This is one of the posters showing the Democratic Party (PD) strategy: fooling the voters into thinking that PD cares about what its constituencies have to say…
