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Earbuds
A man crosses the street in mid-stride, headphones enclosing him in his own private world. Behind him, a line of people stands at the tram stop, their stillness a counterpoint to his movement. The tram, painted in tired colours, seems almost fixed in place, its presence dwarfed by the weathered façade of the building above. The sign EgyptAir—faded, peeling—hangs over the scene like an echo from another time, hinting at journeys and destinations that have little to do with this grey urban moment. The building’s windows are uneven in tone, some dark, some reflecting a pale sky, all framed by streaks of wear from decades of weather. What draws the eye…
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Traffic Jam in Rome
Traffic Jam in Rome turns a mundane urban frustration into a tightly composed study of rhythm, glare, and human impatience. Shot in black and white, the image removes the distraction of colour, allowing form, texture, and contrast to carry the story. CompositionThe frame is dominated by the lead vehicle, a small Opel, positioned slightly off-centre but close enough to the lens to dwarf the rest of the scene. Its mass blocks the viewer’s way forward, much as the driver is blocked in reality. The eye then steps back through a staggered row of vehicles, each one receding into the compressed depth of traffic, until it meets the horizon cluttered with more…
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The Coffin
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A (Out-of-Focus) Break Between Lunch and Supper
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Priority Pass Lounge at Fiumicino Airport
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Washed
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Belgian Chocolate – Godiva
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The Jewels Sale
Photographing through glass is always a test of patience. Here, I wanted to capture not just the jewellery but the human presence behind it—the quiet choreography of selling and browsing. The glass served as both barrier and canvas, introducing subtle reflections that blend the sparkle of the display with the blurred outlines of the people behind it. Compositionally, the image leans on the central placement of the black necklace bust. Its matte surface contrasts with the glint of gold and the shimmer of stones around it, giving the frame a clear focal point. The surrounding watches and earrings fill the edges without overwhelming the centre, leading the viewer’s gaze in…
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Belgian Chocolate – Neuhaus
Photographing in a place like this Neuhaus boutique is always an exercise in restraint. The scene is a sensory overload: gold, red, pastel blues, mirrored surfaces, and the intricate geometry of countless chocolate boxes. It’s easy for the camera to drown in the details, and the trick is to find an anchor point—the human presence that gives context and focus. Here, that anchor is the shop assistant, absorbed in her task, the bend of her head drawing the viewer into the very centre of the composition. The overhead golden arc with the reversed “1970” is not accidental—it creates a frame within the frame, hinting at the brand’s heritage while subtly…
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Glancing Books
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Fancy a Beer?
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Inside the Palaces of Power – Bruxelles
The first thing that strikes me about this image is its deliberate sense of distance—not just physical, but psychological. We see a woman from behind, walking away toward a set of glass doors, her stride steady, her posture contained. There’s no attempt to catch her expression; her anonymity allows her to stand in for anyone navigating the quiet, often opaque corridors of authority. The architecture plays as much of a role here as the human subject. Vertical wooden slats flank either side, creating a symmetrical frame that channels our gaze straight toward the central doors and the clock above them. The space is clean, polished, almost acoustically still. The high-gloss…
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RedLight
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Sweet Dilemma
I took this photograph in one of those shops that could easily bankrupt anyone with a sweet tooth. The window was a theatre stage, and the protagonists were mountains of meringues, chocolates, and sugared confections, all arranged with military precision. The display was so perfectly composed it demanded to be photographed — though translating that abundance into a frame without losing the sense of order was a challenge in itself. I shot head-on, centring the display so the symmetry would hold the composition together. The large glass bowls act as visual anchors, while the pyramid of packaged goods in the middle draws the eye inward. Behind, two figures — the…
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Belgian Macarons
In Brussels, indulgence is not hidden—it’s celebrated, displayed like a jewel in a shop window. Here, two towering martini glasses overflow with macarons, their shells in perfect rows of pastel and jewel tones. Pistachio green, raspberry pink, lemon yellow, cocoa brown—each one a promise of texture and flavour, crisp edges giving way to soft, rich fillings. The composition draws the eye first to the abundance in the foreground, then to the warm wooden shelves receding into the shop’s interior. A figure in a red apron moves in the background, blurred but purposeful, the quiet curator of this edible gallery. The lighting is golden, not harsh, bathing the scene in the…
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Buying Chocolate
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Macarons. Again
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Belgian Hats
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Belgian Gloves
There’s a certain satisfaction in encountering a composition that seems to have arranged itself for the camera, as though the visual world conspired to present its colours and forms in perfect order. Belgian Gloves offers just that: a tight row of leather gloves, each perched on a mannequin hand, marching in a perfect gradient from cool blues through greens, yellows, oranges, and finally deep reds. It is at once commercial display and chromatic study. From a compositional perspective, the image benefits enormously from its frontal, symmetrical framing. By positioning the gloves parallel to the camera, the photographer creates a sense of order that invites the eye to travel along the…
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Ray-Ban in Milan
It’s not just about what sits on the roof—it’s about what it says without blinking. Shot in the heart of Milan, this image captures a building that has seen eras come and go, crowned by a brand that has spent decades convincing the world to look cool while blocking out the light. The lettering floats above the stone like graffiti gentrified by permanence. I framed the photo dead-on, as if to let the architecture and the logo negotiate their own contrast. The façade is neoclassical, orderly, almost too proud to wear an ad. But there it is—Ray-Ban—scribbled in neon above cornices and keystones, as defiant as it is inevitable. Black…
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Shaken
The frame is a study in disarray — not in subject matter alone, but in its very execution. The scene, taken on a busy street, is blurred throughout: the figures, the car, the elegant repetition of arches behind them. Whether caused by an unsteady hand, a slow shutter, or a deliberate choice, the result is an image where nothing stands still enough to become the focal point. Two figures anchor the composition: one in the foreground to the left, caught mid-turn, the other to the right, hunched over something in his hands. Their outlines dissolve into the tonal softness, denying the viewer access to facial expression or fine detail. The…
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A Waiter in via Sardegna
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Inside The Palace of Power
I took this photograph inside a government building, in the afternoon, when the corridors echo in silence and the light is all reflected memory. The image focuses on a phone—old-style, maroon, hanging uselessly from its hook—framed by dark wood panels and infinite reflections. It’s a cliché of power, really: opulence, silence, and an obsolete instrument of control. The technical conditions weren’t ideal. I had no tripod, the light was dim and uneven, and I was working with a handheld digital camera not built for low-light finesse. ISO had to go up, and with it came the noise. But I decided not to clean it. Grain, in this case, felt appropriate.…
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Table Dressing
