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The Flame is Still Burning…
I framed this image at the Altare della Patria in Rome, positioning myself low enough that the eternal flame rose against the statues behind it. I wanted the flame to feel alive, not simply ornamental, so I allowed it to breathe in the frame — neither perfectly centred nor clipped — letting the movement of the fire contrast with the stony immobility of the figures. Technically, it’s a shot about balance. The ornate bronze of the burner holds deep shadows and highlights, and getting both to read required a careful exposure, leaning slightly toward underexposing to preserve the flame’s detail. The sky was playing along that day, with just enough…
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An Essay on Light
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An Essay in Composition
I made this image out of defiance. The street was a mess of cars, headlights flaring, bodies moving — and instead of chasing sharpness or narrative, I stripped it down to pure visual rhythm. Defocused on purpose. Not by mistake, not due to speed, but as a choice to let form take over function. What remains is balance. The white beam on the right anchors the frame, violent in intensity, flaring just enough to fracture the blacks. On the left, the warmer tones — yellows, reds, soft reflections in polished metal — counterbalance with weight and curve. The centre dissolves into suggestion. Light, motion, nothing literal. The street disappears. Technically,…
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The Temple of Justice
From an elevated perspective, the grand staircase of the Italian Court of Cassation descends in perfect symmetry. Framed by neoclassical columns and lit by reverent lamplight, this space does not merely lead—it ascends, conceptually, toward the divine. The title, The Temple of Justice, is not metaphorical hyperbole, but a statement of function and form. This is not a courthouse. It is a sanctuary. Justice, as the image suggests, is not a secular procedure. It is a liturgy. It unfolds with rituals, vestments, invocation of higher powers, and the solemnity of faith. The robes, the benches, the altars of the law—these mimic the language of churches. And the Court of Cassation, the…
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Waiting for (Supreme) Justice
I took this while waiting, quietly, in Rome’s Corte di Cassazione—a place where silence isn’t just expected, it’s structural. Every arch, bench, and cornice feels designed to mute the outside world. What struck me wasn’t the grandeur (although the sculptural work is unapologetically ornate), but the emptiness. For all the architectural posturing, justice here is often a matter of waiting. The benches, scuffed and rigid, are the only human-scale elements in the frame. They sit below a frieze of muscular allegories and baroque pomp, a reminder of the institutional weight bearing down on the people beneath. The image is composed to reflect this—foreground arch framing the frieze, a horizontal band…
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Frames for Sale at Via Margutta
I was walking along Via Margutta when the geometry in this shop window stopped me cold. Two empty frames leaned against the glass, one upright, the other tilted sharply as though it had slipped out of formation. Behind them, more frames receded into the dim interior, creating an optical echo — rectangles within rectangles, stretching away into the dark. I shot it in black and white film, embracing the grain and high contrast that the low light demanded. The texture is almost intrusive, but it adds a grit that feels appropriate for a street scene late in the evening. Exposure was tricky: I wanted to preserve the fluorescent highlights inside…
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Hard Stare
Shot this on a sun-scorched afternoon with harsh overhead light slicing the scene into contrast-heavy planes. The man in the checkered blazer didn’t slow his stride, didn’t shift his glare. He simply walked straight into frame, embodying the kind of presence that turns candid street into psychological confrontation. The choice of film stock—contrasty and slightly expired—helped strip the scene down to its tension lines. Midtones were sacrificed in favour of stark lights and choked shadows, a deliberate trade-off to drive mood over neutrality. The image is overexposed in the background, the whites blooming around the tourist group like a visual buffer, pushing them back and letting him advance. Compositionally, I…
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What Could I Do?
Don’t be afraid to do a mistake, but fear its consequences… 失敗を恐れていません でも 結果を恐れて
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As Deep As The Ocean
Shot on high-speed film, probably pushed too far for its own good, this image leans unapologetically into its grain. That’s not a romantic defence—it’s noisy, and there’s no hiding it. But the grit serves the subject well. This isn’t a fashion shot, despite what the woman’s posture might suggest at first glance. It’s a street portrait in conflict, a moment of clashing worlds on a Roman piazza. She walks absorbed in her bag—her hands, her head, everything drawn into that black void hanging at her side. And then, almost dismissed by distance and shade, the three men sit slouched on the steps, in hi-vis trousers, watching. They’re not interacting, not…
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Multiple Peripheral Visions
This frame was shot instinctively—no time to refocus, no second attempt. What emerged is less a photograph than a study in misdirection. Every figure in this image is out of focus, yet the meaning is sharper than most high-resolution portraits. The scene plays like theatre. A soldier, heavily armed, stands at ease in the foreground. A woman in heels walks away, blurred into silhouette. In the background, people sit, smoke, talk, check phones. The corridor and its black door—dead centre, unnerving in its neutrality—stares back like a question. The sign reads “BALCONE DIPLOMATICO,” almost comical in its contrast to the ordinariness of what surrounds it. Technically, it’s a failure by…
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Carabinieri:To Serve And Protect
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Art Auction at Piazza Navona
Piazza Navona, with its fountains, baroque facades, and endless hum of voices, has always been more than a square—it’s a theatre. In this scene, the performance is one of persuasion. An artist, dressed for the chill in a beanie and heavy jacket, holds up a framed painting. His expression is animated, hand gesturing as he speaks, the stance of a man who knows he has only a few minutes to turn curiosity into commitment. Across from him, a young couple listens. The woman’s hand hovers near her mouth—hesitation, calculation, or perhaps simply the reflex of someone considering a purchase that’s more about emotion than necessity. The man, in his blue…
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A coffee at Saint Eustachio’s
Saint Eustachio is not a place for rushed photography. Between the crush of customers, the warm glare off the coffee machines, and the tight spaces, you’ve got to work with precision — and patience. Using the Fuji X-E2 with a Zeiss Planar 50mm f/1.5, I knew this would be a manual focus game. Autofocus would have been hunting in the low light, and besides, the Planar has a way of rewarding the slowness it demands. I focused carefully on the barista’s eyes, knowing that at f/1.5 depth of field would be razor thin. He was completely absorbed in his work, and I wanted that concentration to be the anchor…
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Action! (beware of Fuji X-Pro 2)
I’ve shot this picture with a Fujifilm X-E2 and a Zeiss C Sonnar T* 1,5/50 ZM. The split-image manual focus confirmation worked properly (though with a strong light it’s more difficult to handle it) and the resulting file in term of size and quality is fairly satisfying. Enter the X-Pro2 with a bigger resolution and new RAW format. While a 24 Megapixel APS-C sensor creates file that can be handled by most of the computer currently in place, the new RAW format will require the latest Photoshop CC/Lightroom update. So, if you chose not to enter into the mud of a subscription-based software licensing model, all of a sudden you…
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Sales Force
There’s an odd tension in this photograph — one that pulls you in before you’ve even had time to work out why. On the surface, it’s a straightforward shop-window scene: mannequins in carefully styled outfits, lit with that clinical precision that retail chains excel at. Yet the longer you look, the more unsettling it becomes. The composition is tight, almost regimented, with the mannequins arranged in military formation. Their identical, expressionless faces create a chorus of stillness, reinforced by the repetition of hair colour, pose, and stance. The red “ALDI” sign in the foreground slices into the frame with an almost aggressive verticality, its bold typography competing for attention with…
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Without Glasses @ via del Corso
I made this photograph in Rome on a wet afternoon, deliberately throwing the focus to the foreground while the main figures walked straight into softness. It’s not a mistake. It’s an exercise in perceptual ambiguity—what the world looks like when memory is sharper than vision, when emotion fills in the blanks that optics don’t. The Fujifilm X100s, with its fixed 23mm f/2 lens, let me shoot discreetly. I prefocused on the pavement, framed instinctively, and let the rest blur into suggestion. The couple—arms linked, shopping bags swinging, half-sheltered under an umbrella—aren’t anonymous; they’re imagined. Their presence is read through posture, not detail. Technically, it’s anti-precision. Depth of field was shallow,…
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Should I Buy It? (Best Taken With an 85mm)
…but actually with a 23mm (35mm equivalent, cropped.) It’s not just a shopping street. It’s a stage. Look closer: this frame holds a silent performance — a subtle interplay of desire, decision, and doubt. Three women stand just outside the warmth of the boutique, their eyes fixed on mannequins who, ironically, seem far more confident than the living observers. The mannequin inside strikes a bold pose, clad in red and certainty. The women outside? Bundled in coats, their body language somewhere between ambivalence and negotiation. On the far left, another kind of window. A glowing child’s fantasy, plastered with Disney’s “Frozen” — a reminder of simpler times, when wanting something…
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The Watchman (Street-Photography Shortcuts)
As every thing under the sun, Street-Photography too has its own shortcuts: freaky street-portraits are one of those. It’s easy to have your pictures noticed when your subject is a 60-years old Brit-Punk, an implausible-color dressed man or whatever alike: these subjects do the work on your behalf and it is very hard to obtain such kind of picture AND conveying actual meaning. Personally I like photos that – alone or made meaningful by a title – can tell a story. This way I can try to (pretend to) make “unique” shots, that stand with dignity in front of the zillions of 500px/Instagram/Flickr’s great images that are often perfect but…
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True Leather (Saved by Photoshop’s Crop)
A 35mm focal length is definitely much too wide for my kind of street-photography, but I must admit that the advantages of using a Fujifilm X100s in terms of efficiency and portability, beat any other issue related to the wideness of the lens. And the X100s’ resolution is good enough to obtain a good composition through Photoshop’s crop feature.
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Fujifilm X-Pro 2: Does It Worth It? (Lost In Via Del Corso)
As a Fujifilm camera early adopter (during time I got the X-pro 1, X100, X100s, X-E1 and X-E2) I was waiting for the X-Pro 2 to come and when that finally happened I didn’t feel so compelled to trash my (now) old cameras to do the switch. Long gone are the days of GAS (Gear Acquisition Syndrome), so I shall not buy this new piece of electronics because it doesn’t do anything that I can’t do with my actual set up (in particular, with the X100s and the X-E2.) The only actual point of interest, to me, are the dual-slot card and the weather sealed body: but I never needed…
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A Nikon’s Portrait Made With a Fuji
A Nikon camera strap curls into the lower left of the frame, its familiar yellow letters unmistakable to anyone who’s ever held one. Yet the photograph itself was taken with a Fujifilm—a quiet, almost private joke between photographer and viewer. The rest of the image leans into misdirection. The camera is not the subject, at least not in the obvious way. Centre stage belongs to a pair of hands opening a quilted leather handbag, rings catching the light, fingertips poised in the act of searching or arranging. The fabrics, textures, and colours—matte grey, deep burgundy, soft velvet—compete gently for attention. The Nikon strap rests there almost incidentally, but of course…
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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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Priority Pass Lounge at Fiumicino Airport
A black leather sofa sits squarely in the centre, its creases marking years of passengers waiting, resting, or passing time. In front, a glass table reflects the curved lines of the airport ceiling above, while a remote control lies to one side, a small symbol of temporary control in a transient space. The setting is clean but impersonal, designed for comfort without intimacy. Composition is frontal and symmetrical. The sofa occupies the full width, anchoring the frame, while the table stretches forward as an intermediary between viewer and seat. Depth is layered by repetition: another sofa behind, a lamp, wood-panelled walls. The geometry enforces a sense of order, reinforcing the…
