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@Rome Maker Faire – 5. Pensive
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@Rome Maker Faire – 4. The Hands Controller
This photograph came from a fleeting moment of curiosity—small hands interacting with a larger idea. On the tablet’s bright display, a robotic hand glows in cool, almost clinical blue, juxtaposed with the warm, human fingers controlling it. The setting was a science exhibition, the kind of place where technology and wonder mingle in the air, and where gestures can bridge the gap between imagination and mechanics. From a compositional standpoint, the frame is tight and deliberate. The cropped view keeps our focus locked on the hands—both human and mechanical—without distraction from the surrounding environment. The diagonal placement of the tablet brings energy to the image, preventing it from feeling static,…
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An Old Portable Camera
I didn’t stage this. The camera was already set up for a workshop in the park, a portable wooden box on a tripod, complete with focusing cloth and a ground glass screen. What drew me wasn’t the device itself—it was the reaction it triggered. The boy shielding his eyes, squinting into the past through a lens designed long before smartphones flattened photography into a gesture. The composition is dense in its centre, almost chaotic with overlapping limbs and sneakers. But the tripod anchors it. The machine, primitive and precise, holds its ground in a circle of discovery. I kept the perspective low and frontal to emphasise its presence as a…
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@Rome Maker Faire – 3. Stare Of The Mechanical Man
I’ve always been fascinated by that moment in an exhibition when human curiosity meets mechanical indifference. In this frame, the robot’s gaze — fixed, almost expectant — seems to cut through the bustle of the Maker Faire. There’s a quiet in its stare that stands in stark contrast to the crowded, noisy energy of the scene. I chose to let the human operator stand slightly behind the machine, not in front of it. This composition allowed the robot to dominate the foreground while still including the person who, ironically, brings it to life. The presence of an out-of-focus head in the bottom left was a conscious choice to keep the…
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@Rome Maker Faire – 2
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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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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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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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Though Choice
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Square Three
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What Are You Looking At?
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Square Two
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Square One
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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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Still Standing
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Zebra Crossing
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Street Food in Via Salaria
A Chestnut Maker, making everything ready for another day of hard work.
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Shoes’ Meeting in Corso Vittorio
The tension lies in the simplicity—two halves of two lives crossing paths on a Milanese sidewalk. One steady, slow, anchored by age and rhythm; the other urgent, purposeful, briefcase in tow. The small dog peering from beneath the skirt becomes the silent witness. It adds a twist, a subtle distortion to an otherwise linear narrative. Compositionally, I framed low and tight, avoiding faces deliberately. I wanted the shoes, the cane, the movement—or its absence—to speak. Technically, the image pushes no boundaries. The exposure was conservative. Natural light softened by overcast skies made for even tones, no harsh shadows. Colours are muted, the teal jacket doing most of the visual lifting.…
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A Toilet of the Court of Rome
This image wasn’t taken to shock, or to moralise. It was taken to document—to observe the banal degradation of a public space that ought to represent dignity, order, and functionality. The Court of Rome is not some anonymous bureaucratic annex. It’s an institution, a symbol of authority. And this—this corner of neglect, dirt, and rust—is part of its daily mise en scène. The frame is unadorned. The composition is split by a hard vertical: clean white tiles with a wall-mounted sink on the right, and a long, filth-streaked heating unit under sealed windows on the left. It’s the juxtaposition that struck me—two realities in the same room. One part designed…
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Scarf’s Meeting
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Windows XVIII … Century
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