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Footprint
Still… wideing.
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Do Not Disturb the News Reader
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Blowin in the Wind
Hopefully, he shouldn’t fall on the ground…
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Let’s get the party started…
Fishing boats have a way of announcing themselves well before they reach the harbour wall. The sound of the engine carries over the water, but it’s the birds that really give them away — a moving cloud of wings and calls, circling, swooping, waiting for the scraps that will inevitably be thrown overboard. This shot catches the “Nuova Zita” in that precise moment of return, driving straight toward me, bow cutting through the water, foam rising in a perfect V. I chose a dead-centre composition, a choice some might consider too rigid, but here it felt essential. The boat’s symmetry — red trim framing the white hull, the vertical mast…
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The Hasselblad Way
As the readers of this blog know, I seldom talk about gear because since the very first post on this blog I made a point of stay focused on (shooting) pictures instead of musing about pointless technicalities such as Camera A vs Camera B ISO performance, Lens X vs Lens Y sharpness, APS-C vs Full Frame and so on, but today I do an exception because of an old Hasselbld 500 C/M that I have been given to try (and that probably will buy.) There is only one way to shoot with a Hasselblad: following its rule. The film has to be loaded in a certain way, the magazine…
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Landed
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The Seagull’s Rest
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An urgent phone call?
Using a tele (200 mm) allowed me to take the picture but the long focal didn’t separate the planes as a 50 mm would. Truth is that – in these condition – I would hardly have been close enough to obtain the visual effect I was looking for, but the alternative was not to take the shot at all.
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The Day After The Tide
After the tide, the river comes back to normality, while the boatmen account for the damages. I waited for the light to fall low enough to cut across the hulls and expose what the flood left behind. This isn’t a storm photo—it’s what follows. Boats grounded sideways, lines tangled, some afloat, some tilted into the banks. Nothing dramatic. Just consequence. Shot from the opposite bank with a 300mm telephoto, compressed enough to layer the damage. The image stacks: river in the foreground, boats mid-frame, wreckage and crane behind. The eye bounces between verticals—poles, masts, supports—and diagonals—listing decks and snapped canopies. It’s cluttered by design. Recovery never looks clean. Exposure leaned toward…
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Holding Against the Tide
Time was running short and felt compressed. The tide was coming in faster than expected, and the sailor’s movements had lost any trace of routine. Urgency reshaped posture, gesture, and balance. The man is bent forward, his body pulled into the rigging as if negotiating directly with the boat rather than controlling it. His grip is firm but not elegant. There is no choreography here—only necessity. The frame excludes his face entirely. The choice was not deliberate, however it didn’t matter, since identity is secondary; what mattered was the physical negotiation between human weight, rope tension, and a changing shoreline.
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When the Tide Recedes
This scene struck me as more than just a visual curiosity—it posed a question. What doesn’t belong here: the boat or the car? The early evening light had just enough character to lift detail off the flat grey of the pavement and tease texture from the bark of the bare trees. The DA 50-135* handled the compression beautifully, allowing me to frame the boat prominently while holding the background activity—a fire truck, scattered people, and that lone parked car—in a shallow but still informative focus plane. I appreciated the restrained dynamic range of the K-5’s APS-C sensor here. The muted palette lends the image an autumnal melancholy, without needing the…
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So What?
Does anybody come to help me?
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The Sinking Giant
When I first looked through the viewfinder, it wasn’t just the subject’s size that struck me — it was the sense of resignation it carried. Whatever this structure had been, it now stood (or rather leaned) as a monument to time’s slow, unrelenting work. The corrosion, the flaking surfaces, the subtle but undeniable tilt — all of it spoke of something once imposing now quietly giving way. I decided not to centre it perfectly in the frame. Shifting it slightly off-balance seemed to amplify that uneasy lean, letting the structure’s weight and weariness spill into the empty space beside it. I wanted the composition to feel as though the giant…
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Under the Bridge
Here I am again with a video…
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Good Manners
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Wave Riders
I took this photograph on the beach beneath the Ponte del Mare in Pescara. The scene is divided between the monumental line of the bridge and the human scale of two kite surfers preparing their gear. The composition works by contrast: the rigid geometry of steel cables and concrete arcs against the fluid, improvised forms of sport and sand.
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In a yellowtone…
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Parachute
Didn’t have a wider lens, so I got the most interesting part of the frame…
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L’estate sta finendo…
L’estate sta finendo (the Summer is going to end) sang and old tune by The Righeira. It might have been a carefree Italo Disco anthem, but here its title feels almost literal. In this image, the end of summer is measured not in falling leaves, but in the silent rows of yellow sunbeds—upright, slightly askew, ready to be cleaned and stored. The repetition of form is the photograph’s backbone. Eleven chairs (or nearly so—one is cropped out on each side) form a neat yet imperfect line, their bright fabric glowing against the more muted tones of the stone and the soft grey-blue sky. The high-key yellow works almost like an…
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The Lifeguard’s Tools
This image was taken on a humid Adriatic morning, before the sun had made its way through the marine haze. The beach is empty, save for the standard equipment of Italian stabilimenti: a stack of white plastic loungers, a faded parasol, and a time-worn pedalò parked like a stranded vessel waiting for a purpose it hasn’t had in years. The scene centres on a lifeguard, though not in the dramatic or muscular sense the word often evokes. He stands waist-deep in the still sea, just off a sign that likely warns swimmers of a drop-off or prohibited zone. His posture is unremarkable—calm, passive, perhaps resigned. And yet, that mundanity is…
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Gotcha!
It was the contrast that caught my eye. A man stands knee-deep in the Adriatic shallows, focused, precise, moving a small blue net through the water like he’s brushing dust off glass. He’s working under the shadow of a trabocco—a towering wooden fishing machine, all cables and beams, designed to drop massive nets and haul in fish by the hundreds. The kind of structure that speaks of industry, tradition, scale. But here he is. Alone. Shirtless. Waist-deep. Fishing by hand. The second frame pulls back. You see it all—the full span of the trabocco, its arms stretched wide like a maritime cathedral. And at the base, dwarfed by design, the same man…
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Uncertainity
Photographs taken in urban dockside environments often carry a layered narrative—of industry meeting leisure, of movement paused, of a city’s arteries stretching both above and below the waterline. This image, with its juxtaposition of a small, worn boat in the foreground and the sweeping, multi-tiered bridges beyond, encapsulates that tension between the static and the dynamic. From a compositional perspective, the wooden railing in the foreground frames the lower half of the image, anchoring the scene and guiding the viewer’s gaze towards the boats. The man standing by the rail, casual in stance and attire, adds a human scale that balances the massive concrete structures above. His positioning—turned slightly away…
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Early Morning Shaving on The Beach
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A Lost Towel
No one around. Just sun, sand, and something left behind. The beach was empty when I passed through—early or late, hard to say—but this towel was there, alone, crumpled and vivid. Its colours refused to blend in: yellows, reds, a printed image of something once meaningful, now half-folded by the wind. It didn’t look forgotten. It looked abandoned. What caught my eye more than the towel was what surrounded it: tyre marks, footprints, all criss-crossing paths layered into the sand. As if everyone passed by but no one stopped. It felt recent, but not urgent—like whoever left it didn’t mean to come back. The shot came together quickly. Low angle…
