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Happy New Year
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Unkempt
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Lost in Le Puglie
There are roads in Puglia that don’t go anywhere fast. This was one of them. Shot from behind the wheel, somewhere between nowhere and nowhere else, I caught this image of a slow-moving tractor framed by empty fields and a sky too wide to hold. The road is narrow, uneven, old—but it doesn’t complain. Like most things around here, it does its job without fuss. The light was gentle, just after afternoon, slipping into that moment where colour fades softly rather than drops off. The greens were still sharp, the sky leaning pale toward evening, and everything felt settled. No drama. No rush. What drew me in wasn’t the tractor…
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Perfectly Framed
Shot mid-morning, full sun. The geometry did the work before I raised the camera—white steel structure aligned perfectly with the vanishing line of the tiled path. I didn’t move to exaggerate it. I centred and waited. The figure stepped into place on her own. No staging, no instruction. The image hinges on alignment. Horizon dead flat. Frame edges square. The walkway pulls the eye through sand to sea, leading to the human anchor: black silhouette, back turned, red scarf cutting the blue. She’s secondary in scale but critical in balance. Focus was locked on the frame structure. Aperture at f/8 gave enough depth to keep the figure and horizon legible…
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@ Mediterrean Beach Games 2015 – Italian Beach Soccer Team (and a primer on sport-photography, part 4)
Part 1 – Intro, Before the event, getting your media pass Part 2 – Before the event, having your media pass working for you Part 3 – During the event, get ready for the show 2 – How to choose which event attend to Possibly the most difficult thing to handle in multi-competition events is how to select the sport and the stage (qualifications, semi-finals, first-second place final etc.) Unless you’re working for a specific team as its official photographer or asked to mainly portrait sponsor’s banner (yes, this happens in sport-photography: athletes are just a way to channel the eyes on a chocolate bar or a bottle of wine),…
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@ Mediterranean Beach Games 2015 – Italy Beach Soccer Team’s Goalkeeper (and a primer on sport photography, part 2)
2 – Have the media pass working for you Part 1 of this primer dealt with the topic “Getting Your Media Pass”. Now is the time to use it properly. a – Meet the media-manager and participate to the technical briefing (or anyway get the relevant information about the competition) If the competition is big enough, chances are that the organizing committee has appointed a media-manager in charge of handling all the issues related to broadcasting services and photographers. You definitely need to talk to him as early as you can, to get: your numbered “photographer jacket” (often needed to access the competition fields), a leaflet with all the relevant…
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Roots On The Roof
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Lunar Network Or Snowy Mountain?
This image was made at high altitude, but it could have been taken on the Moon. That’s what initially drew my eye: the surreal minimalism of these snow-covered slopes interrupted by a line of utility poles, stretched tight against the vast emptiness. The illusion of a lunar landscape is heightened by the total absence of sky detail—pure black, a void—and the almost abstract texture of the snow, exaggerated by strong directional sunlight. The decision to shoot in black and white came naturally. Colour would have been a distraction from the harsh geometry, from the juxtaposition of natural emptiness and imposed structure. Each pole, evenly spaced, is both part of a…
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Rusted Platform
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A Lonely Table
I took this photograph through a glass window — not by oversight, but with full intention. The resulting layers were unpredictable, and that was the point. The sea outside, the perfectly set table inside, and the accidental human form reflected between them, all merged into a single ambiguous frame. At first glance, it’s just another seaside restaurant, waiting for guests. But spend a little time and the structure begins to unravel. The light played into my hands: late afternoon, strong enough to shape the objects on the table, yet soft enough to allow the reflections to register without dominating. The glass acted both as barrier and canvas. What you’re looking…
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Last Wing Down
On an empty stretch of beach, a solitary sculpture rises against the horizon. It is the shape of a wing, its skeletal frame curved into an abstract S, crowned with a weathered propeller. It whispers of endings: of aircraft grounded forever, of journeys cut short, of stories that no one remained to tell. The black-and-white tones of the image deepen the sense of time suspended. Without colour, the scene feels like a fragment from the past, a memory caught in the salt air. Waves curl and break in the distance, indifferent to the monument on the sand. The tide comes and goes, as it has long before the flight this…
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Between Sea and Sky
This frame was taken from the window of a descending flight—a rare moment when clouds, coastline, and light lined up like a deliberate composition. What I saw wasn’t dramatic, just elemental: water, air, light. That was enough. I chose monochrome not for effect, but for clarity. In colour, the image lost its cohesion—too many tonal distractions in the blue ranges, too much softness in the sea. Stripping it to black and white revealed a quiet structure beneath the atmosphere: horizontal bands of texture, density, and reflection. Technically, the image stretches the limits of what you can get through a scratched plane window and turbulent light. The glass wasn’t clean, the…
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Red Dot
Some images announce themselves with complexity; others with quiet restraint. This one does so with a single point of vivid colour—the red hat—set against a palette of muted sand, sea, and sky. It’s a study in minimalism, yet it avoids sterility. The human figure, bent slightly forward, and the small dog at their side bring a sense of companionship to an otherwise expansive emptiness. Compositionally, the frame is built on horizontal layers: foreground sand, a band of ochre beach, the blue strip of sea, and a pale sky. The subject stands almost dead centre, which in some contexts could flatten the dynamic, but here it serves to anchor the eye…
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Hanging
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An Open Gate
On a cold, colourless morning in a deserted lot the rain had just stopped, and the air was still heavy with moisture. The open gates, rusted and leaning slightly outward, looked like punctuation marks in a sentence no one was reading anymore. The puddle between them mirrored a sky stripped of light — the kind of silence that asks to be photographed.
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A Panorama
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Pouring Water Since About 300 Years
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A Rural View
The photograph frames the landscape through layers of architecture. Brick columns, wooden beams, and the shadowed floor lead the eye directly to the opening in the centre, where chairs and a table sit quietly against rolling hills. The space becomes a proscenium, turning countryside into spectacle, an everyday view into a staged scene. Composition is strict, almost symmetrical. The vertical columns create a grid that anchors the image, while the open middle draws attention forward. The empty chairs, evenly placed, act as stand-ins for absent viewers, inviting the gaze outward. Depth is built in three stages: the shaded foreground, the architectural frame, and the brightly lit landscape beyond. Technically, exposure…
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Pavement
Look down. That’s where the history usually hides. This photo was taken not for what it shows, but for what it holds: time, pressure, order, and the slow, quiet work of weather. Pebbles set into concrete. Bricks pressed into place. Moss finding the lines and growing into them without permission. There’s nothing dramatic here—no subject in the conventional sense. Just texture and pattern and subtle, lived-in contrast. Whites, greens, browns, a bit of erosion, and a soft blue cast that comes from early evening or maybe reflected sky. A patch of street that thousands have stepped over without ever seeing. Sometimes photography is about finding the unnoticed—framing a space so…
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Billiard On The Field
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The Chicken
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TicTacToe
There’s a curious satisfaction in photographing something utterly ordinary and discovering that it holds more visual weight than you’d expect. This playground tic-tac-toe frame caught my attention not because of its intended purpose — a children’s game — but because of its worn, slightly battered state. The fading X’s and O’s spoke of countless small hands spinning those yellow cubes, of games that probably never reached a conclusion before someone was called away for ice cream or a turn on the slide. I framed it dead-centre, allowing the game board to occupy most of the image, boxed in by the green plastic casing. The symmetry gives the photograph a formal,…
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A Standup Paddleboarder
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Mussels Underwater…
