-
Landing
-
A Skateboarder
I took this shot with a long lens, standing just far enough back to flatten the scene and compress the zig-zag of the bike lane into a graphic, winding ribbon. What drew me to the moment was the contrast between the physical tension of the skateboarder’s posture and the rigid lines of the urban environment. He’s caught mid-shift — arms out, knees bent, entirely present in his balance. No theatricality, no posing. Just rhythm and gravity. The geometry of the path worked as an unintentional compositional gift. The white lines, curved rails, and signage almost funnel the viewer’s attention into the skater’s hunched figure. A classic leading-lines scenario, but more…
-
Barbarians At the Beach
Early in the morning, before the usual hum of the seafront returned, the marks left behind during the night were still untouched. The beach, normally a place defined by wind, tide, and human leisure, had been overwritten by the heavy, mechanical tracks of off-road vehicles. What should be a natural surface shaped by the sea had become a blueprint of careless intrusion. The lines in the sand tell their own story. They are not the soft curves left by a bicycle or the faint imprints of footsteps. These are deep, forceful grooves—parallel, looping, intersecting—carved by weight and speed. They cut through the beach in patterns that have nothing to do…
-
The First Picture of the Year
The year opens with a frame caught mid-step — a street scene suspended between the casual and the cinematic. The woman in the leopard-print coat commands the foreground, her figure sharply rendered against the soft haze of the street beyond. Her presence is decisive, yet she faces away, offering no expression, only movement. The background melts into a gentle blur, two figures walking arm in arm becoming silhouettes of intimacy. The shallow depth of field works well here: the compression between crisp foreground and ghosted distance draws the viewer through the frame, making the eye travel naturally from the coat’s texture to the vanishing point of the street. Technically, the…
-
A Dislodged Portal
You could almost believe it leads somewhere else. This underpass, lit by flickering overhead fluorescents, scrawled with fading graffiti and ghosts of giant figures, feels like more than just a tunnel beneath a road. The perspective pulls you in—too straight, too narrow, too symmetrical. It’s like a set from a film, a visual trick, or the first frame of a story that never quite explains itself. I waited until someone walked through. One silhouette, small against the scale of concrete and steel. And in that moment, something shifted. The far end of the corridor—dim and red-lit, where bike lights blink behind glass—looked like a portal. A threshold. The kind of…
-
School of Mathematics@Sapienza University of Rome
I composed this shot knowing it would live or die by its symmetry. The rationality of the architecture demanded nothing less. Sapienza’s School of Mathematics sits like a theorem etched in stone—precise, functional, stripped of excess. Guido Castelnuovo’s name anchors the frame, a reminder that mathematics is not only numbers, but legacy. The format is tight, frontal, and unforgiving. Every vertical and horizontal line had to be clean. A small tilt would’ve betrayed the sense of order. I waited for the man to step into the doorway—not to animate the structure, but to punctuate it. His relaxed stance, paper in hand, slightly breaks the formalism of the façade. A human…
-
The Solitude of Power
In this staged tableau, a single white king stands isolated at the centre of a chessboard, surrounded by a dense perimeter of pawns, bishops, rooks, and knights—black and white alike. The visual symmetry is precise, the tension deliberate. It is a composition that speaks of power, but also of its limits. The king is both the most important and the weakest piece on the board. Its capture ends the game, yet it is immobile without protection. The title, The King’s Solitude, plays on this paradox: the sovereign stands alone, sovereign yet vulnerable, elevated yet exposed. In the context of international relations, this image evokes the precarious nature of leadership on the…
-
Das Feuerwehr
Stark light and harsh shadow are unforgiving companions. I leaned into both for this frame, shooting handheld at night on cobblestone soaked in sodium glow. The word FEUERWEHR — fire brigade — is scrawled vertically in bold white across the pavement, its urgency subdued by silence and stone. I chose to skew the perspective intentionally, aligning the top-right vanishing point with the guardrail and letting the painted letters lead the eye back into the void. There’s no subject in the conventional sense — no figure, no action. Just trace elements of human systems and warnings against an absence. Technically, this is an image pulled from constraint. Low light meant pushing…
-
Seats
-
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…
-
Even
-
Under The Bridge
Thank to its architecture, Stockholm is a very good place to shoot modern pictures. ストックホルムは現代の写真を撮るには良い場所です
-
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…
-
Trespassed
-
Stripes in B&W
-
Horizontal
I was walking past this building when I noticed how the afternoon light chiselled into the façade, pulling out volume from what is, in essence, a flat geometric rhythm. The composition demanded no embellishment — the image resolved itself into horizontal bands almost on its own. I didn’t crop for symmetry; I simply took the time to level the camera and wait for the shadows to deepen just enough to add a graphic weight. What you see is pure form. No context, no clutter — just tone, line and light. It’s often said that black and white photography strips away distraction, but in truth, it doesn’t simplify. It sharpens. Here,…
-
Rectangles
-
A Fence
What drew me to make this photograph was not the fence itself, but the way it interacted with the geometry behind it. The wire grid overlays the diagonal of the concrete stair and handrail, creating a tension between rigid containment and directional movement. The eye wants to follow the slope upward, yet is repeatedly interrupted by the vertical and horizontal bars in the foreground. In terms of composition, the alignment was deliberate. I positioned the frame so that the grid sat almost perfectly square, avoiding converging lines that would soften its structural authority. The diagonal cuts through the otherwise orthogonal arrangement, introducing a dynamic that stops the image from becoming…
-
Parallels & Diagonals
This blue-hour cityscape hinges on strong linear perspective: the elevated bridge on the right and the riverbanks on the left converge toward a distant vanishing point, pulling the eye cleanly through the frame. Warm street and architectural lighting contrasts with the cooling sky, creating a balanced teal–amber palette that suits twilight urban travel imagery. Reflections are the picture’s quiet engine. The river reads as a central corridor of light, with elongated highlights from lamps and windows forming a measured vertical rhythm that steadies the scene. Moored boats along the right bank add human scale and texture, preventing the infrastructure from becoming purely monumental. The exposure favours atmosphere over clinical sharpness;…
