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Relentless – A One Shot Story
When in Tokyo, I don’t go to Shibuya unless I have a specific errand to run. Least of the usual ‘things are not what they used to be’ lament, the place never struck me as it deserved more than a cursory glance. This time, however, I had a specific photographic objective: to capture the Shibuya backdrop, i.e. things and people that keep the place running ‘smoothly’ which are in plain sight but go unnoticed by tourists, residents and passers-by. Crowd management and safety control are two such things.
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Don Giovanni@Teatro Marrucino
Yesterday night I was on the (back)stage of Teatro Marrucino for the premiere of Mozart’s Don Giovanni. Director Paul-Émile Fourny had a brilliant idea: to portray Don Giovanni as a vampire. This choice was essentially coherent with Don Giovanni’s ‘predatory’ attitude, while maintaining a visual style for the mise en scène that was consistent with the time in which the story was set. The lighting design by Patrick Meeus and the video design by Mario Spinaci created a dark overall mood without losing the play’s main characteristic: the alternation between drama and humour.
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Saturday Night Fight Fever
On October 18, I was ringside to shoot the European Boxing Union‘s female super-lightweight European title fight. The crown vas vacant and the two contenders were both Italians. Silvia Bortot, a former two-time European champion, and Sonia Fracassi, the Italian champion. The match was pretty intense. All along the 10 rounds of the bout, Fracassi put her opponent under a great deal of pressure, and she responded with equal energy. Ultimately, Bortot emerged victorious. However, the close referee scores (96-95, 96-95 and 97-93) show that the two fighters were closely matched, and that Fracassi could have won if she had thrown a few more punches, or if the match had been…
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A Few More Shots From An Urban Exploration Trip
Hip-hoppers and skateboarders are often seen together in many urban landscapes. Actually, these performing arts come from different US social and geographical milieus. However, in a world where different paths of life, cultures and traditions matter less and less, and everything is a ‘fusion’, this doesn’t look like an issue. So, while wandering around in search of some subject to test a 50mm Summicron M mounted on a Fuji X-T4, I was fortunate enough to kill two birds with one stone.
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Gravity on Pause
This a casual shot taken while I was wandering around without actually thinking about taking photographs. Setting aside the photographic quality of the image for a moment, I was amazed that it looks far better in black and white than it did when it was initially shot in colour.
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Al Di Meola, Peo Alfonsi, Sergio Martinez – Live @ Teatro della Villa Comunale – Roseto degli Abruzzi
Last night I “covered” the Abruzzo leg of Al Di Meola’s tour, where he performed in a trio with Peo Alfonsi (second guitar) and Sergio Martinez (percussion). As a musician, I wore out the vinyl records of his albums through sheer use, and I later met him over twenty years ago when I acted as his interpreter during a tour with Chris Carrington and Arto Tunçboyacıyan—the World Sinfonia Tour, which marked his acoustic turn after epic electric albums such as Elegant Gypsy, Casino, and Electric Rendezvous. Work aside, it was a pleasure to see him again and exchange a few words, even if, understandably, he couldn’t remember anything about that past meeting. The gallery…
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Inside a Master Luthier’s Workshop
Craftsmanship is fascinating. It’s almost magical how we can see things in our head and make them happen. This is true for every bit of wisdom that humans have come up with, but musical instruments – and guitars, in particular – are among the best examples of this skill. There’s nothing more unnecessary than music and musical instruments, but we —well, at least many of us— can’t live without them. So, it comes naturally to those who enjoy an active relationship with music to begin learning how to play an instrument and, therefore, to become familiar with the technical side of the story. This is why, sooner than later, one…
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On Tips’n Tricks to ‘take you photos to the next level’
I recently asked a friend, who works on the editorial side of the music industry, to share his thoughts on one of my photographs taken during a flamenco concert. His response was a deep and thorough analysis, which I will spare the readers in full. In brief, however, he praised the lighting as particularly effective for flamenco photography, noting how the chiaroscuro effect recalls the classical paintings of Caravaggio. Regarding the composition, he observed that the bailaora’s body fills the frame dynamically, without ever feeling cramped. In his conclusion, he remarked that the image captures the very soul of flamenco. As flattering as this commentary was, I must admit that none…
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DSLR-like…?
I decided to write this post after having stumbled across the next ethusiast review of a smartphone published on a reputable magazine, claiming that the device can deliver ‘DSLR-like’ photos. In fact, as is often the case with ‘camera experts’ who work for a magazine or earn money by posting videos making funny faces on social networks, it was just a rewrite of the manufacturer’s product specifications and promotional material. There are few things, in photography, I dislike more than than these ‘DSLR-like’ claims made in the advertising of smartphones and compact cameras because ‘DSLR-like’ is the archetype of a meaningless statement made to lure people into using an arbitrary benchmark…
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A Night at the Opera – Plays and Opera Photography
This is an abbreviated version of a talk I gave to a local chapter of the Italian Federation of Amateur Photographers (FIAF) on the challenges of photographing in a Teatro all’italiana environment. A word to the wise: this post has just a few pictures because it talks about what happens behind the camera and not about what happens in front of it Initially published by 35mmc.com To approach professional photography in Italian-style theatres, it is essential to understand and deal with a series of difficulties and critical issues that characterise this particular environment. The Italian-style theatre, with its architectural structure, lighting layout and show dynamics, imposes a series of technical and…
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Gioacchino Rossini – La Cenerentola@Teatro Marrucino
This is part of a reportage I did on December 13, 2024 for the Teatro Marrucino in Chieti (IT) during the performance of Gioacchino Rossini’s La Cenerentola. Gear: Fujifilm X-T4 and X-T5 cameras, Fujinon XF 18-120 F4, 7-Artisans 35/0,95 X-Mount Find out more at https://andrea.monti.photography
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Portraits in Skating
In sports photography, portraits are as important as snapshots of crucial moments such as a win, a loss or an unpredictable event, for they are an excellent way to capture the humanity of the athletes, often and mistakenly seen – especially in high-level competitons and before the start – as soulless cyborgs. Initially published on 35mmc.com The very first moments after the game is over are a gold mine. Athletes are still full of adrenaline and eager to discuss their performance with their teammates. Before they shower, before they change into normal clothes, before they return to ordinary life their focus is on what went right or wrong. And when…
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The Stupidity of Being Stubborn
I knew exactly that I was going to fail, but I did it anyway, irrationally thinking that for some not well clear reason the law of physics and optics could be defied by the sacred mission of the photographer. Thus, contrary to basic common sense, a few weeks ago I brought a Nikon 35TI loaded with a Ferrania P33 (ISO160) to a jazz manouche concert of the Tchavolo Schmitt trio at the French Embassy in Rome. The outcomes, as it was easy to predict, were just (euphemistically) poor – Initially published on 335mmc.com Let’s start with a test shot to ascertain if there was some issue with the hardware: Apart…
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Shooting Historical European Martial Arts (HEMA)-like Events
Historical reenactments are everywhere, and the volunteers who keep alive the memory of our past deserve our highest praise. Along with pure re-enactments, where the fate of the participants is already predetermined by history, and HEMA, where athletes compete using European weaponry and armour, there is a middle-ground discipline that is gaining momentum in Italy: Sport Reenactment – Initially published by 35mmc.com In short, SR players take part in reenactment events wearing faithful replica of the coats and arms of ancient Italian, Greek, Celtic and German tribes. But they also meet in forests and mountains to fight following a ruleset but without knowing in advance who is going to win. The…
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Learning to Shoot Boxing Matches
Taking pictures in a boxing gym during regular training is a unique way to learn to understand when ‘the moment’ – a hit, a miss, a bob or a weave – is coming and develop an instinct for composition – Initially published on 35mmc.com This is important for two reasons. Firstly, as always with sports photography, you need to know the discipline you want to shoot and practice different options. But, in a classic Catch 22, if you don’t attend a fair number of bouts at ringisde, you won’t know the discipline and learn how to photograph it. Spending time in a gym, then, is the best second best option…
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Photography and the Importance of a Proper Training
In photography, among the various activities falling under the ‘preparation’ label, training is oftend underevaluated. Just as many newcomers to the world of guns think that buying expensive equipment will make them better shooters, many photographers think that mastering a bunch of exoteric camera settings will be enough to get decent pictures. This is summed up in a common piece of advice to novice shooters (of both guns and cameras): get out there and shoot. Results will just happen. I have nothing against a ‘Zen’ approach to things, based on instinct and intuition, but my Western, Benthamite mind does not allow me to forget that preparation is necessary to achieve…
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Actors, Autumn, B&W, Bruxelles, Colour, Daily photo, Fighters, Fighting Disciplines, Photography, Spring, Summer, Winter
What Does ‘Professional’ Mean in Photography?
Pro’ is the photographer’s blessing and curse. It is the status we all – well, many of us – aspire to. It is the marketing gimmick created by the exploiters of the Gear Acquisition Syndrome to make people believe that tools make the craftsman. ‘Amateur’, on the other hand, is a word associated with casual photographers, ‘wannabe’ artists, and people who want to make you believe that tools make the craftsman. I have always been unconvinced that such a difference exists, at least in the general meaning associated with the words ‘pro’ and ‘amateur’, and in relation to the idea that the equipment used or the quality of the shots…
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Pentax – In Praise of Usability of Cameras and Lenses
The Internet is full of columns and videos about why ‘I left brand X for brand Y’, magnifiying this or that ‘new feature’ that forced a photographer to ditch his previous setup in favour of a brand new one. Sometimes there is a genuine motivation behind such a choice, sometimes – often – it is just a clickbait set up by the need (or hope) to monetise a piece of content published on a social network. This long introduction violates the golden rule of journalistic writing – tell the reader what’s the matter in the first paragraph or so – but it was necessary because this article is exactly that:…
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Nagasaki Biker
Sometimes carrying a camera with a slow autofocus, slow shutter and low ISO can be a hindrance. Had I had a better camera and a faster film, this photo would have been much better.However, it is the eye that is to blame, not the old Nikon 35TI. I realised too late that what I was looking at could have been an image and had to react within a few seconds. In those conditions, the camera did what it could, but if I had been aware of my surroundings, I would have been ready at the right moment. So I paid the price for my bad habit of relying on gear…
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Different Stories
Taking ‘static’ pictures, such as those of buildings and other architectural structures, can be quite challenging, as it is easy to fall into obvious, already seen compositions that rob the shot of any individuality.One of the things that can make an otherwise dull image more interesting is the presence of some kind of action that blends in with the stillness of the environment.In this case, the woman on the phone is in exactly the same position as the model on the billboard. Only they are telling two different stories.
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Frank Gambale All Stars – Live@Teatro Marrucino
Rockol has just published a gallery with some of the photos I took at the Frank Gambale All Stars concert last 20 November.I’ve been a fan of Gambale’s for a long time and meeting him was a very nice experience: friend, easygoing, positive attitude despite the stress of the Italian tour: a great human being (and I can’t say the same about many of the ‘artists’ I’ve met in my career as a photographer and interpreter). On the technical side, the X-T4 and the lenses (Fujinon XF150-600 and an XF18-120) worked well. At ISO3200, the images have more than acceptable noise, which becomes almost invisible when the shadows are pushed.…
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Ghosts of Ginza
Another shot from my last visit to Japan, taken with a Nikon 35TI and a Ferrania Orto in the corridors of the Ginza subway station, Tokyo.
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Isolation in Public Spaces
Tokyo’s subway is rarely empty, yet in the press of bodies and the blur of passing stations, solitude often asserts itself. This frame was made with a Nikon 35TI, paired with Ferrania Orto, whose orthochromatic palette brings a certain austerity to the scene. The absence of red sensitivity pulls skin tones toward pallor and renders signage and advertising in a flatter, more subdued register — perfect for distilling a moment that’s more about psychological distance than geographical setting. The composition is anchored on a single figure, set against the geometry of the carriage interior. Lines from windows, doors, and grab rails intersect in a way that almost corrals the subject,…
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The Traveler’s Dilemma: Where To?
Shot on a Voigtländer Bessa R2A with the Nokton Classic 35mm f/1.4, this frame unfolded in less than a breath. A man, motionless, eyes scanning a departure board. Behind him, the chaos of travel hums, but he’s suspended—mid-decision, mid-wondering. No phone, no luggage in view. Just posture and projection. The Bessa’s meter can be unforgiving in contrast-heavy interiors, but I exposed for the board and let the shadows fall where they would. The Nokton, wide open or nearly so, brings in the classic swirl and falloff I wanted—enough sharpness in the centre, enough softness at the edges to suggest thought rather than define action. I didn’t wait for better light.…
