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Photography Does Not Exist (Until the Eye Makes It)
Foreword This post is the first of a series meant to organise in a logical and structured corpus the ideas collected in this blog throughout years of taking photos in various environments. Introduction A preliminary misunderstanding that should be addressed immediately is that a photography does not exist per se. The photograph begins only when the eye intervenes—when it selects, isolates, and organises a continuous visual field indifferent, in itself, to interpretation. This means that an image is not discovered but constructed, and this construction may even fail, as when a narrative is imposed that later proves to be incorrect. From the outset, therefore, photography must be understood as an…
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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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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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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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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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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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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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Elishéva live@Faneuil Hall
Boston is an incredibly vibrant city and hosts many live events in theatres and outdoor venues. At Boston’s Faneuil Hall, I took some pictures of Elishéva, a soulful jazz singer, while she was rehearsing. Boston in summer has its own rhythm—a blend of footsteps, street chatter, and, if you’re lucky, the pulse of live music spilling into the air. I took this photograph during one of those moments when the city seems to pause and listen. The singer, shaded under her cap and oversized sunglasses, leans into the microphone with an intimacy that draws you in, while her guitarist locks eyes with her, an unspoken conversation carried through chords. From a…
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Niccolò Fabi – Meno Per Meno Tour 2023 – Live@Teatro Massimo, Pescara
Covering Niccolò Fabi’s concert for Rockol, gave me the opportunity to test an X-T4 with an XF 150-600. The image quality is on a par with the X-T3. This was to be expected. However, I have some reservations about the autofocus. The lens also needs to be examined in more detail before I can form an informed opinion.
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Backstage, Before the Downbeat
Shot on Kodak Portra 400 with a Canon EOS 1V and the humble yet reliable 50mm f/1.8, this frame captures the unspoken moments before the music begins. No spectacle, no spotlight, just the quiet mechanics of musicianship. I focused on the baritone saxophonist, half-turned, reading the score with that blend of tension and calm that precedes performance. Portra’s muted tones did exactly what I hoped they would—warm but never too rich, soft on contrast without washing out the mood. Skin tones stay honest. Brass textures from the saxophone register with depth, neither overly polished nor artificially gritty. The background instruments bleed into shadows, helped by the lens wide open at…
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Daniele Silvestri – Teatri 2022 – Live@Teatro Massimo, Pescara
This is the Daniele Silvestri’s Teatri 2022 coverage I did on behalf of Rockol.it using good old Nikons (a D610 with the Sigma 150-600 contemporary and a D750 with a Nikkor 24-120). As a matter of personal taste, I still like a reflex more than a mirrorless camera. The possibility offered by the latter to shoot in total silence with the Electronic Shutter is invaluable in specific contexts such as classical concerts or theatrical plays, nowthistanding the downfalls (banding and distorted images). However (and, once again, this is a matter of personal opinion), a reflex still allow a better connection with the environment at least thanks to the optical viewfinder.…
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Alessandro Valle – Live@Anfiteatro La Civitella
When I cover singers’ concerts, I make a point of not leaving band members behind. On their shoulders lies the burden of getting the show right. Without them, there is not much a singer could do unless he is gifted with a beautiful voice and proper technique. Still, they often come unnoticed. Kudos to these musicians who make the magic happens.
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Venditti&DeGregori – Live@Anfiteatro La Civitella
Here is the link at the gallery of the 10 August Antonello Venditti and Francesco De Gregori concert. A rather unpleasant experience, indeed. Photographers have been confined on the extreme left of the stage and not allowed to move. Of course the show comes first and any annoyance imperiling the performance must be prevented. A tad of flexibility for people who is there to work, though, would have been much appreciated.
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José Ignacio Franco – Live@Auditorium Petruzzi
He doesn’t need to sing. His fingers do it for him. Captured in mid-strum, tocaor José Franco radiates something far more profound than musical virtuosity: duende — that elusive spirit of flamenco, born of sorrow, defiance, and joy. His guitar is not just an instrument; it’s a second voice, one that speaks the unspoken, channeling generations of Andalusian lament and celebration. Notice the scene: the blurred silhouettes of fellow musicians in the foreground, the intimacy of a rehearsal or a small performance, where the bond between tocaores is more powerful than any spotlight. The photograph’s depth of field creates a natural hierarchy — we’re drawn not just to Franco’s position, but to his expression. His smile…
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LP – Live@Anfiteatro La Civitella
More pictures available on Rockol’s Gallery section.
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LP – Live@Anfiteatro La Civitella – The photogallery
This is the full photogallery of July 22 LP’s concert at the Anfiteatro La Civitella. I was covering the event on behalf of Rockol.it.
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Piero Mazzocchetti – L’ultima notte di Bonfiglio Liborio
I made this photograph in the dim backstage of Teatro Marrucino, just minutes before the curtain would rise. The air was thick with that familiar mix of anticipation and quiet focus. The man sat in his chair, bent slightly forward, pen in hand, making final notes on the score under the stark glow of a music stand lamp. The rest of the stage was swallowed by darkness. Shooting with the Fuji X-T3 and the Fujinon XF 16-80 gave me the flexibility I needed in such a cramped and poorly lit space. The lens handled the low light surprisingly well, though I had to work at the edge of its capabilities…
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Kristina Miller live@Teatro Marrucino
The focus is tight on the pianist, capturing her in a moment of intense concentration. The lighting isolates her from the dark background, drawing attention to the subtle interplay of highlights on her hair and face. Her gaze is fixed on the piano keys or the score just beyond the frame, suggesting a deep immersion in the performance. The expression is serious and focused, conveying the discipline and precision required in classical music. The angle of the shot partially reveals the polished surface of the piano, which reflects warm tones from the stage lighting. This reflection adds depth to the composition, while the instrument’s structure forms a diagonal that guides…
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Sergey Krylov live@Teatro Marrucino
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Busker and Covid-19
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Il barbiere di Siviglia – Don Bartolo mad at Rosina
A shot from the mise en scene of the Il Barbiere di Siviglia I did as a scene-photgrapher for the Teatro Marrucino
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Counter-intuitive Focus
This photo I took during a reportage for a theatre hosting a concert of Uto Ughi shows a counter-intuitive use of focusing. Rather than go for the obvious option, the attention is shifted on the two musicians in the background capturing their concentration, with the leading violin blurred and conceptually, thus, ‘left behind’. The global effect is reinforced by a neat separation between the dark and light parts of the frame.
