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Glancing Books In A Brussels’Night
A casual walk in a Brussels’early evening, wandering through the old streets near the city centre. The light from a comic-book shop window cut into the dark pavement like a beacon. Inside, Tintin, Snowy, and the bright spines of Hergé’s world stood stacked and waiting — nostalgia perfectly lit for passers-by. Then a man stopped with his bicycle, leaning slightly toward the glass. He didn’t enter; he only looked — half-curious, half-distracted. The glow of the display made him a silhouette, almost part of the window’s composition. His reflection blended with the books, erasing the boundary between observer and story. For a moment, the scene assembled itself.
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Fancy a Beer?
In the warm light of a Brussels beer shop, shelves stacked floor to ceiling with bottles, two men weigh a purchase. One holds the bottle carefully, the other studies it with interest, a wicker basket dangling between them. Their small exchange sits at the heart of the frame, illuminated against the darker figures of passersby drifting in and out of the doorway. The composition splits into layers: the inviting glow of the shop interior, the mid-ground where the buyers stand, and the silhouetted outlines of those entering or leaving. This layering gives depth, making the viewer feel both inside and outside at once. The shelves, neatly arranged in repeating verticals…
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Sweet Dilemma
I took this photograph in one of those shops that could easily bankrupt anyone with a sweet tooth. The window was a theatre stage, and the protagonists were mountains of meringues, chocolates, and sugared confections, all arranged with military precision. The display was so perfectly composed it demanded to be photographed — though translating that abundance into a frame without losing the sense of order was a challenge in itself. I shot head-on, centring the display so the symmetry would hold the composition together. The large glass bowls act as visual anchors, while the pyramid of packaged goods in the middle draws the eye inward. Behind, two figures — the…
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Buying Chocolate
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2015 Italian Beach Volley Team – Marco Caminati, Enzo Rossi
Shot this with the Canon 5D Mark II paired to the EF 100-400—reliable combo when you need to stay off court and still frame clean, controlled tension. This isn’t peak action. No sand flying, no bodies mid-air. But it’s still competition—quiet, simmering, focused. Marco Caminati holds the ball like it weighs more than it does. Not physically—psychologically. Shoulders squared, gaze dropped. The light from above slicks off his skin, catching just enough detail in the sweat without turning it into gloss. I didn’t correct the warmth much in post. The yellowish cast from the stadium lighting is honest, and artificial as it looks, that’s what the court gave me. Enzo…
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@ Mediterranean Beach Games 2015 – Italian Female Rowing Team
Conclusions As much as knowing your way through the photography maze populated by ISO settings, lens choice, (auto)focus performance and so on, successfully shooting sport competitions requires a lot of background work and social skills, as well as stamina and concentration. You’re not supposed to attend a Marines bootcamp, a con men conference and a crash course in volleyball, rowing or whatever the sport you have to work with to develop such specific capabilities. But it would definitive helps… 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…
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@ Mediterranean Beach Games 2015 – Beach Wrestlers
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@ Mediterranean Beach Games 2015 – Italian Beach Volley Female Team – Laura Giombini, Giulia Toti
In beach volleyball, there is no hiding place. The court is small, the sand unforgiving, and every move is laid bare in the sun. This frame captures the Italian National Beach Volleyball Team mid-assault, in that heartbeat where effort and instinct fuse into pure action. The player lunging forward is all tensile strength and precision—shoulders squared, arms extended, eyes locked on the ball as if it were the only thing in existence. Her teammate hovers just behind, reading the play, ready to carry the attack forward. The sand tells its own story—scattered divots from past dives, streaks from sudden stops, a textured record of the match’s ebb and flow. The…
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@ Mediterranean Beach Games 2015 – Italian Beach Volley Team – Marco Caminati (and a primer on sport photography, part 6)
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 Part 4 – During the event, how to choose which event attend to Part 5 – During the event, shooting the game After the event “Enjoying” the field days doesn’t end up the assignment because the selection and post processing part is as important as taking proper pictures. 1 – Selection and post processing Depending by the assignment, you might be required to (select, process and) send your employer the pictures in real time or…
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Avvocati. A New Book
I’ve just finished the project I’ve been working in the past months. Lawyers’ human and private face.
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@ Mediterranean Beach Games 2015 – Wrestling, Italy vs France (And a primer on sport photography – Part 5)
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 Part 4 – During the event, how to choose which event attend to 3 – Shooting the game As I said before, the chances of getting a good exposure greatly improve if you are (or have become) comfortable with the game. But knowing how the ball rolls worth nothing if you’re not in the right position to take the shot. a – Reclaiming your space from other photographers Event (and thus sport) photography is a…
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@ Mediterranean Beach Games 2015 – Italian Female Rowing Team
I made this photograph during the Mediterranean Beach Games, following the Italian women’s rowing team in competition. What drew me in was not the finish line or the celebratory gesture, but the moment immediately after exertion, when effort is still written on the body and concentration has not yet dissolved into relief or disappointment. The composition is built around proximity and tension. One athlete occupies the foreground, turned slightly away, her back marked by mud and effort, the word Italia acting as both identifier and graphic element. The second rower remains just behind her, partially out of focus, her expression strained and searching. This staggered arrangement creates depth while reinforcing…
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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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Shaken
The frame is a study in disarray — not in subject matter alone, but in its very execution. The scene, taken on a busy street, is blurred throughout: the figures, the car, the elegant repetition of arches behind them. Whether caused by an unsteady hand, a slow shutter, or a deliberate choice, the result is an image where nothing stands still enough to become the focal point. Two figures anchor the composition: one in the foreground to the left, caught mid-turn, the other to the right, hunched over something in his hands. Their outlines dissolve into the tonal softness, denying the viewer access to facial expression or fine detail. The…
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@ Mediterranean Beach Games 2015 – Italian Beach Handball Female Team (and a primer on sport photography, part 3)
During the event 1 – Get Ready for the Show a – Check the logistic Be sure to have the competitions’ timetable at hand. Every day go first and early to the main press room and ask for last minutes changes. Ask how to check further possible issues (delays, cancellation, venue shifting. etc.) For each venue try to locate a “safe spot”, a place where you can rest or leave your bag (relatively) safe. b – Check the weather forecast If the competitions you’re attending is outdoor, checking the weather forecast is of the utmost importance. Among other things, it helps you choose what gear and dresses bring with you:…
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A Waiter in via Sardegna
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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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@ Mediterranean Beach Games 2015 – Italian Anthem (and a primer on sport photography, part 1)
Intro Working on assignment is different than loitering around “waiting for the moment”. This is true, in particular, for sport photography where you have to handle multiple issues at a time, most of them not related to the actual shooting activity. While there are a lot of sources to drink from that hint about how to assemble and check the gear, which lens is better suited for the job and so on, a less fancy but nevertheless critical issue to be aware of is how to handle the logistic and administrative stuff. Before the event 1 – Getting your media pass a – Accelerate the shipping of the accreditation…
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Off Duty
From the back, their posture says almost as much as their uniforms. Four policemen walk away from the viewer, the word Polizia split and partially hidden by their movement. There’s no confrontation here, no heightened drama — instead, the image captures that moment of decompression, when the weight of vigilance begins to lift. The decision to shoot from behind removes the personal identifiers that a front-facing portrait would reveal. We are left with silhouettes of authority in retreat, the curve of a shoulder, the relaxed drop of an arm, the natural slouch of someone whose shift may be ending. In the background, the urban night hums along: signage, faint light,…
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A Smoker
Some portraits are not posed; they happen between moments, in that thin sliver of time when the subject is simply being. This was one of those. The woman — cigarette in hand, wrist adorned with metallic bangles catching stray light — had the stillness of someone lost in thought. The background was unremarkable, and that suited me: no distractions, no narrative clutter, just her profile against a soft blur. The shot was taken in available light, which was far from ideal. The conditions pushed me to raise the ISO more than I’d have liked, and as a result, the image carries a touch more grain than a studio portraitist would…
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Who The Hell Killed the Light Off?
There’s a certain magic to photographing night-time events — the glow of street lamps, the hum of a crowd, the way artificial light sculpts a scene. But it also comes with its share of battles, and this image is a perfect example of working on the edge of what’s technically possible. The scene is rich in story: a vintage race car, its scarlet paint dulled slightly under the sodium and LED mix of city lights; two men in matching white overalls, one bending towards the vehicle’s front as if inspecting or coaxing it to life; a small crowd leaning over barriers, caught in their own observations. The moment feels candid…
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Lotus Tweak
At first glance, it’s a straightforward scene — two men leaning over the open engine bay of a bare-bodied Lotus, spanners in hand, eyes locked on some mechanical nuance that only they understand. But to me, it’s also a portrait of intimacy — not between people, but between man and machine. The bond here is tactile: the smell of fuel, the heat radiating off aluminium, the gentle precision of a carburettor adjustment. The Leica M9 lends itself well to this kind of work. The CCD sensor has that distinctive tonal rendering that keeps the colours honest but rich — the brushed metal gleam of the car body, the deep reds…
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