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The Violinist
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Mediterranean Games 2009
The cover image distills the Mediterranean Games 2009 into a single, decisive moment. Two judokas are locked in the opening clinch, bodies pressed forward, balance and leverage in a delicate contest. The Italian athlete’s gi dominates the frame—white fabric, bold blue “ITA” lettering, the name Frezza stitched above. Behind, the blurred figure of the opponent fades into a wash of deep blue, the background dissolved into the anonymity of the crowd and banners. It’s an image that works not by showing the entirety of the sport, but by narrowing the lens to the moment of contact. You can almost feel the strain in the forearms, the push of shoulders, the…
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Hi-Tech Temptation
The contrast was immediate and irresistible — two Buddhist monks, their robes a saturated blaze of orange, standing in front of a shop window brimming with the shiny clutter of modern consumerism. The scene unfolded in Venice, a city that thrives on paradoxes, and the colour clash alone could have carried the frame. But the real intrigue came from the posture of the two figures: one more open, almost leaning toward the display, the other turned slightly away, as if holding a polite distance from the pull of it all. Technically, the shot benefits from the light that bounces generously along Venetian streets. It’s a soft daylight, diffused just enough…
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Hey Mister!
Shot mid-morning in hard light, narrow Venetian alley, high pedestrian flow. The frame snapped into place by instinct—the older tourist in the foreground, the younger porter directly behind, moving toward the same vanishing point. No interaction between them, yet the composition forces a silent narrative: one leading, the other following, as if engaged in negotiation. They weren’t. Framing was tight but deliberate. I stepped back half a metre to let the porter’s hand, cart, and stance fall into line with the man’s shoulder. Their postures echo: left arm bent, forward step, gaze off-frame. Depth compresses them, flattening the spatial truth into a compositional fiction. The scene holds three depths: chalkboard…
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Different Loads
I’ve always been fascinated by how the street can arrange itself into small, unplanned narratives. Here, the frame catches two distinct burdens: a man in the foreground carrying a large, wrapped package clasped tightly in his arms, and another, further back, wheeling a suitcase with the ease of modern travel. Between them, a handful of passers-by slip through the scene, each in their own rhythm. The composition benefits from a strong foreground element — the man’s folded hands over the package create both texture and a sense of intimacy. They also form a visual block that forces the eye to travel diagonally into the depth of the frame. The background…
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At the theater, between two scenes
I took this on instinct. The curtain was down inside, but the real theatre was unfolding on the steps. Not dramatic, not rehearsed — just a handful of people suspended in that odd in-between: not quite arriving, not quite leaving. They scattered themselves across the stairs as if cast by some unseen director. The architecture held them. A brutalist façade, cyan-oxidised and flaking like tired makeup. The symmetry of the stairs did most of the compositional work — I just centred the frame and waited. The banister slices the image vertically, anchoring the eye. One figure leans left, one right, each adjusting the balance. Technically, it’s a colour study wrapped…
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Pensive
This black-and-white image, taken along the riverside steps in Paris, captures the quiet weight of stillness against a backdrop of movement. At the centre of the frame sits a lone figure, their silhouette defined against the lighter tones of the water. They face away from the crowd, turned toward the river’s shifting surface, embodying a pause in a city otherwise in motion. CompositionThe most compelling element of this photograph is its use of leading lines. The sweeping curve of the steps pulls the eye from the lower right of the frame directly toward the seated figure, and then out toward the distant pedestrians. This arc not only structures the scene…
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Skating at Palais de Tokyo
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Underground Security RA(T)P
I took this shot as these three officers from the RATP Sûreté unit passed me in a corridor of the Paris Metro. The framing was pure reflex: centre-weighted, low-angle, fast shutter. I didn’t have time to fine-tune the exposure—the lighting was flat and mixed, with harsh fluorescence above and murky shadows dragging behind. But I didn’t correct much in post either. This is a moment that benefits from its rawness. Their backs tell the whole story. The staggered stride, the swing of a baton, the compressed geometry of the underground corridor—they speak of tension, routine, and latent power. It’s not a confrontational image. The officers aren’t responding to a threat.…
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Home on the Range
There’s a moment—right before the shot breaks—when everything else falls away. This frame captures that exact moment. The quiet before the concussion. The balance between intent and mechanics. Taken in a professional range under full control, it documents not violence, but discipline. Focus. Precision. The brass tells its own story: just-fired casings scattered like punctuation marks on the shooter’s rhythm. The rifle rests steady on a bipod—cold, functional, ready. The shooter’s hand is not tense, but deliberate. His chain bracelet glints faintly in the sterile light, an unexpected human contrast to the black polymer and steel. This isn’t combat. It’s not theatre. It’s a place where performance meets protocol. Where…
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Where Did I Left My Car?
When I framed “Where Did I Left My Car”, I was chasing absence, presence, and the city’s quiet accusation. I recall stepping into a narrow lane, scanning facades, light and shadow, empty spots. I trained the lens not on what was there, but on what was not. The void became subject. I waited until all cars had passed, until the frame was emptied. Then I held the shutter, letting the urban grid, the lines of curb, doorways, and windows become witnesses. The emptiness sits heavy, like a question mark in concrete. I chose a vantage point slightly off-centre. The negative space on one side is meant to feel unbalanced—echoing the unease…
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The Street Photographer Dilemma: Film or Digital
To me Street-Photography is digital. I missed this shot because I wasn’t able to properly focus my full-manual kit, as I would have do with an average digital camera. There is no point in wasting film in an highly fault-rate activity such as Street Photography.
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Milan
There are street scenes that announce themselves loudly, and then there are those that slip into your view almost without you noticing—until the details start to unfold. This was the latter. I was standing at the corner of Via Francesco Sforza when the alignment of people, traffic, and light presented itself in a way that felt quintessentially Milanese. The group waiting at the crossing tells a quiet story of the city: a man lost in his phone, another holding a leather briefcase, a woman dressed sharply but practically, and a cyclist easing forward, impatient to move on. Behind them, the ECOBus—route 73 to San Babila—anchors the scene firmly in the…
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Dress Different
According to the fashion-photography standards this is a perfectly usable shot. To me, that’s simply a missed photo.
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The Sharp Shooter
Midday light in snowy terrain is rarely a gift—high contrast, flat textures, blown highlights. Yet it matched the tone of this frame. The intensity of the shooter’s expression, the harsh sunlight, the targets standing in silent defiance—all fed into a sense of clarity and control. He isn’t performing. He’s working, and the cold has no bearing on his focus. The image demanded precision. Exposure had to be managed tightly to avoid losing detail in the whites without choking the blacks of the tactical jacket. I metered for the shadows and pulled slightly in post. The result is contrasty, yes, but not artificially so. The white balance swings cool despite the…
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A Casual Walk
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The True Ironman
Not in a cave. Not in a suit. No arc reactor. Just grit, weight, and heat. This is a portrait of a welder—not fictional, not cinematic, but real. And yet, standing behind the mask, lit by the fierce white arc of molten metal, it’s hard not to think of Iron Man. Not the one flying through CGI skies, but the original scene: sparks, shadows, invention by necessity. But this isn’t fantasy. This is work. The man in the photo is sculpting structure with his hands, joining steel under blinding light. Every gesture is deliberate. Every spark, a fragment of labour. The mask doesn’t make him a superhero. It protects him—barely—from…
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Out-of-Focus Once Again
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Phone Call – 2
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Just A Phone Call – 1
Shot in stark monochrome, this image emerged from a walk beneath an underpass on a winter afternoon. The subject is unassuming—a lone figure, caught mid-step, carrying bags in one hand and a phone to his ear with the other. But it’s the tension between light and shadow, confinement and openness, that makes the frame speak louder than the moment it documents. Technically, this is a study in contrast. The tunnel acts like a natural vignette, swallowing the foreground in near-black shadow while casting the background in a flat, wintery glare. This duality pushes the eye forward. The silhouetted figure is placed just past the threshold of light, where the architectural…
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Merleria Livia
Some signs don’t light up the street—they anchor it. This one simply says “MERLERIA LIVIA,” glowing white against the black. Not neon, not flashy. Just enough light to find your way back to something ordinary. Useful. Forgotten. Shot on a rainy night, the kind that turns every surface into a mirror. The pavement reflects the streetlamps like a memory trying to stay present. A man walks slowly, slightly hunched—not from age, maybe just the weather. Hands in pockets, coat zipped. Nothing urgent, nothing staged. The shop is closed. You can feel it. The shutters are down, but the sign is still doing its job. Reminding anyone passing that once, not…
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John De Leo’s Grande Abarasse Orchestra – Live
This is a reportage I did during a concert of the John De Leo’s Grande Abarasse Orchestra. Covering this performance reminded me why live concert photography is such a balancing act between observation and anticipation. Each of these images, though part of a single reportage, serves as a fragment of a larger narrative – one built on rhythm, tension, and fleeting expressions. The colour frame of the full band provides essential context, grounding the viewer in the environment. The arrangement on stage is clear, with good use of depth to layer the musicians. The lighting, though moody and uneven, is handled competently, preserving detail without blowing the highlights from the stage…
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A Cello’s Player
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Having Sax
This shot isn’t about music. It’s about friction — brass on fingers, sweat on grip, breath on reed. I didn’t wait for the solo. I framed the pause before it, when everything is coiled. The hand is relaxed, but not idle. It knows exactly where it is. I shot tight with a fast prime, 85mm wide open, to isolate the curve of the bell and the roughness of the horn’s surface — pitted and worn, not polished. This instrument has stories. It’s been around. The monochrome helps strip it down to form and texture. You feel the decades in that metal. The grain is intentional. So is the low-key lighting.…
