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Yellow
The photograph hinges on the interplay between colour, geometry, and omission. By keeping the frame cropped tightly, I remove any narrative context — no faces, no full figures, just the assertive yellow of work trousers, the partial arc of a bicycle wheel, and the tiled pavement as stage. The absence of a complete subject forces the eye to wander across shapes and lines rather than fixating on identity. The composition is built diagonally, with the wheel anchoring the right edge and the worker’s feet drawing the gaze upward and left. The black tile bands slice the frame, adding structure and contrast to the more neutral beige of the pavement. It’s…
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The Man Behind The Croissant
It’s not just a title. It’s a layered truth. He’s literally behind the croissants — arms folded, resting gently on the chilled glass counter, smiling with the quiet confidence of someone who knows exactly what he’s made. But he’s also the one behind them in the deeper sense: the early riser, the flour-dusted craftsman, the keeper of recipes that live more in muscle memory than in ink. The Man Behind the Croissant is a portrait of work and warmth. Of a man whose day starts long before anyone steps into the shop. Who rolls, folds, rests, fills, bakes — not as performance, but as rhythm. There’s no spectacle here. Just trays of pastry…
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Message Check Before Breakfast
This shot came together in the quiet seconds between espresso orders and the whir of the barista’s machine. I didn’t ask him to pose — I never do in moments like these. His posture, leaning forward, eyes fixed on the screen, scarf still clutched tight from the cold outside, told the full story. The light was unforgiving in its neutrality — ceiling fixtures and flat fluorescents don’t do any favours, but sometimes they just let the environment breathe. I pushed the ISO higher than I’d normally like, sacrificing a bit of cleanliness for immediacy. Still, the rendering holds: detail in the wool coat, a soft drop-off in the background, and…
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The Leica M9 CCDgate Outrageous Case
This is not “new” news, but is getting momentum: Leica M9′ sensors (including those fitted into the more than expensive “special” models) are plagued. The repair cost is 1.800,00 Euros plus VAT and shipping, not to mention the time needed to get the camera back (weeks? months?) Leica claims to offer paid support to the older, out-of-warranty customers but just doing a few math shows that it doesn’t worth it: if you own a between-three-and-five-years old M9 you’re supposed to pay 600,00 Euros (plus VAT etc.) while more-than-five-years old M9 owner will pay 1.200 Euros (plus VAT etc.) to get an old and outdated camera new sensor, affected by the…
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The Racers
This frame plays on contrast — not in light, but in intent. A man on a bicycle, casual and calm, drifts past a car caught in traffic. His posture suggests ease, purpose even, while the driver beside him grips a phone, half-engaged elsewhere. The child seat behind the cyclist, though empty, tells a story of movement beyond the individual. Domesticity, transport, and pace: all converge in one mundane but resonant street encounter. I shot this with a 35mm at f/8 to hold sharpness across the scene. The lens rewarded me with clarity on the cyclist’s face and detail in the background signage. Timing was key. I waited until the rider…
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Portrait with Skewers
I took this indoors, handheld, under mixed lighting, using a short focal length and no modifiers. It’s not a technical showcase. It’s a study in immediacy—an encounter frozen before refinement. The figure stands close, wide lens pulling in distortion around the edges. Face and skewers both sit in the shallow foreground, lit unevenly by ceiling fluorescents and ambient bounce from a warm source camera-left. The colour cast is inconsistent. I left it. Adjusting white balance to neutrality would flatten the artificiality that holds the image together. The context is a real room, not a set. Composition favours gesture. The skewers point forward, catching highlights and pulling focus. His hoodie and…
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Leaving Home
Distortion in this case matched the reality: walking beneath modern high-rises can feel surreal, oppressive even. The warped geometry bends the building into a looming wave that seems to crash down on the lone figure below—an ordinary person dragging a trolley bag, perhaps on the way back from errands or returning from a short trip. The photograph captures a dichotomy I often return to: the indifference of urban architecture versus the vulnerability of human movement. I didn’t wait for this person. I framed the architecture first, then let the rhythm of the street fill the gap. When he entered the frame, posture slightly hunched, shadow tracing behind, I released the…
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Suspicious
Every street photographer knows that moment — the fraction of a second when a stranger’s gaze brushes against yours and something shifts in the air. Suspicion. Wariness. An almost imperceptible tightening of the body. That’s the curse: the invisible threshold you cross when candid turns into confrontation, even if only in the subject’s mind. In this frame, the man in the magenta sweater and black coat is mid-stride, his expression caught somewhere between concentration and mild irritation. He’s moving with purpose, but his eyes — just soft enough in the focus to keep anonymity intact — seem aware of my presence. The shallow depth of field lets the textured walls…
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Pensive, On the Way Home
The man was moving at an unhurried pace, carrying a small bag, focused on the pavement in front of him. His posture suggested habit rather than thought—this was a route he had taken many times, without the need to look up or around. I did not approach or interact with him; I simply matched his speed for a moment, then let him continue. The background is a muted sequence of textured walls: ochre above, coarse grey render below. These surfaces do more than fill space—they set the tone. Nothing is decorative. The architecture is functional and unembellished, which mirrors the understated action in the frame. The vertical pipes and doorway…
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Red Bag, Black Shoes
This frame was taken at street level, quite literally. I crouched, waiting for the traffic to pause, and caught her mid-stride—ankle exposed, bag swinging low, oblivious to the lens just metres away. The choice of crop was deliberate. I wanted anonymity, but not detachment. By excluding the face, the image becomes less about the individual and more about the semiotics of presence—gesture, attire, movement, and the way we carve out identity with things. The red bag dominates the composition, not just chromatically but structurally. Its synthetic gloss, reptilian texture, and almost architectural form turn it into a visual anchor. It’s loud, assertive, unapologetic. And then, in counterpoint, the black shoes—quiet,…
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@ Rome’s Maker Faire – 6. Lost In Texting
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Duel Inside The Cage
I shot this during an amateur MMA bout—tight quarters, fast motion, uneven lighting, and no second takes. What I wanted was proximity: to feel the tension hanging between the two fighters as they size each other up in the few quiet seconds before contact. I framed it just behind one of them, using his shoulder as a natural vignette to guide the viewer’s eye toward the opponent’s face. The focus is deliberately shallow. I could have chased clarity, but that wasn’t the point. The blurred expression of the man in the background says more than a tack-sharp portrait ever could. His intensity survives the softness. What you lose in detail,…
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Three’s Company
Public benches are theatres of the unscripted. I caught this trio suspended in a casual triangle—neither fully connected nor entirely apart. The geometry between them is tense, not hostile, but uncertain. They don’t pose; they orbit each other, and the moment belongs to that hesitation. The photo hinges on spatial rhythm. The wide format stretches the composition just enough to isolate each figure, but the concrete shadows and the circular bench lock them into an unspoken narrative. The light slices the scene diagonally, a crisp late afternoon beam that exaggerates contrast and textures—the pavement, the blue pillar, even the worn telephone on the left. That phone, by the way, plays…
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Blow Up
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Fun
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Orange Scarf
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Uchi-Mata
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The Seagull And The Sentinel
In front of the solemn geometry of a royal palace in Oslo, the eye is drawn not to the grand columns or orderly facade, but to the understated absurdity playing out on the forecourt. To the far right, a sentinel paces with ceremonial rigour — upright, focused, unyielding. His role is one of symbol and service: a visible reminder of authority, history, and order. But his dedication unfolds before an almost entirely empty square. Almost. Because to the left, alone and unconcerned, a seagull meanders across the open expanse. It neither salutes nor flees. It simply exists — indifferent to the weight of flags, uniforms, or palatial power. This…
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@Rome Maker Faire – 7. Mobile Rest
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Whithin The Cage
There are moments when photography benefits from what it chooses not to show. This frame — a boxing glove in the foreground, satin shorts in deep royal blue and gold just behind — tells me almost nothing about the bout itself, but everything about its atmosphere. The mesh of the cage runs diagonally through the scene, an ever-present reminder of the boundaries in place, both literal and metaphorical. The choice to focus tightly on detail works here. By avoiding faces and action, the photograph shifts into an almost abstract study: the textures of worn leather, the gloss of fabric catching the light, the dull metallic blur of the chain-link. The…
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@Rome Maker Faire – 6. A Statue(?)
I saw her elevated on that concrete block — standing still, upright, focused — and couldn’t not take the photo. For a moment she looked monumental, absurdly dignified, like a civic sculpture in summer sandals. Phone raised in that familiar vertical salute, frozen mid-frame as if cast in bronze. The tension between the everyday and the iconic was too rich to ignore. The humour in this image comes not from mockery but from geometry. The white tent backdrop flattens the space, stripping it of any visual depth and turning her into a cutout against a temporary canvas. Her floral dress softens the hard lines of the block and rigging, while…
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Before The Match
There’s a quiet tension in the moments leading up to a fight. Adrenaline builds, but so does focus. Before the Matchcaptures that suspended instant—not in the face of the fighter, but in the ritual of preparation. The gloves are being adjusted, the tape snug against the wrist, the tattoos on the arm speaking their own language of identity, history, and intent. From a photographic standpoint, the tight framing is a deliberate and effective choice. By excluding the face entirely, the image avoids cliché and instead hones in on the tactile and symbolic. The red leather gloves dominate the frame, their texture and creases suggesting both wear and readiness. The contrasting…
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@Rome Maker Faire – 5. Pensive
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Downtown Pulse
This photograph captures the rhythm of a city centre street, a place where architecture and human movement converge. The composition is anchored by the façades: the mix of brick and ornate plasterwork recalls different eras of urban growth, while the signage and shopfronts bring the scene firmly into the present. The café on the left introduces a quieter layer — seated figures just visible through the glass — while pedestrians animate the open space in the middle ground. Technically, the exposure holds balance across the tonal range. The overcast light provides a diffuse softness, avoiding hard shadows and allowing the details in both masonry and pavement to remain legible. The…
