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An Early Morning Fishing Expedition
I shot this just after sunrise. Light was low but clear, casting long shadows and warming the palette without oversaturating the sand. The three men—two pushing, one walking alongside—form a diagonal that pulls the eye from left to right, through netting, boat, and beach. The scene holds movement without blur. Every element is in transition. I framed from distance using a moderate telephoto to compress the layers—foreground vegetation, safety fencing, beach, and deep field of straw umbrellas. The shallow depth of field separates the action while still referencing the beach’s infrastructure. I let the background stay busy. It adds context, not confusion. Exposure was tricky. Highlights off the boat’s rubber…
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Mooring The Boat
I made this photograph while standing slightly above the scene, looking down as the sailor secured the mooring line. The angle was dictated not by style but by circumstance: the dock rose just enough over the water to offer a natural vantage point. I didn’t ask him to look up or alter his posture. He was intent on the work, and I preferred to remain a quiet observer.
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Waiting For A Customer To Come
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Lost In Rembrance
I made this image during an early evening walk along the Ligurian coast, at a moment when the wind had dropped, the chatter from the restaurants below had softened, and the sea had begun its slow shift to silver. The man in the frame didn’t pose or perform. He stood still, arms folded behind his back, eyes fixed somewhere beyond the horizon—somewhere private. I didn’t interrupt. The strength of this frame lies in its quiet composition. The iron railing draws the eye to the curve of the man’s posture and then out towards the water, which mirrors the diagonal of his gaze. That subtle mirroring, between the subject and the…
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The Penguin’s Feeder
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A Shadow
Shot with the Leica M9, this image is a study in discretion and the poetics of presence. The figure in the foreground is reduced to a silhouette, his back turned to the viewer, his face never revealed. He absorbs the frame. The street scene beyond—colourful, lively, and teeming with out-of-focus activity—contrasts sharply with his opaque stillness. Technically, the decision to expose for the highlights in the background rather than lifting the shadows in the foreground was intentional. I wanted the viewer to feel like an outsider—watching someone who is, himself, watching. The bokeh from the streetlamps adds texture without stealing attention, while the shallow depth of field, aided by the…
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The Godfather
There are portraits that declare themselves in full—broad poses, direct gazes, theatrical light. Then there are those, like The Godfather, that wield influence through omission. This image withholds the subject’s full face, offering only a partial profile and the language of body and gesture. The composition is tightly cropped, forcing the viewer into an intimate but controlled proximity. The jawline is set, the mouth neutral but firm; the hand rests on the chest, fingers curled in a posture that feels both protective and deliberate. The subject’s gaze, cast off-frame, hints at a private sphere of thought or authority that we are not invited to enter. Colour plays an essential role…
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Last Check Before The Show
Photographs taken backstage – or side-stage, as in this case – carry a special tension. They are about the moment before the moment, a pause loaded with anticipation. This image captures that space exquisitely. Two women, backs to the camera, lean over a sheet of paper, lit by the same illumination that spills onto the audience beyond. It’s an intimate vantage point, yet the scene is undeniably public. The photographer’s choice of focus is telling. The women are sharp, their details – the thin strap of a black dress, the lace sleeve of a white one – rendered with care, while the audience in the background dissolves into a creamy…
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The Crew’s Rest
Before the music, before the lights, before the roar of the crowd, there is this: scaffolding, cables, flight cases, and the quiet focus of the crew. Two men sit within the skeleton of a stage in progress. One leans back on a low platform, his body turned away, hands resting loosely on his knees. The other, crouched cross-legged on the metal grid, holds a fire extinguisher’s pole with a faint, amused expression, as if catching the photographer in an unguarded moment. Around them, the geometry of the scaffolding frames the scene, a lattice of steel that will soon hold the machinery of spectacle. The city moves on in the background—shops…
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Wet Socks
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An Attentive Listener
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The Soul Of Politics
There are moments in public life when the abstractions of policy, ideology, and governance are distilled into something intensely human. The Soul of Politics captures such a moment—raw, immediate, and deeply personal. Here, the focus is not on the grand stage or the official podium, but on the energy and conviction of a single individual, set against the hum of a gathered crowd. The central figure, a woman framed mid-action with two flags in hand, dominates the image both physically and emotionally. Her posture—arm raised, face set with a determined focus—anchors the scene. The flags, their colours vivid against a muted background, slice through the frame with a visual rhythm…
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Bikers
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The Shooter’s Dilemma
I took this during a routine shooting session. The man wasn’t posing. He was checking his grouping, arms crossed behind his back, body still, gaze locked forward. The target hangs silent. No smoke, no sound, just aftermath. The image is built on symmetry and distance. I framed from behind, dead-centre, letting the shooter’s back align with the silhouette’s head. They overlap in posture and scale. It’s a quiet mirroring—two figures facing off, one made of flesh, the other paper. Shot wide open at f/2.8, focus sits on the shooter’s shoulder line. The target softens just slightly—enough to retain its shape, not enough to compete. ISO at 800, shutter at 1/160s.…
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Portrait of a Perinatal Cardiologist
Salvatore Gerboni, MD, is an expert perinatal cardiologist and a great human being.
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A Dragon Trainer?
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Oops!
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Streetlight Duet
Late-day sun is the best kind of collaborator—less commanding than noon, more generous than twilight. It brushed the scene just enough to lift texture from skin and fabric without blowing out detail. I didn’t ask them to pose, but the casual lean against the car and the hand over the guitar’s body settled naturally. That balance between intimacy and performative posture intrigued me. This shot could have easily slipped into cliché—two musicians and a guitar, the standard fare of street portraits. But the subtle discord between expression and energy saves it. One wears a smile that could go either way: pride or deflection. The other looks on with the quiet…
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The Spanish Sense of Flesh – 2
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The Spanish Sense of Flesh – 1
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The Unconvinced Listener
This was one of those shots where the scene composed itself. I didn’t need to move much—just recognise and release the shutter. What drew me in was the geometry of the interaction: a makeshift stage, oversaturated lighting washing the performers in synthetic blue, and in the foreground, a single man caught mid-gesture, possibly clapping, possibly holding a phone, or perhaps neither—his posture uncertain and unaligned with the music unfolding metres ahead. The band, framed neatly under the overhang of a modern tram stop, seems to exist in its own world, driven by rhythm, sequins, and stage light bravado. They’re working hard. But the man in the foreground? He’s not buying…
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Waiting For The Elections
Shot on a Leica M9 with a Zeiss Biogon 35mm f/2.8, this image is more about suspension than action. The frame holds a waiting posture — literally and metaphorically. No speeches, no slogans, just the inertia of democratic process taking over the political machinery. I wanted to convey stillness without silence. The Biogon’s rendering gave me that microcontrast and edge clarity I rely on when details matter more than gestures. The M9 sensor — as unpredictable as it can be in mixed light — held together the tonal values well here, especially in the midtones. Shadow detail was secondary; this wasn’t about hiding or revealing, but about the unresolved pause…
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Though Choice
It doesn’t take much to make your day happy.
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Zebra Crossing, Again…
