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Rush Hours
Morning’s rush hours at Milan, Corso Italia.
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Friendship is Forever
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Scarf’s Meeting
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The Call
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A Silohuette on the Bridge
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The Taste Master
Through the glass, the words float like ingredients in the air—sugar, chocolate, honey, milk—layered over the figure in the white chef’s hat. He stands in the narrow frame of the kitchen window, hands mid-motion as he pulls on a pair of blue gloves. The gesture is deliberate, unhurried, the quiet preparation before work begins. Behind him, the corkboard pins up the rhythm of the week—Tuesday, Wednesday, Saturday—handwritten notes, printed orders, the mundane scaffolding behind the alchemy. But the chef himself is framed as something more than a worker; he is the “taste master,” the one who turns lists into flavours, recipes into experiences. The typography on the glass becomes part…
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Hurry up and shut down the $%&? call!
I shot this photograph on a winter evening when the city was still busy but already slowing down. The street lights had taken over from the sun, and the air was full of that post-work restlessness — half leisure, half impatience. In front of me, a couple had paused mid-walk. She waited, a shopping bag at her side, wrapped in a red coat that caught every ounce of the lamplight. He, a few steps ahead, was absorbed in his phone — fingers scrolling, face lowered. It was a scene of quiet tension, familiar to anyone who has ever waited for someone whose attention is elsewhere. The composition relies on opposition. She…
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Almost Spotted
The tension in this frame comes not from composition or contrast, but from that split-second ambiguity between being invisible and being noticed. He looked straight into the lens. That frozen glance holds a question—maybe suspicion, maybe curiosity—but crucially, it didn’t escalate. No words, no confrontation. I kept walking, shutter fired, unnoticed… or almost. Street photography isn’t about stealth. It’s about presence—yours, and theirs. Technically, I was working fast. The light was uneven, filtered through a late afternoon overcast, bouncing off the ochre plaster and cobblestones. I kept the exposure slightly under to preserve detail in the midtones, letting shadows fall naturally. The colours hold their weight without shouting—muted leather, grey…
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The Angel Maker
There are some things you only find in Rome. Down a narrow street behind the Teatro di Pompeo, inside a studio that smells of dust, turpentine and time, I watched a man restoring angels. Not metaphorically—literally. Plaster cherubs laid out across the table, grey with primer, one mid-stroke under his steady brush. The place looked more like a reliquary than a workshop. And in a way, it was. He’s a master restorer. The kind of figure you expect in an old Fellini film, surrounded by faded tapestries, cracked frames, and gold leaf so fine it breathes when you exhale near it. But this wasn’t a scene. This was a day’s…
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Do Not Disturb the News Reader
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Audience
In photographing an audience, the temptation is often to go wide — to show the collective body, the sea of faces, the shared focus. Here, I chose the opposite: a tight, side-on profile of three individuals, all absorbed in what unfolds beyond the frame. The decision to compress the moment into this narrow slice has the effect of isolating their concentration, making it almost tangible. The focal point rests squarely on the man in the centre. His expression is unreadable yet engaged, his glasses catching just enough light to reveal his eyes without introducing glare. The woman to his left, partially hidden, offers a second layer of depth, while the…
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Singers
There is a quiet intensity in photographing performers in the middle of their art—particularly when that art requires stillness before the sound. Singers captures two members of a choir mid-performance inside a church, their faces carrying the gravitas of the moment. The solemnity of their expressions suggests that the music here is not mere entertainment but a deeply felt act. From a compositional standpoint, the frame is tightly cropped, focusing our attention squarely on the two central figures. This proximity invites the viewer to study their facial expressions, the texture of their hair, the fine details of their formal attire. The man on the left, with his distinctive mane of…
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A Relaxed Call
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The Fisherman’s Knots
In an age of automation, efficiency, and scale, this image restores dignity to the gesture of the hand. The photograph captures a fisherman absorbed in the ancient ritual of mending his net—a task as old as seafaring itself. His fingers, calloused and sure, draw thread through mesh with the concentration of a craftsman rather than a labourer. There is no sea in sight, only scaffolding, plastic tape, and the anonymous infrastructure of a modern dock. Yet this contrast only strengthens the narrative: amid industrial noise, a human persists in doing things slowly, correctly, traditionally. The net becomes more than a tool—it is sustenance, memory, continuity. Every knot ties past to…
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Small Talk
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Hard Worker
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Blowin in the Wind
Hopefully, he shouldn’t fall on the ground…
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Countersniping
The lens meets a lens. Framed by rusted beams and peeling walls, the photographer at the centre of the image takes aim with his camera, returning the gaze. The graffiti around him, the fire extinguisher sign, the rough concrete surfaces, all belong to a decayed environment, yet the act of photographing transforms it into theatre. It becomes a duel of sightlines—one click against another. Composition directs attention without ambiguity. The eye is pulled straight to the figure at the back, the camera lens perfectly aligned to confront the viewer. The foreground, with its blurred metal structures, creates a visual crosshair. This layering enforces the theme of surveillance, ambush, and reciprocity.…
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So long and thank you for the fish
Well, this is not exactly the Restaurant at the End of the Universe — but you get the idea. The scene is a working dock, somewhere between the last haul of the day and the quiet moment before the boat heads out again. A fisherman, clad in yellow waterproofs, stands mid-task, surrounded by crates of glistening nets and freshly caught fish. The deck of the boat, the worn concrete, the splashes of green and red from the gear — it’s a palette that speaks of utility rather than design. The composition benefits from the elevated vantage point. Shooting from above flattens the scene into a graphic arrangement of lines, textures,…
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Against the Tide
There’s a stillness in this frame that caught me before I even thought about the technical side. A lone figure on a bicycle, paused at the edge of the pier, framed by the unbroken horizon and the muted textures of concrete and water. The light is soft, almost hesitant — no harsh shadows, no dazzling highlights — as if the scene itself wanted to remain understated. I worked to keep the composition balanced but not too neat. The lamp post on the right anchors the image without overpowering it, while the figure sits almost at the centre, enough to draw the eye but still letting the expanse of sea and…
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W Verdi
Milan rewards you when you walk slowly. I turned a corner and found a living quotation mark to a poster: an elderly man paused beneath a billboard of a stern, bearded face—Giuseppe Verdi by way of contemporary graphic design. The likeness was uncanny enough to make the old slogan in my head—Viva Verdi—mutate into “W Verdi,” a wink at how public imagery and real life can rhyme. I built the frame around that rhyme. The poster anchors the top-right quadrant while the man occupies the lower-left, a diagonal conversation that keeps the eye ping-ponging across the picture. I left generous negative space to let the pairing breathe; too tight and…
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Carabinieri in Milan
Milan’s downtown it’s not the most dangerous place out there, nevertheless is always nice to see the Carabinieri walking around…
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A Portrait on the Nasdaq Building
I took this photograph in the year 2000, standing in front of the Nasdaq building and staring at a giant portrait of a man whose name I never learned. The caption read “July 1985” — perhaps the date of his death — and the grainy, blown-up image suggested an older video still. In the upper-left of the portrait, there were shelves lined with what looked like vinyl records. That detail nudged me toward thinking he might have been a musician or someone who worked in the recording industry. But it’s speculation. What I could say with certainty was that his expression stopped me in my tracks. There was a strange…
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So Long, Eos-M
A couple of days ago, while wandering around a street-market, I spotted a small “exhibit” of old Nikon and Hasselblad lenses. I thought it would have been nice to get the two “classic” lenses for the System V, so I traded my Eos-M (and lenses) for a Carl Zeiss lenses: a Distagon 50 and a Sonnar 150. The seller was eager to strike the deal, but I’m not sure who actually got the best bargain…
