-
The Silent Listeners
Covent Garden, again. Like the music of Orpheus’Lyra, the voice of the singer brings back to life the lifeless mannequins.
-
Behind the Beer
Behind the beer’s sockets, a barman discretely fulfills the order placed by his clients.
-
A Curious Bystander
Rue de la Regence, at night. A fast pace calls the attention of a bystander.
-
A Bookstore in the Gallery
Taken in Bruxelles with a Leica M9, this photograph is as much about the atmosphere of a winter evening as it is about the subject itself. The bookseller, wrapped in a red scarf, is absorbed in the simple act of handling a book — a gesture that feels timeless, insulated from the passing crowd outside. The “Joyeuses Fêtes” decoration strung above her offers a seasonal frame, hinting at the warmth inside against the cold beyond the window. The composition is direct and frontal, using the shelves of books as both background and structure. The vertical and horizontal lines create order, their rhythm occasionally broken by a tilted spine or a…
-
Waiting to Go Home
The gate is still close, a long wait before boarding, is easier to bear when seated comfortably.
-
Shopping in Bruxelles
Early afternoon in Bruxelles, The best moment to go shopping.
-
A Winter Outdoor Chat
In the late afternoon light, when the sun sat low and cast a warm hue across the scene, two men are captured in conversation: one standing, bundled in a heavy jacket, the other seated, his green woollen cap and dark windbreaker contrasting with the golden glow. Their exchange appears informal, unposed, an everyday moment shaped by the season’s chill. Technically, the image benefits from natural light. The exposure leans toward warmth, enriching skin tones and enhancing the textures of clothing and tree bark. Shadows are long but not intrusive, while highlights avoid excess glare. Compositionally, the tree trunk on the right acts as a vertical anchor, framing the seated figure…
-
An urgent phone call?
Using a tele (200 mm) allowed me to take the picture but the long focal didn’t separate the planes as a 50 mm would. Truth is that – in these condition – I would hardly have been close enough to obtain the visual effect I was looking for, but the alternative was not to take the shot at all.
-
Multiple Meaning
We do see, in a picture, what we want to see. While the vast majority would focus on the dynamics between the shooter with the hoodie and the man with spectacles, those familiar with the inner circle of photography in Pescara will immediately spot, behind the man, Mrs. Franca Cauti, the Big Boss at Ohmasa Foto Video…
-
So What?
Does anybody come to help me?
-
The Observer
I made this frame in a quiet corner of a local gallery, the kind of space where conversation gets dampened by soft walls and slow pacing. What struck me in that moment wasn’t the artwork—it was the man. Standing perfectly still, hands resting behind his back, he wasn’t merely looking at the painting. He was inside it, gone somewhere beyond the brushstrokes. I chose to shoot from behind him for a reason. A front-facing portrait would have collapsed the image into a reaction shot. I didn’t want the viewer to know what he thought. I wanted them to stand where he stood, suspended in a moment of personal contemplation. The…
-
Should I Stay or Should I Go?
The scene unfolded in a small exhibition space, where two visitors sat on a bench flanking a low-relief artwork. The man’s gesture suggested mid-conversation — perhaps an explanation, a persuasion, or even a defence. The woman’s posture, closed and reserved, told a different story. Between them, the sculpted figures of archers aimed into an unseen distance, their tension echoing the silent space between the two sitters. I composed the frame to keep both the living and the sculpted figures in dialogue. The bench, the plaque at its centre, and the artwork behind created a strong horizontal structure, broken only by the vertical rhythm of the sitters’ bodies. The sign —…
-
Staying Behind
-
Conversation
In a gallery, the art is never just on the walls. It spills into the spaces between people, into the exchanges and body language of those who come to see it. This frame was taken in such a moment — a candid intersection between two visitors, locked in a discussion that seemed as textured and layered as the paintings around them. I placed them in the foreground, letting the shallow depth of field push the artworks into a soft blur. The defocus serves two purposes: it keeps the viewers’ attention on the pair, and it transforms the background into a muted, abstract backdrop — just enough to hint at the…
-
Yin and Yang
-
Portrait of an Heavy Metal Singer
Devilish, isn’t it?
-
The Traffic Controller
The man in the reflective uniform wasn’t posing, wasn’t waiting. He was simply doing his job — coordinating chaos with the quiet authority only experience provides. The scene unfolded quickly: the fire brigade’s crane on standby, the red and blue lights diffused by daylight, the line of hesitant cars waiting for a signal that only one person could give. I didn’t have much time to frame this; sometimes a good photograph is more a matter of presence than planning. I shot slightly underexposed to preserve the detail in the brighter areas of the sky and keep the colour temperature cool and flat, emphasising the mundane over the dramatic. Compositionally, the…
-
Portrait of a Bailaor
It’s not the dance itself. Not the movement. Not the raised heel or arched arm. It’s the moment in between. I took this portrait during a flamenco performance—close up, no motion blur, no sweeping gesture. Just a still frame of pure tension. The bailaor had just stepped out of a phrase. His hair wet from exertion, shirt unbuttoned from heat. He was motionless, but the intensity hadn’t left. It was gathering. What struck me wasn’t the obvious theatricality. It was the way his focus seemed to cut straight through the light. His jaw tight, eyes narrowed, not toward the crowd, but somewhere inward. Flamenco isn’t about smiling through the steps. It’s about…
-
Portrait of a Judo Master
The heritage of Kano Jigoro is still alive.
-
Protezione Civile
Kudos to those who volunteer to help.
-
Night Shift At The Gas Station
The cold was real. It soaked through the synthetic layers, condensed on every metal surface, and wrapped this frame in its own damp silence. What drew me to release the shutter wasn’t the uniform or the pump, but the stillness — a kind of pause in the machinery of necessity. This man, anonymous but emblematic, stood under the artificial glow of sodium light, framed by geometry and function. Technically, this isn’t a sharp image — and I’m glad it’s not. The slight blur works to its advantage, echoing the condensation on the glass through which I shot, or maybe just the fatigue of a night too long. The colours, though,…
-
Meaningless
Sometimes it’s easier to tell what a photograph is not than to explain what it is. This frame, taken outside a small tabaccheria, is a case in point. It’s not sharp — the slight blur suggests either a slow shutter speed with handheld movement or an unintentional misfocus. It’s not correctly exposed either — the bright areas, particularly the pavement and parts of the foliage, are overexposed, washing out detail and flattening the scene. Compositionally, it struggles to find an anchor. The woman in the doorway and the man at the vending machine might form the core of a story, but the foreground foliage, tilted horizon, and lack of depth…
-
Fishermen in Rome, Again
There’s no better way to enjoy a sunny day in Rome. The photograph opens with three figures at the river’s edge, their backs turned to the viewer, their attention fixed on the slow, opaque flow of the Tiber. The morning light is soft but clear, stretching shadows across the worn concrete embankment. Fishing rods angle out over the water, each line vanishing into the muted surface where the river holds its secrets. The composition is deliberate in its restraint. By placing the subjects with their faces hidden, the image shifts focus from identity to posture. Each fisherman holds a distinct physical rhythm: the man in the green jacket standing upright, central…
-
The Ipad Shooter. Who needs a Nikon D4 anymore?
The photograph captures an all-too-familiar scene in today’s public spaces: a traveller, squatting low on cobblestones, pink suitcase upright beside her, tablet in hand, angling for the perfect shot. The background is busy with pedestrians, idling vehicles, and the ordered chaos of an urban square—but the focal point is the incongruity of the act itself. Not a DSLR slung over the shoulder. Not even a compact mirrorless. Instead, a bright orange tablet becomes the instrument of choice. CompositionThe image benefits from deliberate framing. The subject sits slightly off-centre to the left, allowing the surrounding space to breathe. This choice draws the eye first to her and the bold block of…
