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The Death of Cio-Cio san
The final scene of yesterday’s Madama Butterfly’s ‘Prima’ at Teatro Marrucino. Opera photography is always a delicate dance between anticipation and reaction. The photographer must respect the performers’ craft while being acutely aware of the unfolding drama, ready to translate it into still imagery that holds the same emotional weight as the music itself. In this frame, taken during the tragic denouement of Madama Butterfly, the composition works almost like a Renaissance tableau — each character positioned with clear intention. The central focus rests on Cio-Cio-San’s lifeless figure, draped in white and crimson, her body collapsed against the steps like a human punctuation mark. Around her, the women in white…
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A Spanish Long Jumper
This is one of the photos from the reportage on the Track & Field Mediterranean Championships – Pescara 2022. The Sigma 150-600 Contemporary proved to be a good lens, sufficiently versatile and with effective stabilization. However, used with the 1.4 teleconverter and full extension, it does not allow for high-speed focusing. In some cases, the Nikon D610 failed to lock onto the subject. This makes the lens/teleconverter pair somewhat inconvenient in sports photography. At that focal length, it is probably worth using prefocus. If you do not want to give up automatism, you can try to anticipate the moment of focusing by framing something close to where the athlete should…
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On Photography and Self-Delusion
Only travelling abroad gets exotic photos. No need to travel overseas to get unusual images. Shoot digital is the only way ‘to stay in the moment’. Going retro with film is the only way to stay ‘in the moment’. Get the latest gear you can find. No, use the cheapest stuff because photography is about the man, not the machine. Do not post process, do post process. Shoot colour; no shoot B&W. Use Midformat, no full-frame, no APS-C, no smartphone-size sensors… The list of advice coming from (self-professed) experts, journalists (most often, web content editors with no editorial clearance), and ‘seasoned’ (wannabe) photographers could grow forever.More often than not, these…
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Alessandro Valle – Live@Anfiteatro La Civitella
When I cover singers’ concerts, I make a point of not leaving band members behind. On their shoulders lies the burden of getting the show right. Without them, there is not much a singer could do unless he is gifted with a beautiful voice and proper technique. Still, they often come unnoticed. Kudos to these musicians who make the magic happens.
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Venditti&DeGregori – Live@Anfiteatro La Civitella
Here is the link at the gallery of the 10 August Antonello Venditti and Francesco De Gregori concert. A rather unpleasant experience, indeed. Photographers have been confined on the extreme left of the stage and not allowed to move. Of course the show comes first and any annoyance imperiling the performance must be prevented. A tad of flexibility for people who is there to work, though, would have been much appreciated.
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José Ignacio Franco – Live@Auditorium Petruzzi
He doesn’t need to sing. His fingers do it for him. Captured in mid-strum, tocaor José Franco radiates something far more profound than musical virtuosity: duende — that elusive spirit of flamenco, born of sorrow, defiance, and joy. His guitar is not just an instrument; it’s a second voice, one that speaks the unspoken, channeling generations of Andalusian lament and celebration. Notice the scene: the blurred silhouettes of fellow musicians in the foreground, the intimacy of a rehearsal or a small performance, where the bond between tocaores is more powerful than any spotlight. The photograph’s depth of field creates a natural hierarchy — we’re drawn not just to Franco’s position, but to his expression. His smile…
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LP – Live@Anfiteatro La Civitella
More pictures available on Rockol’s Gallery section.
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LP – Live@Anfiteatro La Civitella – The photogallery
This is the full photogallery of July 22 LP’s concert at the Anfiteatro La Civitella. I was covering the event on behalf of Rockol.it.
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Red Fan
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Pino Ammendola – L’ultima notte di Bonfiglio Liborio@Teatro Marrucino
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Piero Mazzocchetti – L’ultima notte di Bonfiglio Liborio
I made this photograph in the dim backstage of Teatro Marrucino, just minutes before the curtain would rise. The air was thick with that familiar mix of anticipation and quiet focus. The man sat in his chair, bent slightly forward, pen in hand, making final notes on the score under the stark glow of a music stand lamp. The rest of the stage was swallowed by darkness. Shooting with the Fuji X-T3 and the Fujinon XF 16-80 gave me the flexibility I needed in such a cramped and poorly lit space. The lens handled the low light surprisingly well, though I had to work at the edge of its capabilities…
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Alessandro Blasioli – L’ultima notte di Bonfiglio Liborio@Teatro Marrucino
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Ugo Pagliai – Romeo e Giulietta@Teatro Marrucino
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Leo Gullotta – Bartleby lo scrivano@Teatro Marrucino
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Giorgio Pasotti – Racconti disumani@Teatro Marrucino
The stage is almost bare, yet dense with implication. A man in a deep red suit leans forward over a small stepped platform, his body angled as if straining toward something invisible. The light catches the side of his face, leaving the rest of the space in heavy shadow. To his right, suspended in the darkness, an image of a bottle looms, projected larger than life—its glass skin ghostly, its presence more oppressive than inanimate. This is Kafka territory. The stripped set, the exaggerated scale, the isolation of the figure—they all speak the language of unease. The microphone at centre stage stands unused, a silent witness, or perhaps a channel…
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Kristina Miller live@Teatro Marrucino
The focus is tight on the pianist, capturing her in a moment of intense concentration. The lighting isolates her from the dark background, drawing attention to the subtle interplay of highlights on her hair and face. Her gaze is fixed on the piano keys or the score just beyond the frame, suggesting a deep immersion in the performance. The expression is serious and focused, conveying the discipline and precision required in classical music. The angle of the shot partially reveals the polished surface of the piano, which reflects warm tones from the stage lighting. This reflection adds depth to the composition, while the instrument’s structure forms a diagonal that guides…
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Sergey Krylov live@Teatro Marrucino
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She Died Alone
She was a drug addict —a “junk” some righteous zealot would have called her— and died in the indifference of everybody but one. A flower and a rainbow unicorn are what keep her memory alive. The memory of a human being left alone also in her final moment.
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I’ve always enjoyed the way a single moment in the street can hold multiple narratives at once. In this frame, taken in Piazza Venezia with the Vittoriano looming behind, the cyclist seems caught between pause and motion — a split-second where the decision to push forward hasn’t yet been made. The backlighting was a gamble. Shooting into the sun with the Fuji X-T3 and the XF 16-80 meant dealing with inevitable flare, lowered contrast, and the risk of losing detail in the shadows. But I wanted that shaft of light breaking through, almost theatrical in how it picks out the rider against the cobblestones. Exposure was a compromise: holding the…
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So Long, and Thank You for the Fish
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Waiting for the Fish
There’s a particular kind of pleasure in using the Pentax K-3 II paired with the DA* 50-135mm f/2.8—a combination that rewards patience much like the fisherman in this frame. The lens’s rendering and microcontrast gave me exactly what I wanted here: a clean separation between subject and background without the look feeling forced. The weather was brooding, the horizon hazy, and the colours naturally muted, so the camera’s sensor, with its well-known dynamic range, had plenty of tonal nuance to work with. The man in the red hoodie became my obvious focal point—a striking colour contrast against the cooler palette of sea and sky. His posture, hands clasped behind his…
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A Skateboarder
I took this shot with a long lens, standing just far enough back to flatten the scene and compress the zig-zag of the bike lane into a graphic, winding ribbon. What drew me to the moment was the contrast between the physical tension of the skateboarder’s posture and the rigid lines of the urban environment. He’s caught mid-shift — arms out, knees bent, entirely present in his balance. No theatricality, no posing. Just rhythm and gravity. The geometry of the path worked as an unintentional compositional gift. The white lines, curved rails, and signage almost funnel the viewer’s attention into the skater’s hunched figure. A classic leading-lines scenario, but more…
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Man in Trenchcoat
