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Serva padrona @ Teatro Marrucino
LED banding is a major problem when using electronic shutters, and the Fuji X-T4 and X-T5 are no exception. In the specific conditions of this piece, I found that setting the shutter speed below 1/100s tamed the problem. However, there is one major drawback: the number of ruined shots increases. This is particularly true of the moments when the actors are waving their limbs or moving randomly. In this case, the slower parts of the body remain in focus, while the peripheral parts do not. Unfortunately, there is still no post-production technique that can eliminate this problem, which makes it difficult to achieve usable results. Of course, using a mechanical…
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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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Stadio Olimpico, seen from Tribuna Monte Mario
The Stadio Olimpico is not an easy subject to photograph, especially when seen from the lofty and privileged perch of the Tribuna Monte Mario. The vantage point offers grandeur, but grandeur doesn’t always translate easily into pixels—especially under the kind of merciless lighting that the stadium seems to favour at night. From this spot, the sweeping geometry of the roof dominates the composition. Its repeating, honeycomb-like pattern glows under the sodium vapour lights, casting a heavy golden hue that floods the upper half of the frame. Below, the seating—empty and rendered in cool blues—acts as a counterweight, both in tone and texture. The effect is a split visual dialogue between…
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A Vessel Moored on the Pier
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The Compelling Power of Photography
The sandstorm came fast — the kind that scours your skin raw, leaves grit between your teeth, and makes you regret every bit of exposed flesh. I had the Pentax K-3 II with the DA* 50–135mm f/2.8 mounted and ready, but even the gear felt fragile in that wind. Eighty kilometres per hour doesn’t sound like much until it becomes horizontal. In the middle of that chaos, he walked in. No jacket, no hood, no camera gear — just shorts, sunglasses, and a phone. He stopped, planted his feet in the shifting sand, and took a photo. Not staged, not dramatic. Just a gesture. In the middle of discomfort, maybe…
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Three Lamps
I made this photograph on a breezy afternoon, when the light fell just right across the row of straw-shaded lamps. The alignment was irresistible — three distinct forms in sequence, receding gently into the frame. I wanted the rhythm to pull the viewer’s eye through the image, from the sharp texture of the foreground shade to the softly blurred suggestion of the background structure. The Pentax K-3 II paired with the DA* 50-135 rendered the detail crisply; every strand of straw stands out against the muted backdrop. The lens’s rendering at f/2.8 helped create a shallow depth of field without obliterating context. The light bulbs, faintly glowing even in daylight,…
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Not AI-made…
The colour rendition of a photo taken with a Pentax (camera and lens) is unique. Taste is personal, and so is this opinion. One thing, however, is sure: the pictorial look of this photography is not made by an ‘AI’.
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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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Imitation of Banksi
Some photographs happen because you spot them at the right time; others, because the right lens lets you see them from a distance before they disappear. This was the latter. Walking past a construction site, I noticed a splash of red against the pale, textured hoarding — a painted figure in a hat and long coat, back turned, hands behind him, staring through a broken window. The text alongside reads: “Segui il cantiere – Un omaggio ai pensionati, risorsa del quartiere” (“Follow the construction site – A tribute to pensioners, the neighbourhood’s resource”). It’s part humour, part homage, a knowing wink to the archetypal retiree who spends his days watching…
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Fast Roping
Photographing action is often about timing, but in this case it was also about proximity — or rather, the lack of it. The Fujinon 100-400mm on the Fuji X-T3 gave me the reach I needed to isolate the firefighter mid-descent, suspended against a Mediterranean backdrop. The long lens flattened the perspective just enough to bring the vegetation, the sea, and the distant breakwater into a coherent, layered background, without stealing focus from the main subject. The composition works around the strong diagonal created by the rope, which slices through the frame and guides the viewer’s eye from top left to bottom right. His bright helmet and high-vis vest aren’t just…
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Kite Surfers
There’s a certain theatricality to kitesurfing that photography loves. The arc of the kite, the tension in the lines, the frozen posture of the rider mid-jump — all these elements play beautifully against a dramatic sky. In this frame, the scene is split into three horizontal bands: the restless sea, the solid breakwaters, and the layered clouds. The kites add the essential vertical accents, their bright reds and blues pulling the eye away from the muted tones of sea and stone. The choice of timing is decisive. The central figure is caught at the peak of his jump, the board still angled upwards, knees bent, hands taut on the bar.…
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Chasing Rainbows on the Open Road
The highway stretches ahead, slick with rain, as a truck hums steadily through the mist. Then, as if drawn by some unseen hand, a rainbow arches across the sky, anchoring itself almost to the truck’s path. In that instant, the mundane transforms: the road becomes a bridge between grey clouds and fragile colour. The scene speaks of quiet journeys and unexpected rewards. The truck, anonymous and workmanlike, seems to carry the weight of routine—deliveries, schedules, miles yet to go. Yet above it, nature paints a fleeting miracle, a reminder that even on a wet and weary road, wonder can appear without warning. The trees along the embankment stand bare, witnesses…
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Deadly Bored
Once again, the meaning of this picture is counter intuitive and “made up” by the composition. The scene is seen from the perspective of the mannequin: at the end of a hard day spent sitting on the street-front, it (or he?) looks deadly bored and tries to kill the time before the shop closes by casually looking at the next passerby. The directional effect (from the mannequin to the passerby) is achieved by the diagonal connecting the tip of the hat, the feet of the mannequin and the cast of the shadow. Taken as a whole, these elements drive the eye from the mannequin to the persons and not vice-versa.
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A Virtual Glance Dance
The essence of this photo is all in the glances of the protagonists. The man looks at the woman, the woman looks at the luxury car. The essence of this photo is all in the glances of the protagonists. The man looks at the woman, and the woman looks at the luxury car. It is this subtle game of glances that tells a story and turns the photography from a casual picture into something worth seeing. Once again, it is not relevant whether the people portrayed are actually involved in the “glance dance”, as what matters is the image to convey the meaning created by the overall result. This confirms…
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Beer or Spritz?
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Fast Drivers in Via del Tritone
Via del Tritone at night has a way of compressing time. Standing at the curb, I could feel the pulse of the city—headlights cutting through the darkness, scooters weaving between lanes, the chatter of pedestrians briefly audible before being swallowed by the traffic. I set out to capture that restless energy, the kind that makes you feel Rome isn’t an ancient city at all, but something entirely modern, alive and impatient. The shot hinges on motion blur. A slower shutter allowed the black car in the foreground to smear into streaks of light and shadow, while the scooters retained just enough form to remain identifiable. This contrast between sharp architectural…
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A Priest Walking Through the Graffiti Streets
I took this photograph on a narrow cobbled street, where the encounter was fleeting. The priest moved with determination, his robes flowing around him, his beard caught in mid-sway. The background of tagged walls and worn stone contrasted sharply with his presence, layering a sense of tension between the sacred and the profane, tradition and modern neglect. Compositionally, the image relies on that juxtaposition. I framed him walking into the picture, leaving space in front to suggest motion. The graffiti and rough textures anchor the scene in the urban present, while his attire evokes a continuity that feels almost timeless. That clash is where the strength of the image lies:…
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Will The iPhone Kill Traditional Cameras? Not Very
This isn’t a critique of smartphones in general—it’s a direct response to the overconfident marketing myth that an iPhone can replace a dedicated camera in every scenario. I took this photo to illustrate the limitations, and it delivered. Overprocessed, hyper-smooth, plasticky where it should have texture, and clinically shallow in all the wrong ways. Technically, the iPhone did what it was programmed to do: expose for the highlights, boost saturation, fake depth of field with computational blur, and call it “smart.” The result is a scene that looks like a rendering rather than a photograph. The contrast between the dead leaves and the healthy ones is crushed into flatness. No…
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Servicing a Beretta 98FS
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Comarketing
Two adjacent shop windows that seem, unintentionally, to speak to each other. On the left, rare books and old prints rest under soft light, their pages worn and yellowed. On the right, a brightly lit glass case displays modern eyewear, polished and reflective, marketed with sleek precision. A drainpipe slices the frame in two, acting as a border between past and present, knowledge and fashion, permanence and trend. Technically, the image holds together through contrast. The exposure balances the dim warmth of the books with the cooler, artificial light of the glasses’ display. Reflections in the glass add layers, hinting at street life beyond the frame. The sharpness allows textures…
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What’s the Time?
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Garbage As Usual – Pantheon’s Nearby
Rome has an unrivalled way of holding beauty and decay in the same frame, and this street is no exception. The cobblestones, slick from a recent rain, mirror the ochre façades and Renaissance windows in a way that almost disguises the litter piled quietly along the curb. Almost. A man in a crisp shirt walks down the centre, back straight, seemingly immune to the refuse that flanks his path. It’s not that he doesn’t see it—it’s that he’s learned to live with it, as many Romans have. On the right, another figure leans against a doorway, absorbed in his phone, framed by stacked crates and plastic bags. Life continues unbothered.…
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The Boat That Never Left
Docked, stripped, tagged, rusted. I shot close with a fisheye to exaggerate the curvature of the hull and drag the viewer across its surface. The distortion isn’t incidental—it’s structural. The lines bend to reveal scale and tension. This is graffiti over steel, corrosion under paint, void behind broken glass. I exposed for the midtones to hold the whites in the spray and the texture in the oxidised seams. f/8 for consistent edge-to-edge sharpness, ISO 200, 1/125s. Light was flat—overcast sky softening shadows without dulling the forms. The left-to-right arc carries the frame. No central subject. Instead, accumulation. Tags, vents, cables, fractures. The dolphin up top is barely visible but critical—vestigial optimism…
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School of Mathematics@Sapienza University of Rome
I composed this shot knowing it would live or die by its symmetry. The rationality of the architecture demanded nothing less. Sapienza’s School of Mathematics sits like a theorem etched in stone—precise, functional, stripped of excess. Guido Castelnuovo’s name anchors the frame, a reminder that mathematics is not only numbers, but legacy. The format is tight, frontal, and unforgiving. Every vertical and horizontal line had to be clean. A small tilt would’ve betrayed the sense of order. I waited for the man to step into the doorway—not to animate the structure, but to punctuate it. His relaxed stance, paper in hand, slightly breaks the formalism of the façade. A human…
