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Posing at Milan’s Galleria Vittorio Emanuele II
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Full Moon
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An Essay on Light
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An Essay in Composition
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Play It Again, Sam!
I took this photograph in a small, intimate room where music wasn’t just performed — it was lived. The man seated at the keyboard was deep into a Scarlatti sonata, his hands moving with the assured precision of someone who has played these notes countless times. Standing beside him, another man — perhaps a fellow musician, perhaps a connoisseur — seemed half in conversation, half in silent appreciation, his clasped hands suggesting both restraint and involvement. The space itself lent to the scene: a polished wooden floor, a framed certificate on the wall, bookshelves behind, and the warm light that tends to fill places dedicated to quiet craft. The harpsichord’s…
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The Sorcerer’s Shop
Walking past the narrow streets that night, I was struck by the oddly theatrical composition this small shop presented. “La Bottega delle Streghe” — The Sorcerer’s Shop — proclaimed the sign above, and there in the doorway hung a single jacket, swaying faintly in the evening air. Through the open door, the frame split into two narratives: the interior, softly lit and cluttered with fabric and objects; and beyond it, the alleyway, dimly illuminated, with a car just visible in the background. The framing here is deliberate — the doorway acts as both literal and visual threshold. The viewer is pulled in, suspended between the world outside and whatever spells…
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Just Another Piccadilly Circus’ View
There’s a temptation, when standing in the middle of London’s Piccadilly Circus, to think that you’ve seen it all before. And in a way, you have. This is one of the most photographed corners of the city—neon-lit, traffic-heavy, forever brimming with tourists. Which is precisely why I wanted to make this frame. Not to reinvent the wheel, but to quietly acknowledge its inevitability. I chose a slightly elevated position, letting the sweep of Regent Street’s curve pull the viewer’s eye into the frame. The red double-decker is exactly where it should be—almost a cliché—but here it works as a punctuation mark in the composition, tying in with the bold McDonald’s…
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A Boat Under The Bridge
There’s something inherently cinematic about the Thames at night. The water becomes a restless mirror, fractured and stitched together by the city’s lights. In this photograph, taken beneath one of London’s bridges, the play of colour is what first arrests the eye: deep blues and purples flood the steel framework, punctuated by warm reds and yellows that seem almost to breathe against the cold tones. From a compositional standpoint, the arch of the bridge acts as a powerful leading line, drawing the viewer’s gaze toward the illuminated boat gliding quietly in the background. The layering here — water in the foreground, the bridge’s underbelly at mid-frame, and the distant boat…
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Bus Driver
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A London’s Skyline
London at night has an entirely different pulse. From the South Bank, the city stretches across the Thames in a jumble of modern glass and steel, its towers blinking like an impatient circuit board. In this frame, the Walkie Talkie leans imposingly to the right, while the jagged edges of the Cheesegrater and other high-rises punctuate the skyline. The Millennium Bridge slices across the scene, leading the eye to that bright cube of light floating on the river—a beacon, a question mark, perhaps both. Technically, this was a balancing act. Night photography in an urban environment often tempts you to overexpose the lights or lose detail in the shadows. Here,…
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Framed
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A Modern Orpheus
Shot in a southern Italian city on a humid evening, this frame owes as much to the ambient noise as it does to light. The man with the guitar wasn’t playing to be heard. He was playing because he had to—sitting on his amp, cables like roots spilling out beneath him. What I saw through the viewfinder was not a performer, but a figure entirely absorbed, distanced from the crowd that had only half noticed he was even there. The Orphic analogy came naturally—not out of romanticism, but necessity. Like the myth, he’s turned away from the world, pleading into the void for something irretrievable. His face is hidden, not…
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Washed
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Belgian Chocolate – Godiva
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The Jewels Sale
Photographing through glass is always a test of patience. Here, I wanted to capture not just the jewellery but the human presence behind it—the quiet choreography of selling and browsing. The glass served as both barrier and canvas, introducing subtle reflections that blend the sparkle of the display with the blurred outlines of the people behind it. Compositionally, the image leans on the central placement of the black necklace bust. Its matte surface contrasts with the glint of gold and the shimmer of stones around it, giving the frame a clear focal point. The surrounding watches and earrings fill the edges without overwhelming the centre, leading the viewer’s gaze in…
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Belgian Chocolate – Neuhaus
Photographing in a place like this Neuhaus boutique is always an exercise in restraint. The scene is a sensory overload: gold, red, pastel blues, mirrored surfaces, and the intricate geometry of countless chocolate boxes. It’s easy for the camera to drown in the details, and the trick is to find an anchor point—the human presence that gives context and focus. Here, that anchor is the shop assistant, absorbed in her task, the bend of her head drawing the viewer into the very centre of the composition. The overhead golden arc with the reversed “1970” is not accidental—it creates a frame within the frame, hinting at the brand’s heritage while subtly…
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A Lamp
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Glancing Books
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Fancy a Beer?
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Inside the Palaces of Power – Bruxelles
The first thing that strikes me about this image is its deliberate sense of distance—not just physical, but psychological. We see a woman from behind, walking away toward a set of glass doors, her stride steady, her posture contained. There’s no attempt to catch her expression; her anonymity allows her to stand in for anyone navigating the quiet, often opaque corridors of authority. The architecture plays as much of a role here as the human subject. Vertical wooden slats flank either side, creating a symmetrical frame that channels our gaze straight toward the central doors and the clock above them. The space is clean, polished, almost acoustically still. The high-gloss…
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