-
Nad Sylvan
-
Steve Hackett – Live@Teatro d’Annunzio
The photograph captures Steve Hackett in a moment of concentration, his gaze lowered towards the guitar as if the instrument itself were dictating the next phrase. The Les Paul glows under the stage lights, its golden surface reflecting the intensity of the performance, while Hackett’s expression remains measured and inward, suggesting a musician wholly absorbed in sound rather than spectacle. Framing is tight, keeping focus on Hackett and his guitar. The background, blurred yet luminous with stage reflections, provides atmosphere without distraction. It isolates him in the act of playing, the performer reduced to essentials: hands, instrument, sound. Technically, the exposure handles difficult stage lighting competently. The blue tones of…
-
Addicted to (Nintendo) Switch
-
Portrait of a Cosplayer
I shot this in a crowded open-air market during a cosplay event. No studio, no setup, just natural light and a quick pivot to catch the moment before the crowd closed back in. The subject stood out instantly—not just for the outfit, but for the commitment. Every element was deliberate: the scarlet coat, the black waistcoat buttoned to the collar, the oversized goggles perched over an expression of studied calm. And the hat—sharp, theatrical, finished with a red trim that echoed the coat. Stylised but not cartoonish. This wasn’t a costume; it was a persona. I composed tightly to focus on the mid-frame, letting the subject fill the space without…
-
Waiting for the Shinkansen – 2
Tokyo Station is a place of constant movement, a rhythm of arrivals and departures so precise it borders on choreography. Yet, in the midst of this perpetual motion, there are moments of stillness — moments like this one. The young woman stands against a marble column, a vivid pink handbag in one hand, a green tea bottle in the other. The shinkansen, sleek and cream-coloured, is a quiet presence in the background, its windows reflecting the muted tones of the platform. Her gaze, directed somewhere past the camera, is calm yet unreadable — a mix of patience and expectation. From a compositional standpoint, the frame benefits from its vertical alignment.…
-
Every Single Day
-
Waiting for the Shinkansen – 1
There’s a certain theatre in waiting rooms. The cast changes, the script is unwritten, yet the rhythm is always the same—an ebb and flow of arrivals, departures, and the suspended time in between. In Waiting for the Shinkansen, this sense of suspended animation is rendered with quiet precision. Framed through the glass walls of the station lounge, the photograph gives us a compartmentalised view into a small world sealed from the rush outside. The clear vertical lines of the door frames bisect the scene into distinct visual panels, almost like frames in a film strip, each containing a vignette of stillness: a pair of women in mid-conversation, a businessman absorbed…
-
All Mobiles But One Book
-
Does It Worth It?
In the fluorescent glare of the stage, one man poses, his body chiselled by obsession, sweat, and sacrifice. Another stands in the shadows, hands in pockets, his back turned to us, yet his inner turmoil silently projected into the void between himself and the competitor. This is not just a bodybuilding contest. This is the theatre of doubt. The photo captures the unspeakable moment where fatigue collides with purpose. The observer, branded with the logo of a nutrition sponsor, is no stranger to pain — his posture, physique and stillness tell us he, too, has been through the crucible. But now, watching someone else perform, there’s hesitation. A mental calculation…
-
Sala degli Onori @ Triennale di Milano
Photographing grand interiors is always a test of discipline — a challenge to convey scale, symmetry, and atmosphere without letting the vastness swallow the human presence within it. In this image of the Sala degli Onori, the composition succeeds in balancing the architecture with the people inhabiting it, rendering a space that is both imposing and accessible. The shot is anchored by a strong central perspective. The converging lines of the marble floor and rows of white chairs pull the viewer’s gaze directly towards the far wall, where the mural forms a natural focal point. The figure walking down the central aisle provides a crucial sense of scale; without her,…
-
Path of Life
-
Urgent Calls Only
Shot on a mid-range mirrorless at street level, no setup, no interaction. A man in construction gear walks past a beauty store, phone pressed to his ear. The contrast writes itself—fluorescent orange hoodie and yellow rubber boots set against glass doors advertising discounts on skincare. I waited a half second for alignment. His step mid-stride, body vertical, head turned just enough to define the gesture. The truck on the left anchors the frame, providing visual weight and a break from symmetry. The storefront’s clean geometry contrasts with the rough texture of his work clothes. Compositionally, it’s split in thirds. Truck, figure, door. But the interest lies in the collision of…
-
Leica Shop @ Strada Maggiore
The red Leica circle glows against the darkness, a beacon above a shuttered storefront. Below, the metal grate closes the shop to the street, yet faint reflections and hints of light bleed through—an illuminated mask on one side, a small display on the other. The brand’s prestige is reduced to fragments, glimpsed through barriers. Composition is strict and minimal. The glowing round sign sits high in the frame, commanding attention as the only strong colour against black. The shutter’s horizontal lines dominate the lower half, flattening depth and insisting on closure. Within that darkness, however, faint details emerge—faces, objects, light—making the viewer lean closer, as if to pry open the…
-
Full Moon
Photographing the moon is a deceptively simple task — at least until you try it. What I wanted was the cold, silvery sharpness of our nearest celestial neighbour, etched against a black void. What I ended up with was something quite different, but not without merit: a moody study of the moon as seen through a gauzy veil of fast-moving clouds. The composition is almost entirely dictated by nature. The moon sits dead-centre, surrounded by concentric ripples of light refracted through water vapour. The clouds swirl and twist in soft greys, catching the pale light and turning it into a painterly texture. In the very heart, there’s a thin halo…
-
Mistress Of Puppets
I titled this one Mistress of Puppets. A nod, of course, to the Metallica anthem where the master pulls the strings, controls the fate of others—merciless, mechanical, in charge. But in this frame, the dynamic is flipped. The puppet isn’t controlled. She’s in control. Shot through a shop window, the mannequin doesn’t stand, she sits—curled into herself in an oddly introspective pose. Not a gesture of command, but of knowing. Dressed in soft florals, faceless but not neutral. The glass between us acts like a screen, a membrane, a boundary between worlds—hers synthetic, silent, and oddly powerful; ours fast, distracted, and easily led. Because really, who’s manipulating whom? She doesn’t speak.…
-
A Cello Player
This image was taken in the middle of a performance, at the point where the music pulls the musician fully inward. I was close enough to see the grip of his hand on the cello’s neck, the subtle tension in the fingers, the faint sheen of perspiration on his scalp under the stage lights. The head is bowed, almost in communion with the instrument, and the surrounding orchestra falls into a soft blur. I used a shallow depth of field to separate him from the background, letting the warm browns of the cello resonate against the darker suit, while the out-of-focus fellow musicians form nothing more than hints of presence.…
-
Intelligence Contest
A pane of glass separates two worlds. On one side, the hyper-stylised gaze of a model — digital, sculpted, aloof. His stare pierces outward from an ad inside a hair salon, promising precision, control, curated masculinity at €21. Behind the glossy veneer, real people go about their routines, dwarfed by the giant printed face that symbolises a synthetic ideal. On the other side, a cluster of balloons—soft, round, unformed—calls out with its own clumsy presence. Unintended perhaps, but visually evocative, the column of latex orbs resembles a puppet or caricature. In their simplicity, they reflect something the model cannot: humanity, imperfection, absurdity. The composition turns into theatre. A confrontation of…
-
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…
-
The Quest for Belgian Chocolate…
-
Outdoor Aperitif
I shot this on a cool evening in Brussels, with the last of the daylight just beginning to retreat behind slate rooftops. The city was shifting gears—post-work fatigue blending with the early stirrings of nocturnal energy. I had the Leica M9 slung across my shoulder, a camera that’s more than a tool—it forces you to see with intent, to commit before pressing the shutter. Paired with the Zeiss Biogon 35mm f/2.8, it draws sharpness out of corners and translates contrast with a crisp, unfussy tone that suited the moment perfectly. The scene was already composed for me: clustered chairs, half-filled glasses, side conversations in mid-stream. No one posed. No one…
-
Street Of New York… Possibly
The image was taken in Italy. But remove the signage, blur the language on the air conditioning units, and this could just as easily be Queens or Brooklyn — any back alley where heat pumps hum above cracked asphalt and fading stucco. That universality was the point. Place becomes anonymous when its elements are global. I composed it as a frame within a frame — the corridor of walls leading the eye to the vanishing point, while the pipes, units, and rust act as punctuation marks. The textures do the talking: peeling paint, patched cement, and the industrial clutter that cities never clean up because no one looks down these…
-
The Flying Dutchman… a sort of
I made this shot standing at the edge of a small harbour after midnight, the kind of hour where everything becomes abstract unless it’s lit. The boat, isolated and slightly listing, sat in complete stillness, half-moored, half-abandoned. It wasn’t moving, but it didn’t feel settled either. That in-betweenness is what caught my attention. The frame leaned heavily on underexposure—on purpose. I wanted the boat to emerge from the blackness like a memory, not an object. I metered for the faintest highlights and let the rest fall into noise and void. What the image lacks in tonal range, it gains in atmosphere. The blacks are thick, the shadows granular, and the…
-
Spectrum
A broken LCD panel, screen blacked out except for vertical bands of coloured light, frozen mid-collapse. I framed the shot in total darkness, using a tripod, low ISO, and long exposure to extract every nuance of the emitted RGB shards. The left stack is dominant—dense, pulsing, lines tightly packed, terminating in a soft arc of failure. The right set echoes it with less mass, more space between columns. Between them, void. The black isn’t absence—it’s the backdrop of digital death. This isn’t a glitch aesthetic. It’s material damage, turned into colour structure. Technically, I shot at ISO 100, f/5.6, 2.5 seconds. Manual focus. White balance locked to daylight to prevent…
-
The Temple of Justice
From an elevated perspective, the grand staircase of the Italian Court of Cassation descends in perfect symmetry. Framed by neoclassical columns and lit by reverent lamplight, this space does not merely lead—it ascends, conceptually, toward the divine. The title, The Temple of Justice, is not metaphorical hyperbole, but a statement of function and form. This is not a courthouse. It is a sanctuary. Justice, as the image suggests, is not a secular procedure. It is a liturgy. It unfolds with rituals, vestments, invocation of higher powers, and the solemnity of faith. The robes, the benches, the altars of the law—these mimic the language of churches. And the Court of Cassation, the…
