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Desolation
I remember standing at the entrance of this narrow underpass, camera in hand, struck by the oppressive stillness. The word “desolation” seemed to settle in my mind even before I pressed the shutter. There was no movement, no sign of life, only the faint echo of my own footsteps on the tiles. The composition is built on geometry and confinement. The corridor acts like a visual funnel, guiding the eye towards the back courtyard and the blank, closed garage doors. The graffiti scrawled on both walls interrupts the symmetry just enough to add texture and a hint of human presence — though not the kind that enlivens a space. The…
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Lunar Network Or Snowy Mountain?
This image was made at high altitude, but it could have been taken on the Moon. That’s what initially drew my eye: the surreal minimalism of these snow-covered slopes interrupted by a line of utility poles, stretched tight against the vast emptiness. The illusion of a lunar landscape is heightened by the total absence of sky detail—pure black, a void—and the almost abstract texture of the snow, exaggerated by strong directional sunlight. The decision to shoot in black and white came naturally. Colour would have been a distraction from the harsh geometry, from the juxtaposition of natural emptiness and imposed structure. Each pole, evenly spaced, is both part of a…
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Trespassed
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Pipes in Colour
I photographed this section of wall for its unexpected interplay between infrastructure and colour. The rusted pipe, running vertically through the frame, is not remarkable in itself, yet in combination with the graffiti and stains, it becomes part of an improvised composition. The red spray paint, the rough blue marks, and the muted grey stone surface transform a functional corner of the street into an abstract tableau. The framing was deliberate: I aligned the pipe with the vertical axis to divide the picture almost in two, while allowing the barred window to creep in at the bottom left. That small intrusion anchors the image, reminding the viewer that this is…
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Stripes in B&W
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Hammer and Sickle
The image presents a straightforward urban fragment: an electrical cabinet bearing two layers of graffiti, one in red, one in blue. The red, unmistakably, forms the hammer and sickle symbol — sprayed quickly, with visible vertical striations from the cabinet’s ridged surface disrupting its edges. The blue tag below is broader, more gestural, perhaps made with a thicker nozzle and without concern for the political overtones of what sits above it. Compositionally, the vertical framing suits the subject, containing the entire cabinet and the immediate environment. The flanking pipes and textured wall create a symmetrical boundary, keeping the viewer’s focus on the graffiti itself. The alignment is square and deliberate,…
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Springtime
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Final Arrangements Before the Hearing
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Writer Inspiration’s Tools
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Too Late
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Italian Stardust
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Behind the Glass
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Where Did I Left My Car?
When I framed “Where Did I Left My Car”, I was chasing absence, presence, and the city’s quiet accusation. I recall stepping into a narrow lane, scanning facades, light and shadow, empty spots. I trained the lens not on what was there, but on what was not. The void became subject. I waited until all cars had passed, until the frame was emptied. Then I held the shutter, letting the urban grid, the lines of curb, doorways, and windows become witnesses. The emptiness sits heavy, like a question mark in concrete. I chose a vantage point slightly off-centre. The negative space on one side is meant to feel unbalanced—echoing the unease…
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Justice Under Construction
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Arrested Behind the Door
Photographing in the criminal court of Rome is a peculiar experience — the air is thick with bureaucracy and human tension, yet most of it plays out behind closed doors. In this frame, the door is both a literal and symbolic barrier: clean, almost featureless, save for the taped sheet of paper outlining the rules of entry. It is stark in its message: access to the waiting room for the arrested is only permitted to lawyers, and only upon proof of formal appointment. Everything else — the people, their stories, their anxiety — remains hidden. From a compositional standpoint, I kept the framing tight and frontal. The geometry of the…
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Room 17 – VIXI
The steel doors of Aula 17 stand closed, expressionless. Matte black, scratched, impassive. Above them, a bureaucratic sign: 7ᵃ Sezione, Edificio B. On the right, a board once meant to list names and hearings is now empty—washed clean by time or intention. Seventeen is an unlucky number in Italy. Rearranged, the Roman numerals XVII form VIXI—”I have lived”, an epitaph. And so, Room 17 becomes more than a courtroom. It becomes a threshold. A place where the living confront endings. The end of freedom. The end of illusions. Sometimes, the end of justice itself. The symmetry of the composition tightens the tension. Every element is locked in place. Nothing moves, and nothing is random.…
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Legal Apartheid
Two elevators, side by side, divided not by function but by status. On the left, a small sign reads Pubblico. On the right, Avvocati. Between them, a strip of blank wall holds the call buttons and a standard notice: Non usare in caso di incendio. The symmetry is perfect, the contrast sharper for it. In the Court of Rome, this arrangement makes practical sense. Lawyers must move quickly between hearings; delays can derail the fragile timetable of justice. Efficiency demands a separate lift. And yet, looking at it here—reduced to a flat, black-and-white composition—the logic fades, and something else emerges. The brushed steel doors are marked with smudges and fingerprints, traces of the…
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YANE – Yet Another Nepal Exhibit
This the poster of Yet Another Nepal Exhibit. It is hard to see the point in going to the other end of the world to take pictures that, as a Google Image Search shows, have already been shot zillions of time. In other words: taking original photos in Nepal is very hard. This teach a simple lesson: going overseas in the belief that the place makes the photo is wrong.
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The Street Photographer Dilemma: Film or Digital
To me Street-Photography is digital. I missed this shot because I wasn’t able to properly focus my full-manual kit, as I would have do with an average digital camera. There is no point in wasting film in an highly fault-rate activity such as Street Photography.
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Milan
There are street scenes that announce themselves loudly, and then there are those that slip into your view almost without you noticing—until the details start to unfold. This was the latter. I was standing at the corner of Via Francesco Sforza when the alignment of people, traffic, and light presented itself in a way that felt quintessentially Milanese. The group waiting at the crossing tells a quiet story of the city: a man lost in his phone, another holding a leather briefcase, a woman dressed sharply but practically, and a cyclist easing forward, impatient to move on. Behind them, the ECOBus—route 73 to San Babila—anchors the scene firmly in the…
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Dress Different
According to the fashion-photography standards this is a perfectly usable shot. To me, that’s simply a missed photo.
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Horizontal
I was walking past this building when I noticed how the afternoon light chiselled into the façade, pulling out volume from what is, in essence, a flat geometric rhythm. The composition demanded no embellishment — the image resolved itself into horizontal bands almost on its own. I didn’t crop for symmetry; I simply took the time to level the camera and wait for the shadows to deepen just enough to add a graphic weight. What you see is pure form. No context, no clutter — just tone, line and light. It’s often said that black and white photography strips away distraction, but in truth, it doesn’t simplify. It sharpens. Here,…
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Rectangles
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The Sharp Shooter
Midday light in snowy terrain is rarely a gift—high contrast, flat textures, blown highlights. Yet it matched the tone of this frame. The intensity of the shooter’s expression, the harsh sunlight, the targets standing in silent defiance—all fed into a sense of clarity and control. He isn’t performing. He’s working, and the cold has no bearing on his focus. The image demanded precision. Exposure had to be managed tightly to avoid losing detail in the whites without choking the blacks of the tactical jacket. I metered for the shadows and pulled slightly in post. The result is contrasty, yes, but not artificially so. The white balance swings cool despite the…
