-
A Roller Coaster… A Kind Of
It’s not a ride. But it feels like one. Shot with an ultra-wide lens, this pedestrian bridge bends and twists like it’s unsure whether it’s architecture or attraction. The metal curves upward, forward, out of the frame—pulling your eye (and your balance) with it. Perspective doesn’t just stretch here—it spirals. Geometry gets theatrical. At the top of the climb, a small group walks calmly, as if unaware they’re part of the illusion. No one is rushing. One wears yellow, another carries a bag—ordinary people on a not-so-ordinary structure. The Adriatic glints below, a boat docked quietly at the base. It could be a coastal scene from anywhere in Italy, but…
-
Lamp
-
Skating on Avenue Louise
The architecture of Avenue Louise is built to impress — symmetrical, imposing, wrapped in glass and concrete. It speaks the language of power, efficiency, and institutional gravitas. Yet here, cutting across the uniformity of its grid, a lone skateboarder defies gravity and symmetry alike. In mid-air, suspended between takeoff and landing, the young skater rewrites the function of space. This plaza wasn’t designed for movement like his — spontaneous, raw, unruly — yet it hosts it with unexpected grace. The stark concrete façade becomes a backdrop, not a boundary. This is the city as canvas, the act of skating as resistance and reinterpretation. While others walk briskly from meeting…
-
Hanging Heart at via Olmetto
Taken in Milan, this photograph is built around a single point of chromatic and emotional focus — a small, glossy red heart suspended from the centre of an ornate iron grille. The restrained colour palette of the stone façade and dark metalwork works to its advantage, ensuring the heart becomes a magnetic anchor for the viewer’s gaze. The pattern of the wrought iron, a chain of interlocking circles bisected by vertical bars, lends the image symmetry and rhythm, subtly broken by the heart’s irregular organic shape. The composition is tightly framed, allowing no distraction from the relationship between object and setting. The verticals of the grille are aligned with precision,…
-
A
Some photographs are built on complexity — overlapping narratives, layered subjects, visual chaos distilled into coherence. This one is built on the opposite: a single, dominant letter and the deliberate restraint of elements. The capital “A” scrawled across the double wooden doors becomes both subject and statement. Whether an anarchist mark, an initial, or just a passing act of vandalism, it punctuates the otherwise rigid, formal architecture. The geometry of the building — rectangular panels, horizontal mouldings, the granite base — forms a rigid grid, and into this grid the bicycle is quietly inserted, its own triangles and curves breaking the dominance of the rectangles without challenging their order. Technically,…
-
Hanging Towels
Some photographs are not about events, people, or decisive moments. They are about the quiet visual structures that shape daily existence without asking for attention. This frame belongs to that category. Taken with a Fuji X-T1 fitted with a Summicron 50 mm lens, the image centres on a simple domestic gesture: a few pieces of laundry left to dry against a sun-worn wall. There is nothing exceptional in the scene itself. What makes it photographically interesting is the way ordinary elements align into a restrained composition that almost constructs itself.
-
Off-Duty Eurocrats in Bruxelles
Late afternoon outside the European Parliament is a curious time. The intensity of the day’s debates, meetings, and bureaucratic rituals evaporates into the chill air, leaving behind something more recognisably human. I caught this scene as the sun was sinking, the light flattening into that pale, slightly diffused wash Brussels often wears in winter. I framed the shot to emphasise the contrast between the rigid geometry of the architecture and the small figure of the man stepping into the foreground. The curved glass façade on the right dominates, its repeating elements pulling the eye deeper into the image. The building almost seems to lean forward, pressing its presence into the…
-
Tour Saint-Jacques, Standby
Paris, the city of light, reflects off the polished chrome helmets of the sapeurs-pompiers. The firemen stand poised, immobile but ready. Their posture does not betray fatigue, nor doubt—it’s the stance of trained patience, of focused anticipation. This image captures a moment between action and calm. The fire hoses lie coiled with potential energy, valves shut, mechanisms still untouched. Behind them, the urban rhythm carries on: buses glide, pedestrians move, the sirens wait. The presence of the firefighters, framed by the bustle of Haussmannian façades and traffic, signals that something mighthave happened—or almost did. The mirrored helmets become metaphors themselves. They do not just shield: they reflect the world around them. Their function is…
-
Late for Lunch
-
Early Leave at Bruxelles-Midi
-
Walking Table in via Cornaggia
Via Cornaggia in Milan is not a place one usually associates with humour in photography, yet this image carries an almost surreal tone. A man strides down the cobblestone street, carrying a table on his shoulders, its legs pointing skyward like some awkward sculpture. His face is completely obscured, leaving only body language and context to speak for him. The everyday act of transporting furniture becomes, in this frame, an absurd visual gesture. The narrow perspective of the street enhances the composition. The converging lines of the walls and cobbled path guide the eye directly to the man, amplifying his centrality within the scene. The geometry of the table mirrors…
-
Is This Photo Illegal?
Yes, if it were taken in Hungary. Against the European Convention of Human Rights, Hungary passed a law that by next March 15 will require any photographer shooting in public space to obtain a signed “model release form”. This provision will be bashed by either the EU Court of Justice or the European Court of Human Rights (for the very same reasons I explained here), but it will take time and – first of all – a photographer that sacrifices himself on the altar of freedom.
-
Relaxed Call at Boulevard du Palais
Paris lends itself so well to moments of quiet theatre, and this image captures one of those understated urban vignettes — a waiter leaning against a doorway, mid-call, somewhere between duty and a fleeting pause. The scene’s composition is clean and deliberate. The vertical symmetry of the architecture — the heavy wrought-iron window on the left, the dark panelled doors on the right — creates a structured backdrop that frames the human subject without overpowering him. The soft patina of the stone façade carries a sense of history, its muted tones setting off the crisp whites of the waiter’s apron and shirt. His black vest and bow tie anchor him…
-
Trust Us, We Care About You
This is a close-up of a banner hanging from the Prefecture de police, Paris, Rue de la citè. I don’t know why, but every time I hear a public power saying that he cares about me I feel a bit worried… — This is the Google Map link, currently displaying the complete image, and here is a screen capture, just in case:
-
Still Standing
-
Zebra Crossing
-
Street Food in Via Salaria
A Chestnut Maker, making everything ready for another day of hard work.
-
A Toilet of the Court of Rome
This image wasn’t taken to shock, or to moralise. It was taken to document—to observe the banal degradation of a public space that ought to represent dignity, order, and functionality. The Court of Rome is not some anonymous bureaucratic annex. It’s an institution, a symbol of authority. And this—this corner of neglect, dirt, and rust—is part of its daily mise en scène. The frame is unadorned. The composition is split by a hard vertical: clean white tiles with a wall-mounted sink on the right, and a long, filth-streaked heating unit under sealed windows on the left. It’s the juxtaposition that struck me—two realities in the same room. One part designed…
-
Stairway to Nothing
-
Stand-up, Sugar!
-
Shadows&Lights
A stone wall where the sun had cast two strong shadows of street lamps. The lamps themselves are absent from the frame; only their silhouettes remain, stretched and distorted across the grid of blocks. The geometry of the masonry intersects with the organic curves of the ironwork, turning a mundane architectural feature into an interplay of abstraction. Technically, the image rests on tonal contrast. The black-and-white treatment strips away distraction, reducing the composition to texture, line, and shadow. The exposure is precise: the stone retains detail without bleaching, while the shadows remain solid but not impenetrable. The vertical seam of the wall divides the frame, splitting the twin forms into…
-
Scarf’s Meeting
-
Windows XVIII … Century
This photograph came from an unplanned encounter while wandering through the corridors of a fading building in via del Governo Vecchio — the sort of place where time has done more than simply pass; it has settled in, quietly shaping every surface. The pane of glass here isn’t modern, nor mass-produced. Its circular impressions are the handiwork of an 18th-century glassmaker, each bubble imperfect, each one carrying the slight distortion of a craft long past. The Leica M9, with its full-frame CCD sensor, brought something special to the scene. That sensor has a way of rendering colour and micro-contrast that feels almost film-like, which was ideal for this subject. The…
-
An Inside Irongate
Inside and old building, in the heart of Rome.
