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Pillars Of The Beach
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The Lifeguard’s Tools
This image was taken on a humid Adriatic morning, before the sun had made its way through the marine haze. The beach is empty, save for the standard equipment of Italian stabilimenti: a stack of white plastic loungers, a faded parasol, and a time-worn pedalò parked like a stranded vessel waiting for a purpose it hasn’t had in years. The scene centres on a lifeguard, though not in the dramatic or muscular sense the word often evokes. He stands waist-deep in the still sea, just off a sign that likely warns swimmers of a drop-off or prohibited zone. His posture is unremarkable—calm, passive, perhaps resigned. And yet, that mundanity is…
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Staring At The Infinite
Shot on a quiet coastline, this image started as a spontaneous exercise in balance and distance—two figures set against the immeasurable vastness of the sea. The horizon offered a natural axis, both dividing and uniting the sky and the water, while the couple, placed slightly off-centre, became the emotional anchor. I chose a moderate focal length to avoid exaggerating depth or flattening perspective. The intent was to render the vastness not as spectacle, but as presence—imposing yet still intimate. The sea is not in fury, nor calm; it simply is, stretching without end behind them. That’s the metaphor I was after. Compositionally, I leaned on symmetry without being rigid. The…
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High Heels Ghost
I took this on a Saturday night, tripod low, exposure long. The street was busy but silent—one of those moments when you hear the city breathe between footsteps and engines. She passed quickly, dressed for somewhere else, but the shutter stayed open just long enough to erase her features and leave only motion. She became a spectre. Legs firm, heels sharp, but the torso blurred into translucence. It wasn’t planned. I wanted to catch life, but what emerged was absence—graceful, flickering, unresolved. That duality between presence and erasure fascinated me. Compositionally, it’s a static stage: parked cars, rough bark, municipal geometry. The frame’s symmetry anchors the chaos of the motion…
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Saturday Night’s Ice Cream
This image was taken late one summer evening, in that quiet stretch after dinner but before the streets empty out. The man in the frame is devouring his ice cream like it’s the first proper moment he’s had to himself all day—elbows on knees, back curved forward, eyes fixed on the cone like it holds more than just pistachio and stracciatella. Technically speaking, the photograph is far from pristine. Handheld in low light with a slow shutter and high ISO, the noise creeps in and sharpness suffers. But I don’t mind that. Precision wasn’t the priority here. What I wanted was to capture a trace of stillness in motion, a…
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When We Were Kids
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Avid Readers
Anything, Anywhere…
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Gotcha!
It was the contrast that caught my eye. A man stands knee-deep in the Adriatic shallows, focused, precise, moving a small blue net through the water like he’s brushing dust off glass. He’s working under the shadow of a trabocco—a towering wooden fishing machine, all cables and beams, designed to drop massive nets and haul in fish by the hundreds. The kind of structure that speaks of industry, tradition, scale. But here he is. Alone. Shirtless. Waist-deep. Fishing by hand. The second frame pulls back. You see it all—the full span of the trabocco, its arms stretched wide like a maritime cathedral. And at the base, dwarfed by design, the same man…
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The Sentinel
Though guys never rest.
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Uncertainity
Photographs taken in urban dockside environments often carry a layered narrative—of industry meeting leisure, of movement paused, of a city’s arteries stretching both above and below the waterline. This image, with its juxtaposition of a small, worn boat in the foreground and the sweeping, multi-tiered bridges beyond, encapsulates that tension between the static and the dynamic. From a compositional perspective, the wooden railing in the foreground frames the lower half of the image, anchoring the scene and guiding the viewer’s gaze towards the boats. The man standing by the rail, casual in stance and attire, adds a human scale that balances the massive concrete structures above. His positioning—turned slightly away…
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The Sprint Before the Ride
I caught this frame in a fleeting, almost comic moment: a man mid-stride, pushing his bike rather than riding it, as if caught in the space between two intentions. It’s not quite cycling, not quite running — a transitional gesture that tells a story of motion, effort, and perhaps urgency. The shot was taken low and close, which immediately exaggerates the presence of the subject and the bicycle. That choice, whether conscious or instinctive, works well here; it places the viewer almost on the ground, in the thick of the action, where the geometry of the paving stones converges towards the vanishing point in the distance. Technically, it’s not a…
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Smile!
Smile! It’s contagious!
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Early Morning Shaving on The Beach
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A Little Of Thailand In Rome
Walking through Rome, it’s always the unexpected juxtapositions that stop me in my tracks. This small corner, framed by a weathered marble wall on one side and the muted sheen of a modern doorway on the other, holds a Thai welcome — a statue draped in marigold garlands, hands pressed together in the wai greeting, a silent gesture of hospitality transplanted far from its native home. From a compositional standpoint, I went for a straightforward, vertical framing to preserve the integrity of the statue’s posture. The side table in the lower right, with its offering of flowers and folded leaf packages, gives a cultural context that anchors the image. The…
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Is The Sky Falling On Their Heads?
The photograph wasn’t planned. It was simply observed — a pocket of time, mid-afternoon, Abruzzo heat bearing down, the kind that slows everything to a stubborn crawl. I stood facing this kiosk-bar, the kind you find near campsites and old swimming pools, and pressed the shutter as the two men crossed paths. It wasn’t about them, specifically. It was about the echo — the posture, the bellies, the slightly arched backs, the shared suspicion of something overhead. The title is a nod, of course — Uderzo and Goscinny’s Asterix stories, and that primal fear of the sky falling on our heads. These men could have walked straight off a panel…
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While the kids grow-up…
While the kids grow-up, a father waits with patience.
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EOS-M. An Act of Fairness
I’ve been anything but gentle in my assessment of the Canon EOS-M’s street photography credentials. In the chaos of fast-moving urban life, it has always felt a step behind — hesitant where others are decisive. But fairness demands balance, and in the stillness of landscape work, this little mirrorless manages to surprise. This frame, taken with the humble 18-55mm stabilised kit lens, shows the EOS-M in its element. The river’s current twists and glides across the frame, textures shifting from silky blur to glassy detail, the greens of moss and the reddish undertones of the rocks holding their place against the moving water. The stabilisation works in quiet partnership with…
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Early Morning’s Cleanup
The time goes by, and the song remains the same. Work until late night, clean up early in the morning. Shot handheld, early light bleeding in from camera right. The street’s been emptied of narrative clutter—no cars, no movement, just the woman mid-bend, transferring waste from broom to bag. It’s not staged. She didn’t know I was there. I waited until her back arched into that angle, arms extended, the brush and dustpan forming a triangle at ground level. The framing is offset deliberately. She occupies the lower right quadrant. The left side is held empty—just shuttered shopfronts and a corridor of fading lines. This void gives her effort weight.…
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The Cameraman
There’s a quiet heroism to the figure of a cameraman mid-shoot. This image captures that intensity — the squint of concentration, the firm but fluid grip on the camera, the slight tilt of his head as if aligning himself with the rhythm of the scene unfolding before him. The bright red of the staircase behind him injects energy into the frame, contrasting sharply with his dark clothing and the muted tones of the camera equipment. The composition works in part because it respects the subject’s craft. The frame is tight enough to convey focus, yet wide enough to hint at context: the scaffolding, the staging, the theatre of production. The…
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Crowd Control At Dusk
This is, in a nutshell, a compact study of informal authority and public order, staged in the liminal light of early evening. A temporary barrier creates both a literal and symbolic threshold: on one side, a cluster of young men negotiating space, status, and access; on the other, uniformed officers whose stillness and spacing communicate control without overt intervention.
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The Suit
How would it feel like, when everybody around goes to the beach, wearing a suit and going to the office?
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Lorenzo negli stadi
Rockol.it – a music-oriented online magazine I work with – published the reportage I did at the Jovanotti’s “Lorenzo negli stadi tour 2013” in Pescara (IT). Here are the other pictures.
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The SoundMaster
You don’t usually see them—not really. They’re always there, but never in the spotlight. Still, without them, there wouldn’t be a show. I was at a concert recently, camera in hand, doing what I normally do—trying to catch something a little off-stage, something that tells the rest of the story. That’s when I spotted him: back to the crowd, eyes on the board, headphones hanging loose around his neck. Focused, steady. Doing the kind of work that only gets noticed when something goes wrong. I framed the shot from behind. The lights of the soundboard, all blinking and glowing, lit up the edges of his shirt—a simple icon of a…
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Three of a Kind
Shot from street level, this image captures an everyday theatre performed quietly on a terrace. Three people — two women and one man — are held together by proximity but separated by gesture, expression, and posture. It’s a fleeting constellation of personalities, caught just before it disperses. I was struck by the triangular tension: the woman on the left, sporting a bicycle helmet and pursed lips, locked in on the man’s casual delivery. He stands as the pivot, mid-sentence, while the third figure leans away, hand on neck, visibly disengaged. The emotional distance between them expands far beyond the physical. Technically, the image relies on a crisp focus and compressed…
