-
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.…
-
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…
-
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.
-
The Suit
How would it feel like, when everybody around goes to the beach, wearing a suit and going to the office?
-
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.
-
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…
-
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…
-
Evolution of a Guitar Player
It’s strange how a decade can pass in the blink of an eye — and yet carry with it the weight of evolution. The last time I met Roberto Di Virgilio, he had a Steinberger in his hands: all sharp edges, carbon fibre, and the aura of the 1980s futurism that guitarists either loved or dismissed outright. Seeing him now, a Les Paul slung across his shoulder, feels almost like a chapter shift in a novel I didn’t realise I was still reading. The photograph was taken in the kind of setting that usually conspires against the photographer: a stage during setup, flat midday light filtered through the structure above,…
-
The Calm Newsreader
Piazza del Duomo is never truly still. The stone expanse acts as both stage and thoroughfare, where the pace of life is measured in contrasts. In this pair of images, that tension is laid bare: a young woman, mid-stride, the blur of her step almost audible, shares the same visual field as a man in a red shirt who sits in unhurried contemplation, newspaper in hand. The composition in the first frame benefits from the deliberate use of foreground and background separation. The woman is caught in that decisive moment—foot lifted, eyes focused ahead—while the man remains anchored in his position, reading. The interplay between their postures tells a story…
-
A Lost Towel
No one around. Just sun, sand, and something left behind. The beach was empty when I passed through—early or late, hard to say—but this towel was there, alone, crumpled and vivid. Its colours refused to blend in: yellows, reds, a printed image of something once meaningful, now half-folded by the wind. It didn’t look forgotten. It looked abandoned. What caught my eye more than the towel was what surrounded it: tyre marks, footprints, all criss-crossing paths layered into the sand. As if everyone passed by but no one stopped. It felt recent, but not urgent—like whoever left it didn’t mean to come back. The shot came together quickly. Low angle…
-
The Smoke Teacher
-
The Elders’ Council
-
Urban Scavenger
I photographed this scene late at night, drawn by the way a single pool of light exposed the fragments of urban life that usually go unnoticed. The gull was feeding on scraps by the kerb, a plastic cup discarded nearby, while traffic and people passed outside the frame. What emerged was a study of survival in the margins of the city, where wildlife and waste collide under sodium lamps. Compositionally, the image hinges on that triangle of illumination falling across the pavement. The lit area acts almost like a stage, isolating the bird against the darker periphery. I placed the gull slightly off-centre, letting the curved kerb and the lines…
-
A Quiet Evening
… in the heart of Rome, an old trattoria let people enjoy a quiet diner.
-
The Sailor
Hey, there’s no water straight there!
-
Trento, After Dark
There’s a plaque on the wall behind them—honouring soldiers of the Austro-Hungarian Empire, fallen in a war a hundred years gone. But they’re not looking at that. Instead, three boys sit shoulder to shoulder on a wooden bench, huddled around a glowing Apple logo. A little too bright for the square. The light falls on their faces the way a fire once would have. They’re focused, not speaking much. Two watch the screen; one taps at his phone. Nobody’s in a rush. This is Trento at night: limestone façades, uneven cobbles, Mediterranean shrubs in planters, and now Wi-Fi in the air. The square is mostly empty. Just a few benches,…
You May Also Like
Labcoats In A Moment Of Rest
Different Loads
Another attempt at DLSR film scanning
-
What lasts of a springtime hailstorm
The street was still echoing with the last low rumbles of thunder, and people had not yet come out of their doorways. The hailstones had gathered along the edge of the pavement, forming an accidental border where road meets kerb. They hadn’t yet begun to melt, and their translucency caught the ambient light in a way that made them seem brighter than the grey afternoon deserved. What interested me first was the contrast in scale and material—hard pellets of ice scattered among leaves that had been torn down in the wind. The leaves are not decorative; they are casualties of the weather, sudden and unplanned. Their colour breaks the monochrome…
You May Also Like
Guarding Democracy
Portrait of a Lawyer
Helios 40-2 85/1,5 and Fuji X-T5: a sample
-
Alone, Together…
Are they friends, or do they just share the table?
-
Rest under a tree
Resting under a tree, on a sunny afternoon, in springtime.
-
Love is like a flower
Love is like a flower, Both need care and attention to grow, Both die if not fed, Both don’t last forever.
-
The Hands of a Drummer (Horacio “El Negro” Hernandez)
You don’t photograph a legend. You try not to get in the way. This frame is all rhythm, no fanfare. No face, no spotlight—just hands, sticks, cymbals, and breath held between beats. It’s Horacio “El Negro” Hernández in concert, but not in the way the audience sees him. This is closer. Quieter. The private side of percussion. Shot just beneath the hi-hat, I framed the photo to let the hand speak: fingers curled not in tension, but in dialogue. The skin slightly worn, the grip half-visible—mid-phrase, mid-flow. The cymbals catch the stage light like the faintest of brushstrokes, shimmering but not stealing the scene. You can feel the groove here.…
-
Waiting for a Future to Tell
Behind the slightly dusty glass of an old tobacco shop window, a box of tarot cards stands upright, holding its ground with a quiet dignity. The label reads taotl, the colours still vivid despite the years: red flames, green leaves, a central emblem that seems both protective and dangerous. Beneath, the name Masenghini anchors it in a very specific history of Italian card-making, a craft now mostly relegated to collectors and the nostalgic. Around it, other objects share the same slow fate: a light-blue school exercise book titled Quaderno, some patterned boxes, a rolled cylinder of bright turquoise paper. Everyday relics, all bathed in the soft, uneven light that only old glass and time…
-
The Worst Moment to Fix a Shoe’s Problem
Caught on a descending escalator, mid-bend, mid-thought—this is the photograph of a decision made too late. Everything in this frame leans forward. The vanishing point pulls you down, hard, like gravity with intention. The blur on the metal steps mimics momentum. You can almost feel the hum of machinery and the silent urgency of descent. At the centre of it all: a man hunched over, trying to wrestle control over something small and unruly—perhaps a loose shoelace, perhaps something more symbolic. I didn’t plan this shot. It happened fast. A reflex. Shot handheld, low light, no time to think, just enough to feel. The imperfection—the motion blur, the noise, the…
-
Sideways Through the Tunnel
This photograph was taken in the last leg of a trip to Rome, from inside my car while standing still because one of the many and usual traffic jam on the Tangenziale. I tried to have the road not to dominate the frame, fragmenting it, instead. A dark curve cuts through the image, separating two visual registers: the solid, static wall on the left and the receding tunnel of lights on the right. The image is less about travel than about perception while travelling. The motion blur and softness at the edges weren’t deliberate; they happened by chance. However, I like the result nonetheless. The photo would have felt dishonest…
