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Red Beam
Night photography has always been an exercise in restraint and patience. The camera sees differently than the human eye after dark — more unforgiving, more literal. This frame, taken with a Fuji X-T4 paired with the Viltrox XF 85/1.8, is my attempt to balance that literalness with the suggestion of stillness. The subject is minimal: a breakwater crowned by a small red beacon, its reflection trembling down the harbour water. Compositionally, it’s brutally simple — the light dead-centre, symmetry imposed on a chaotic environment. There’s an honesty to the stark framing; nothing distracts from the red flare and its molten trail on the surface. Technically, the exposure was a delicate…
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The Traveler’s Dilemma: Where To?
Shot on a Voigtländer Bessa R2A with the Nokton Classic 35mm f/1.4, this frame unfolded in less than a breath. A man, motionless, eyes scanning a departure board. Behind him, the chaos of travel hums, but he’s suspended—mid-decision, mid-wondering. No phone, no luggage in view. Just posture and projection. The Bessa’s meter can be unforgiving in contrast-heavy interiors, but I exposed for the board and let the shadows fall where they would. The Nokton, wide open or nearly so, brings in the classic swirl and falloff I wanted—enough sharpness in the centre, enough softness at the edges to suggest thought rather than define action. I didn’t wait for better light.…
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Modern Moai?
Still pushing the Viltrox AF 56/1,4 XF on a Fuji X-T4.The limit has not been reached just yet.
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Questioning the Referee
Sports photography is all about the moment. Freezing the moments of success – a win, a comeback or a try – as well as failure – a miss, a fall or an injury – is what usually attracts photographers’ attention. But there are many other stories to be told during a competition, and the complex relationship between coaches and referees is one of the most interesting – and overlooked. In this picture, taken during a national judo tournament, I captured the moment when a referee decided to stop talking to a complaining coach. Technical note: I took this picture with a Pentax K-3 II and a Pentax DA* 80-200/2.8. Maybe…
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Floating
Another shot taken with the Viltrox 56/1,4 XF and a Fuji X-T4.
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Sailing Home
The quality of the Viltrox 56 1/4 XF never ceases to amaze me.This image was taken with an X-T4 at ISO1600, so the quality of the sensor plays a significant role in the overall result. However, as the lens is not supported in Affinity Photo 2, the image is wysiwyg in the sense that no profile-based corrections have been applied.
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When Venus Meets the Moon
I made this photograph with the Fujifilm X-T5 paired to the XF 150-600mm, working handheld in the early evening. The Moon was already high and bright, its craters crisp in the cold winter air. Venus, to the left, shone as a pinpoint — a bright, almost stubborn presence against the vastness of black space. Compositional balance here was straightforward but demanded precision: the Moon anchored on the right third, Venus sitting low and left, with the negative space not just filling the frame but defining the mood. The sheer emptiness is as much the subject as the two celestial bodies. Technically, the exposure leaned toward underexposing slightly to preserve lunar…
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Serva padrona @ Teatro Marrucino
LED banding is a major problem when using electronic shutters, and the Fuji X-T4 and X-T5 are no exception. In the specific conditions of this piece, I found that setting the shutter speed below 1/100s tamed the problem. However, there is one major drawback: the number of ruined shots increases. This is particularly true of the moments when the actors are waving their limbs or moving randomly. In this case, the slower parts of the body remain in focus, while the peripheral parts do not. Unfortunately, there is still no post-production technique that can eliminate this problem, which makes it difficult to achieve usable results. Of course, using a mechanical…
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On Composition. Or: the eye sees what the mind is prepared to comprehend
This shot, taken during the Italian Road Running National Championships, is a fair application of the French philosopher Henri Bergson aphorism to composition: the eye sees what the mind is prepared to comprehend. In fact, although there is not a direct, cause-and-effect relationship between this image and renaissance painting, the learned observer may find some connection with works such as, for instance, Michelangelo’s Battaglia di Cascina. The connection between present and past may be loose, but this does not affect the principle. When I framed the shot I something ‘clicked’ in my mind and I instinctively decided to press the button. Photography (at least in all its variations, such as…
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The Expired Film Series – Episode 4 – Ferrania Solaris 100 – Dec. 2006 shot in August 2023
This is the fourth episode in a series documenting the use of expired film in various contexts. Episode 4 features a Ferrania Solaris 100 shot with a Voigtländer Vitoret DR and a Color Lanthar 50/2,8 in the vicinity of the sea of the city of Pescara (Abruzzi) .The film was overexposed by one stop as it is customary with expired film to allow more light to impress it.The results are just subpar, however the pictures have some sort of ‘individual’ trait.
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Red Moon at the end of August
Shot handheld (no tripod) with an X-T5 and a Fuji XF 150-600. Image stabilisation worked very well.
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HeadButt
Sometimes the difference between a pleasant result and just a plain wrong, missed photo may be challenging to tell.I took this picture years ago, during an MMA fight and, to be honest, I can not even remember framing and setting the camera accordingly for this shot. In other words, it happened almost by accident.The outcome is blurry and shaky, however, the overall result has a ‘painterly’ feel, almost like an ink sketch.
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From Waltham to Boston
‘From Waltham to Boston’, an offshoot of a bigger project on documenting Boston’s pulse, is now available on Amazon as a Kindle e-book.
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UnortORTOdox (Ferrania)
This is an unorthodox use of an orthochromatic film (namely, Ferrania Orto.) It is not supposed to be the first choice for reportage or travel photography, but rules are made to be broken, aren’t they? As per the photo, it was taken in North End, Boston’s Little Italy.
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Content Creators
There are many reasons for the lack of details in this image.The main one is that this roll of Kodak BW400CN expired about 15 years ago. Secondly, the Nikon 35TI used for the shot was set to ‘P’ mode, which does not allow ISO to be changed, and exposure compensation is broken: this made it impossible to use longer exposure times, as it would have been necessary.
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Coffee at Caffè Nero
On the technical side, this photo was a test of the X-T5 capability to handle scenes with both strong highlights and shadows without increasing the standard dynamic range. As per the quality, despite the similarity of the name, definitely no, it has nothing ado with the ‘Nero’ one can taste in Trieste which —unbeknownst to many — is the Italian capital of coffee.
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A Maserati GranTurismo
Another piece of Italy in Boston…
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A Ferrari 812 GTS in Boston
Amid the urban thrum of a bustling boulevard in Boston, a Ferrari 812 GTS rests with theatrical poise, like a tenor waiting for the curtain to rise. Its rosso corsa bodywork catches the sun like a blade, slicing through the cluttered backdrop of imitation, of diluted Italian flair printed onto shirts, menus, slogans. But here—here is the real thing. This image captures more than automotive power. It embodies the burden and brilliance of authenticity in a world obsessed with mimicry. The Ferrari’s uncompromising lines, forged in Maranello, don’t shout. They assert. In contrast to the busy street and distracted passers-by, the car is still, composed, sovereign. It doesn’t need motion…
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Justice measured as the distance between Words and Facts
This photo, in itself, is nothing special. Bur it carries an implicit message about law and rights: the level of democracy in a country is measured by the distance between bold statements and the daily courtroom’s reality.
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A Cornhole Board – Independence Day Edition
I took this photograph in Boston on July 4th, and for me, it captures a small but telling fragment of the day’s celebrations. No fireworks, no parade—just a simple cornhole board dressed in the American flag, surrounded by scattered red and blue beanbags on a sunlit brick pavement. It’s an image that speaks to the quieter, more tactile traditions that sit alongside the grand spectacle. Compositionally, I let the board occupy the upper right of the frame, its diagonal placement adding a sense of movement and inviting the viewer’s eye from the legs toward the target hole. The wooden box in the foreground balances the frame and anchors the bottom…
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Elishéva live@Faneuil Hall
Boston is an incredibly vibrant city and hosts many live events in theatres and outdoor venues. At Boston’s Faneuil Hall, I took some pictures of Elishéva, a soulful jazz singer, while she was rehearsing. Boston in summer has its own rhythm—a blend of footsteps, street chatter, and, if you’re lucky, the pulse of live music spilling into the air. I took this photograph during one of those moments when the city seems to pause and listen. The singer, shaded under her cap and oversized sunglasses, leans into the microphone with an intimacy that draws you in, while her guitarist locks eyes with her, an unspoken conversation carried through chords. From a…
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Tesla Coils@Boston Science Museum
Capturing a Tesla coil mid-discharge is less about speed and more about timing. The arcs of electricity, chaotic and brief, demand an intuitive trigger finger and a dose of luck. I didn’t want the image to become a science illustration; I wanted it to hold some tension between spectacle and control, between the purity of mathematics and the danger of raw power. The coils themselves form a natural anchor in the bottom third of the frame, giving structure to what would otherwise be an abstract burst of energy. I shot through a safety mesh, letting it subtly ghost across the image, a reminder of the physical danger involved in what…
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Guarding Democracy
Shot on film, this frame came from a day of walking — not searching, just watching. I didn’t need to look far. Two officers, positioned under a temporary gazebo, leaned into casual conversation, framed by the barricade they were meant to man. Beyond them, a crowd gathered in orderly concentration. The juxtaposition wasn’t loud, but it was clear: authority in the foreground, public in the distance. The separation was both literal and symbolic. The choice to shoot from behind the barrier wasn’t just compositional — it was contextual. I wanted to keep the divide intact. The vertical bars bisecting the two officers are rigid, unforgiving. They draw the eye down,…
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Abstract
There’s a particular pleasure in encountering an image that resists immediate recognition. This photograph—an interplay of industrial forms, bolts, struts, and cylindrical elements—sits somewhere between documentation and abstraction. Strip away the context, and it becomes less about what these structures are and more about what they do visually: dividing the frame, catching light, and setting up a rhythm of repetition and interruption. The composition is rigidly symmetrical along the vertical axis, yet it doesn’t feel overly formal or sterile. The imperfections—paint chipping, scuffs, a touch of grime—are what give it character. These blemishes remind us this isn’t a CAD rendering but a real, weathered object, doing its job in the…
