-
A Composition’s Dilemma in Black and White
This photo, taken in the centre of Padua, shows a composition’s dilemma. The idea was to explore the usual technique of ‘framing’ a subject within an architectural structure to make it resemble a painting. Actually, though, the main subject, the biker and his vehicle, is more of a disturbance than something worth including in the picture. He runs from right to left, an unnatural direction. Indeed, since we are accustomed to look from left to right and not vice versa, the bikes seems to go outside the frame rather than into it. Furthermore, I should have waited for the subject to be right in the centre of the image. Had…
-
Autumn, Colour, Daily photo, PhotoCritics, Photography, Spring, Street Photography, Summer, Technique, Winter
Make Sense (or: Meaning is in the Eye of the Beholder)
I am a big fan of Jim Hall. A god of the Jazz Olympus, he was an amazing guitar player and played (i.e. lived) according to a simple but effective maxim: make musical sense. He jotted it on a scrap of paper and stashed it in his guitar case, so, whenever he took the instrument out, he was reminded to follow the advice. And he did it. This is an excellent advice also in photography and I do my best to follow it, also if I don’t always get it right for a number of reasons, the main one being that meaning is in the eye of the beholder as…
-
Personal Musing On Monochrome Digital Cameras
I was thinking of exploring the world of black-and-white digital photography so I started looking into the available options. Currently, only the Leica Monochrom and the Pentax K-3 III Monochrom are still the only native monochrome digital cameras availble, targeting photographers interested in maximising the potential for ‘true’ black-and-white photography compared to converted colour images. Many experts in the field justify the existence of this particular camera by citing the same manufacturers’ marketing claims, such as better overall image quality and the superior performance of a custom-built sensor. However, I am a photographer, not an electronics engineer or software programmer, so I care more about the final results than the technicalities.…
-
On Detachment. Or ‘If You Love Something, Set It Free’ (cit. Sting)
A number of philosophies and religions preach the virtue of detachment from things as a path to enlightenment. When applied to gear, this advice won’t only save your soul —if you believe there’s one— but also your money and, last but not least, your photograph experience. This means avoiding the development of ‘feelings’ towards a camera or a lens that shift from appreciating their value as a tool to some sort of ‘personal engagement’. Initially published on 35mmc.com As odd as it sounds, such an attitude towards an inanimate object is more frequent than one may imagine. A paradigmatic case is the attachment of AIBO’s owners to their robotic pets:…
-
Shooting Italian 5 birilli
Thanks to the support of the Italian Federation of Sport Billiards, I had the opportunity to access the playing area of a billiards national competition with the students of the sports photography course I teach at my university. It was a very good opportunity to learn how to take photographs in an unusual environment for people more used to outdoor or ‘traditional’ disciplines. Initially published on 35mmc.com.
-
One Shot (Plus One) Story – All That Lasts
These three bags of rubble are all that remains of a ‘renovated’ building. By chance, though, I took a photo of the building as it was being demolished. The difference in the colours of the rooms caught my attention. I wondered why people had chosen to paint each room in different colours. Maybe the blue was for the children? And the green was for the kitchen? And what about the red and the yellow? These colours tell the story of a family, a story that just ended when their home was demolished.
-
One Shot Story – Soulless Places
Official brand stores are a powerful way to assert a company’s presence. They are a bold statement of strength and confidence. They send a message to the customers and to those who aren’t yet: look! whenever you go we’re there for you(r wallett). Admittedly, when travelling abroad it is sometimes reassuring to find a ‘familiar’ place – a cafeteria, a fast food, an electronic gadget shop – where everything works ‘as it should’. On the other hand, though, this strength has a serious downfall. Where was this picture taken? Of course, you may guess the location from a few clues (for instance, it was likely taken in a small Italian…
-
5 frames exploring the Sporting Gun Culture in Italy
Firearms and gun culture are a very sensitive issue. Privately owned weapons are associated to mass shooting and individual killings, street violence and law enforcement abuses. When confronted with the killing of innocent people, talk is cheap and it is perfectly reasonable to invoke restrictions and even outright bans. There are, however, many people who are not involved in ‘prepper’ or ‘zombie apocalypse is coming’ state of mind, and who only want to practice a sport or foster their interest in military history, mechanics or other types of knowledge related to building and handling of a weapon. So, whatever the view on the matter, from the absolute opposition to any…
-
5 Frames with various cameras – Ferrari On The Road(s)
Sports car photography usually happens in specific settings such as motorshows, official events, race tracks etc., where lights, crowds, fences and limited access to restricted areas are an issue. Doing the same on the street, however, is no less challenging as things happen unpredictably and, unless taking photograph of parked vehicles, there is no time to compose – Initially published on 35mmc.com In this photograph of a Ferrari F8 Tributo, the framing makes the car the focal point, and even though the door on the left adds a bit of visual clutter, it doesn’t detract from the overall result. The following image illustrate the trade-offs of reacting in real time…
-
Shooting Fast Alfa Romeo on a Race Track
“The Citroen went into second and remained there; slowly we puffed up the long ascent. We had gone about a mile, when we became aware of a noise coming up from the valley, a noise like the noise of massed machine-guns. It grew louder and louder. A minute later a huge red Alfa Romeo road racer, looking suspiciously like the machine that had just won the Grand Prix d’ Europe, roared past at a speed that cannot have been less than fifty miles an hour. It was evidently being driven by a genius; for, looking up, we saw the scarlet monster negotiating turn after hairpin turn in the zigzag road…
-
5 frames with a Kiev 60, a Volna 80/2,8 and a Ferrania Orto
Working on a ‘project’ or ‘series’ is a well-known way of giving meaning to the act of taking photographs. It serves many purposes, such as training in a particular technique, familiarising oneself with a camera and/or lens, or exploring stylistic options. A project is usually planned in advance, though not necessarily in great detail. However, as in the case of these images, sometimes the idea of a common thread linking different images just happens. I was wandering around the suburbs of my home town with a Soviet-era Kiev 60 and its ‘kit lens’, the Volna 80/2.8, and a roll of Ferrania Orto when I noticed the oddity of a worn-out…
-
How to Shoot an Handball Match with a Film Camera
Shooting an handball match between Italy and France, unfortunately with an unhappy ending for my Country, was an opportunity to bring back to life the rugged Canon Eos 1V, the mighty fifty and a roll of a (unexpired) Kodak Tri-X 400. When I shoot sports and, in general, events where shutter noise is not an issue, I made a point, indeed, to always carry a film camera, so this time it was Canon’s turn. Shooting handball matches is quite challenging for a number of reasons. The first thing to stick in mind is that the ball is everything: if you miss it, the shot is more often than not a…
-
Yet Another WDISF Post
Yes, this is another ‘why do I shoot film’ post, and no, the answers are not ‘because it slows me down’, ‘because it connects me to the act of taking pictures’, ‘because I love the unique feeling of analogue images’, ‘because the inherent limitations of a film camera inspire creativity’, ‘why not?’ or any of the other common (and perfectly legitimate) reasons usually associated with the question. In addition, the wide range of post-processing options available to make a digital image look like an analogue one, even in terms of film emulsion, satisfies the need to produce an image with the ‘personality’ of a specific film. So, even the idea…
-
5 frames with the (much awaited) Ferrania P33, a Nikon F3 and a Nikkor 50 F2
I managed to grab a few rolls of the very first batch of Ferrania’s brand new P33 film, so I wasted no time in putting it to work with a Nikon F3 and the glorious Nikkor 50 f2. I won’t go into the technical details of this film, firstly because I can’t claim to be an authority on the subject, and secondly because Ferrania’s website has plenty of information. There is only one thing to know: the canister is not DX-coded, so shooting is only possible in full manual mode. This may change in the future, but for now this is the state of the art. Finally, a transparency note:…
-
How to Shoot Stand-up Paddle Competitions
Shooting Stand-Up paddle is complicated because, like in motor sports, things go on largely even until, all of a sudden action erupts. In other words, boredom is the first and foremost enemy of the photographer: it shuts down concentration because it is not possible to keep the focus (pun unintended) for too long. It may worth shooting a single athlete, for instance capturing an intense moment or a fall. However the final result will become more interesting if there is something (or somebody) else in the composition. The first key moment in an SUP challegne is the start. Once the signal is given, the athletes start running a few steps…
-
Photography and the Importance of a Proper Training
In photography, among the various activities falling under the ‘preparation’ label, training is oftend underevaluated. Just as many newcomers to the world of guns think that buying expensive equipment will make them better shooters, many photographers think that mastering a bunch of exoteric camera settings will be enough to get decent pictures. This is summed up in a common piece of advice to novice shooters (of both guns and cameras): get out there and shoot. Results will just happen. I have nothing against a ‘Zen’ approach to things, based on instinct and intuition, but my Western, Benthamite mind does not allow me to forget that preparation is necessary to achieve…
-
How to Shoot Handball Matches
Photographing handball matches presents an array of challenges, requiring a high level of expertise, quick reflexes and a deep understanding of the sport’s dynamics. Central to the art of capturing these fast-paced events is the fundamental principle that the ball is the focal point of every shot. Failing to capture the ball likely produces a picture lacking relevance and impact. The presence of the ball not only indicates the focal point of the action, but also gives the image a sense of purpose and narrative coherence. Handball’s court is a hive of activity where players are constantly jostling for position, trying to break through defensive barriers or thwart an advancing…
-
A Hellish Look
It is quite common these days to see images of various kinds using the facade of a building as a screen. In the case of government or state buildings, a flag appears out of nowhere after dusk.The overall effect is quite spectacular, especially in Italy where the palaces of power are beautiful works of art. However, when photographed with a narrow field of view, the result can be disturbing, as in this case, where the building looks more like some sort of hell embassy.It wouldn’t be strange, though: doesn’t the Pope live on the other side of the Tevere River?
-
Actors, Autumn, B&W, Bruxelles, Colour, Daily photo, Fighters, Fighting Disciplines, Photography, Spring, Summer, Winter
What Does ‘Professional’ Mean in Photography?
Pro’ is the photographer’s blessing and curse. It is the status we all – well, many of us – aspire to. It is the marketing gimmick created by the exploiters of the Gear Acquisition Syndrome to make people believe that tools make the craftsman. ‘Amateur’, on the other hand, is a word associated with casual photographers, ‘wannabe’ artists, and people who want to make you believe that tools make the craftsman. I have always been unconvinced that such a difference exists, at least in the general meaning associated with the words ‘pro’ and ‘amateur’, and in relation to the idea that the equipment used or the quality of the shots…
-
Pentax – In Praise of Usability of Cameras and Lenses
The Internet is full of columns and videos about why ‘I left brand X for brand Y’, magnifiying this or that ‘new feature’ that forced a photographer to ditch his previous setup in favour of a brand new one. Sometimes there is a genuine motivation behind such a choice, sometimes – often – it is just a clickbait set up by the need (or hope) to monetise a piece of content published on a social network. This long introduction violates the golden rule of journalistic writing – tell the reader what’s the matter in the first paragraph or so – but it was necessary because this article is exactly that:…
-
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…
-
Niccolò Fabi – Meno Per Meno Tour 2023 – Live@Teatro Massimo, Pescara
Covering Niccolò Fabi’s concert for Rockol, gave me the opportunity to test an X-T4 with an XF 150-600. The image quality is on a par with the X-T3. This was to be expected. However, I have some reservations about the autofocus. The lens also needs to be examined in more detail before I can form an informed opinion.
-
Partner in Glam
I framed this shot fast — the kind of street moment that gives you three seconds to get it or lose it. What pulled me in wasn’t the man alone, nor the advert behind him. It was the convergence. His physical presence, heavy and brooding, intersecting perfectly with the oversized face of the model. Two expressions, one contemplative, one seductive, unintentionally in conversation. The poster reads Partner in glam. A marketing line, forgettable in most contexts. But set against this man, seated in shadow, caught mid-thought, it takes on irony. Or honesty. Depends how you read it. Technically, the photo leans hard into contrast. Shot in direct sunlight, the shadows…
-
A Frame Within a Frame Within a Frame
The irony didn’t hit me until I developed the roll—an expired Ilford XP2 Super 400 that had been lounging at the bottom of a drawer for years. Shot with a Voigtländer Bessa R2 paired with the Nokton 35mm f/1.4, this image is as much a meditation on layers as it is a commentary on isolation. What initially looked like an ordinary street shot—girl on a call, perched on a windowsill—turned out to be a trifecta of enclosures: her physical pose wrapped in posture and winter clothing, set within the architecture of the window, itself encased in the framing of the building. Beyond, the city reflects itself, ghostlike, on the glass—another…
