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A Sad Cat in a Neko Cafè
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StreetPizza@Ueno Park
I took this photograph during a humid summer afternoon in Ueno Park, Tokyo, a few metres away from the art museums and temples that draw both locals and tourists. Amid the buzz of the park’s cultural gravity, I was drawn instead to this fleeting vignette of street food preparation—quiet, unassuming, yet visually dense. What first caught my eye was the can of tomato pulp, “A Pummarola ‘Ncopp,” planted squarely in the middle of the frame like an improvised totem. Its bold Neapolitan red, combined with the colloquial script and graphic of tomatoes, adds a deliberate contrast to the surrounding functional, almost makeshift textures. Everything else in the composition plays a…
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The Solitude of Power
In this staged tableau, a single white king stands isolated at the centre of a chessboard, surrounded by a dense perimeter of pawns, bishops, rooks, and knights—black and white alike. The visual symmetry is precise, the tension deliberate. It is a composition that speaks of power, but also of its limits. The king is both the most important and the weakest piece on the board. Its capture ends the game, yet it is immobile without protection. The title, The King’s Solitude, plays on this paradox: the sovereign stands alone, sovereign yet vulnerable, elevated yet exposed. In the context of international relations, this image evokes the precarious nature of leadership on the…
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Pop Art Meets Industrial Hamburg
I shot this industrial skyline in Hamburg, initially as a stark monochrome—smoke billowing against a winter sun, the city bathed in a haze of latent threat. But the image called for more. So I bent it, digitally, into a quartet: one frame fractured into four, each processed through a brutalist lens of colour theory—red, green, cyan, monochrome. A nod to Warhol, sure. But also to those old weather warnings on analogue TVs, when the signal bent reality and your retina paid the price. Technically, the base image holds. The stack of buildings anchors the composition in rigid geometry—angular, postmodern, the kind of skyline that doesn’t beg for admiration but demands…
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Das Feuerwehr
Stark light and harsh shadow are unforgiving companions. I leaned into both for this frame, shooting handheld at night on cobblestone soaked in sodium glow. The word FEUERWEHR — fire brigade — is scrawled vertically in bold white across the pavement, its urgency subdued by silence and stone. I chose to skew the perspective intentionally, aligning the top-right vanishing point with the guardrail and letting the painted letters lead the eye back into the void. There’s no subject in the conventional sense — no figure, no action. Just trace elements of human systems and warnings against an absence. Technically, this is an image pulled from constraint. Low light meant pushing…
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Light Dance in Hamburg
An empty intersection at night becomes a stage for light. Red traffic signals glow above the road, mirrored by the white and blue beams of passing cars, while a string of streetlamps recedes into the distance like a choreographed sequence. The city itself recedes into shadow, glass and steel catching fragments of illumination, leaving the lights to carry the rhythm. Composition emphasises depth and geometry. Lane markings point forward, guiding the viewer’s eye toward the vanishing point, where lamps shrink in scale but persist in tempo. The blurred car on the left introduces motion, its headlights flaring bright, while static lights above keep the frame balanced. The sign on the…
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Does It Worth It?
In the fluorescent glare of the stage, one man poses, his body chiselled by obsession, sweat, and sacrifice. Another stands in the shadows, hands in pockets, his back turned to us, yet his inner turmoil silently projected into the void between himself and the competitor. This is not just a bodybuilding contest. This is the theatre of doubt. The photo captures the unspeakable moment where fatigue collides with purpose. The observer, branded with the logo of a nutrition sponsor, is no stranger to pain — his posture, physique and stillness tell us he, too, has been through the crucible. But now, watching someone else perform, there’s hesitation. A mental calculation…
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Sala degli Onori @ Triennale di Milano
Photographing grand interiors is always a test of discipline — a challenge to convey scale, symmetry, and atmosphere without letting the vastness swallow the human presence within it. In this image of the Sala degli Onori, the composition succeeds in balancing the architecture with the people inhabiting it, rendering a space that is both imposing and accessible. The shot is anchored by a strong central perspective. The converging lines of the marble floor and rows of white chairs pull the viewer’s gaze directly towards the far wall, where the mural forms a natural focal point. The figure walking down the central aisle provides a crucial sense of scale; without her,…
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Path of Life
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Urgent Calls Only
Shot on a mid-range mirrorless at street level, no setup, no interaction. A man in construction gear walks past a beauty store, phone pressed to his ear. The contrast writes itself—fluorescent orange hoodie and yellow rubber boots set against glass doors advertising discounts on skincare. I waited a half second for alignment. His step mid-stride, body vertical, head turned just enough to define the gesture. The truck on the left anchors the frame, providing visual weight and a break from symmetry. The storefront’s clean geometry contrasts with the rough texture of his work clothes. Compositionally, it’s split in thirds. Truck, figure, door. But the interest lies in the collision of…
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Leica Shop @ Strada Maggiore
The red Leica circle glows against the darkness, a beacon above a shuttered storefront. Below, the metal grate closes the shop to the street, yet faint reflections and hints of light bleed through—an illuminated mask on one side, a small display on the other. The brand’s prestige is reduced to fragments, glimpsed through barriers. Composition is strict and minimal. The glowing round sign sits high in the frame, commanding attention as the only strong colour against black. The shutter’s horizontal lines dominate the lower half, flattening depth and insisting on closure. Within that darkness, however, faint details emerge—faces, objects, light—making the viewer lean closer, as if to pry open the…
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Full Moon
Photographing the moon is a deceptively simple task — at least until you try it. What I wanted was the cold, silvery sharpness of our nearest celestial neighbour, etched against a black void. What I ended up with was something quite different, but not without merit: a moody study of the moon as seen through a gauzy veil of fast-moving clouds. The composition is almost entirely dictated by nature. The moon sits dead-centre, surrounded by concentric ripples of light refracted through water vapour. The clouds swirl and twist in soft greys, catching the pale light and turning it into a painterly texture. In the very heart, there’s a thin halo…
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Mistress Of Puppets
I titled this one Mistress of Puppets. A nod, of course, to the Metallica anthem where the master pulls the strings, controls the fate of others—merciless, mechanical, in charge. But in this frame, the dynamic is flipped. The puppet isn’t controlled. She’s in control. Shot through a shop window, the mannequin doesn’t stand, she sits—curled into herself in an oddly introspective pose. Not a gesture of command, but of knowing. Dressed in soft florals, faceless but not neutral. The glass between us acts like a screen, a membrane, a boundary between worlds—hers synthetic, silent, and oddly powerful; ours fast, distracted, and easily led. Because really, who’s manipulating whom? She doesn’t speak.…
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A Cello Player
This image was taken in the middle of a performance, at the point where the music pulls the musician fully inward. I was close enough to see the grip of his hand on the cello’s neck, the subtle tension in the fingers, the faint sheen of perspiration on his scalp under the stage lights. The head is bowed, almost in communion with the instrument, and the surrounding orchestra falls into a soft blur. I used a shallow depth of field to separate him from the background, letting the warm browns of the cello resonate against the darker suit, while the out-of-focus fellow musicians form nothing more than hints of presence.…
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Intelligence Contest
A pane of glass separates two worlds. On one side, the hyper-stylised gaze of a model — digital, sculpted, aloof. His stare pierces outward from an ad inside a hair salon, promising precision, control, curated masculinity at €21. Behind the glossy veneer, real people go about their routines, dwarfed by the giant printed face that symbolises a synthetic ideal. On the other side, a cluster of balloons—soft, round, unformed—calls out with its own clumsy presence. Unintended perhaps, but visually evocative, the column of latex orbs resembles a puppet or caricature. In their simplicity, they reflect something the model cannot: humanity, imperfection, absurdity. The composition turns into theatre. A confrontation of…
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The Quest for Belgian Chocolate…
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Outdoor Aperitif
I shot this on a cool evening in Brussels, with the last of the daylight just beginning to retreat behind slate rooftops. The city was shifting gears—post-work fatigue blending with the early stirrings of nocturnal energy. I had the Leica M9 slung across my shoulder, a camera that’s more than a tool—it forces you to see with intent, to commit before pressing the shutter. Paired with the Zeiss Biogon 35mm f/2.8, it draws sharpness out of corners and translates contrast with a crisp, unfussy tone that suited the moment perfectly. The scene was already composed for me: clustered chairs, half-filled glasses, side conversations in mid-stream. No one posed. No one…
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Frames for Sale at Via Margutta
I was walking along Via Margutta when the geometry in this shop window stopped me cold. Two empty frames leaned against the glass, one upright, the other tilted sharply as though it had slipped out of formation. Behind them, more frames receded into the dim interior, creating an optical echo — rectangles within rectangles, stretching away into the dark. I shot it in black and white film, embracing the grain and high contrast that the low light demanded. The texture is almost intrusive, but it adds a grit that feels appropriate for a street scene late in the evening. Exposure was tricky: I wanted to preserve the fluorescent highlights inside…
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The BatFire
A butterfly with wings of fire. 火の翼を持つ蝶
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Hard Stare
Shot this on a sun-scorched afternoon with harsh overhead light slicing the scene into contrast-heavy planes. The man in the checkered blazer didn’t slow his stride, didn’t shift his glare. He simply walked straight into frame, embodying the kind of presence that turns candid street into psychological confrontation. The choice of film stock—contrasty and slightly expired—helped strip the scene down to its tension lines. Midtones were sacrificed in favour of stark lights and choked shadows, a deliberate trade-off to drive mood over neutrality. The image is overexposed in the background, the whites blooming around the tourist group like a visual buffer, pushing them back and letting him advance. Compositionally, I…
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What Could I Do?
Don’t be afraid to do a mistake, but fear its consequences… 失敗を恐れていません でも 結果を恐れて
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Distraction
I’ve always been drawn to images that speak to the times we live in, and this one, captured in the dim glow of a theatre, says far more than it initially lets on. Rows of seats are filled, the stage lights cast their magenta hue across the scene, and yet the true illumination comes not from the performance, but from the tiny, cold rectangles in people’s hands. The glow of smartphone screens slices through the warm darkness, each one a small, personal theatre pulling its audience away from the real one. From a compositional standpoint, I opted for a diagonal perspective, allowing the rows of red seats to create a…
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Alex Britti – Live@Cinema teatro Massimo – Pescara
Another concert, another reportage. これらは マキシム劇場のペスカーラでアレックス Brittiのコンサートの写真です, ローマで ブルースと ポップの 音楽家です.
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Gigi Cifarelli Guitar Solo (feat. Michele Di Toro) – Live@Florian Espace Pescara
This the reportage I did on behalf of Rockol.it with a Canon 5d Mk III and the venerable Canon EF 70-200/2,8. These frames came from a night where the light was scarce but the music was abundant. I knew from the start that I would have to work with the available stage lighting, which meant pushing the ISO well beyond my comfort zone. The result is a grain structure that feels almost filmic — not something I tried to hide, but rather embraced, as it adds texture that suits the intimacy of live jazz. The composition developed naturally: Gigi Cifarelli to the right, fully immersed in his guitar, and the…
