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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…
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A Quiet Evening
… in the heart of Rome, an old trattoria let people enjoy a quiet diner.
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The Sailor
Hey, there’s no water straight there!
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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,…
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Alone, Together…
Are they friends, or do they just share the table?
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A Silent Dialogue
A restrained coastal tableau built around stillness and separation. The seated figure is placed slightly right of centre, turned away from the viewer, which shifts emphasis from identity to gesture and mood. The backpack anchors the narrative as travel or pause, while its bulk balances the composition against the open sand. The scene is organised in three calm bands—foreground ripples of sand, a mid-ground strip of beach, and the softly textured sea beyond. This horizontal structure stabilises the frame and amplifies the contemplative register. A lone pigeon, small but sharply legible, introduces a secondary point of attention and a faint counter-rhythm to the figure’s inward focus. Colour is deliberately subdued:…
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My camera’s early test shots
Unlike fishing villages or marinas, they are not built to be looked at. They are built to work. Every object has a purpose, every line leads somewhere, every apparently random piece of machinery exists because somebody, at some point, needed it to solve a practical problem. There is very little room for decoration. This is probably why I enjoy photographing them.
