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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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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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Tesla Coils@Boston Science Museum
Not a great photo, taken on the fly at Boston’s Science Museum. Nevertheless, Tesla Coils hold a special place in the hearts of early Command & Conquer players, so I had to take it.
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Powermeters
This photo was taken with an Ilford XP2 Super 400, a Voigtländer Bessa R2 and a Voigtländer 35mm f/1.4 II lens. The film was digitised using a Pentax K-1 and a Pentax FA 100/2.8 Marco mounted on a custom-built rig. The resulting raw was processed in Affinity Photo. In Develop Persona, first the image was turned in black and white, then the master curve was intverted and finally exposure, contrast and other parameters were tweaked.
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Editing a photo taken with a Carl Zeiss Jena 135/4 Sonnar and a Fuji X-T3
A vintage Carl Zeiss Jena 135/4 Sonnar whose RF mount has been replaced with a Fuji X mount by Adriano Lolli (https://www.adrianololli.com).Coupled with a Fuji X-T3, it delivers pleasant results. Post production is highly subjective, so the final outcome might no be ‘acceptable’ to some taste. Still, the lens is very good.
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Floating
This image was born out of a fascination with stillness in the midst of implied movement. The mannequin — suspended, curled, caught in an almost foetal position — seems to drift within a capsule that looks as though it could be orbiting somewhere far beyond Earth. The large, circular light behind it could be a porthole, a hatch, or simply a stage light; its blinding white obscures what might be beyond, giving the scene a surreal, detached quality. Technically, the biggest challenge was exposure. The extreme contrast between the brilliant backlight and the darker figure risked losing detail on both ends. I chose to protect the highlights, letting the shadows…
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Another attempt at DLSR film scanning
Still trying.I digitised the negative with a Pentax K-1 and the FA 100 2.8 Macro lens using the JJC clone of Nikon ES-2. Postproduction is done in Pixelmator Pro. I used a Nikon 35TI and a Kodak BW400CN to take the original photo. Strangely enough, the JJC does not allow a 1:1 ratio with the Micro Nikkor 60 2.8.The instructions advise to mount the 62mm to 52mm step-down ring, the #2 52mm barrel-shaped tube and finally the film holder. These instructions are clearly wrong, as it is not possible to get 1:1 magnification with this setup.So I removed the tube and mounted the film carrier directly on the 62mm to…
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Ten Years Ago
Exactly ten years ago I started my career as a photograper.
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Fisherman’s Fatigues
I shot this one late in the day, when the light had softened just enough to graze the worn textures without flattening them. The fatigue in the title isn’t poetic—these clothes, half-limp, half-hardened with salt and use, are the remnants of someone’s labour, someone likely still out at sea. I didn’t stage anything. These were just there, draped across makeshift wooden trestles, drying under the weight of their own exhaustion. What makes this image work technically, for me, is the tension between stillness and implication. Nothing moves in the frame, yet everything speaks of motion just ceased—pulling ropes, lifting crates, hours on a rolling deck. The shallow depth of field,…
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A Vessel Moored on the Pier
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The Mystique of Film
I have resisted for a long time before giving out my two cents about the neverending debate ‘film vs digital’. I gave up after the next self-delusion I read in a well-known ‘semi-pro’ (purposely not linked) online photography magazine. It featured the umpteenth column explaining how shooting film ‘gets the experience back’, going full-manual ‘forces you thinking’, having limited exposures ‘pushes you to become more selective’, and all the usual motives connected with the choice of travelling on a horse-powered chariot instead of using a regular car. There is no need to shoot film to experience all that. Set the camera on full manual, disable OIS and IBIS, use a…
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Posing
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Three Lamposts
Sometimes the simplest subjects offer the richest visual rhythms. This photograph of three lampposts along a shaded path is a study in repetition, perspective, and the gentle irregularities that occur when human-made structures meet the slow reclamation of nature. The posts lean — not dramatically, but enough to betray years of shifting soil and seasonal wear — and that subtle tilt gives the image a quiet tension. The composition is carefully observed. The frame leads the eye from foreground to background in a gentle S-curve: the path winds left, the lampposts march back into the trees, and the play of shadow and sunlight dapples both ground and foliage. The staggered…
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Three Sprouts
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Game Over
Photographs like Game Over remind me that sometimes the most direct visual statements are also the most loaded. Here, a simple, hastily spray-painted message on a makeshift surface is transformed into something more imposing by lens choice and framing. Shot on a Nikon F3 with a Nikkor 16mm fisheye, the image carries the unmistakable spatial distortion of that ultra-wide glass. The curvature of the edges pushes the wall and banner into a bowed shape, making the words bulge towards the viewer. It’s a subtle but effective way of amplifying the sense of confrontation—as though the message is leaning into us, impossible to ignore. Technically, the black-and-white treatment strips away distraction…
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Technogym Milan@Night
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Late Night@Piazza San Babila
Working with a compact camera like the Panasonic TZ-100 at night is a reminder that you don’t always need a full-frame monster to tell a story — but you do need to understand and embrace the camera’s limitations. The TZ-100’s one-inch sensor is not built for clean, clinical low-light work. Push the ISO and it will show noise quickly; underexpose, and shadow recovery will fall apart. But here, those very traits help carry the mood. The composition rests on a central axis — the illuminated corridor pulling the viewer inward, flanked by the Binova and Ivano Redaelli showrooms. Their glowing interiors act like bookends, framing the pathway and setting a…
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So Long, and Thank You for the Fish
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Stairway to Hell
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Soldering
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Black Cat
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Boats
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Toxic Waste in Open Air
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Dark Cloud Over San Pietro
The tension wasn’t subtle. I framed this on a humid Roman afternoon, the kind where the air sticks and light flattens the facades. At the vanishing point: San Pietro, serene and untouchable, a facade that’s absorbed centuries of ceremony and conflict. But in the foreground—armoured steel, automatic rifles, and red-striped barricades—modern anxieties assert themselves. This is what occupation looks like when dressed as precaution. The symmetry of the shot exaggerates the contrast. The axis from the dome to the vehicle is mathematically clean, unnerving in its balance. You can’t not look down the middle, and once your eyes reach the Iveco Lince, you realise you’re not a tourist anymore. You’re…
