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Comarketing
Two adjacent shop windows that seem, unintentionally, to speak to each other. On the left, rare books and old prints rest under soft light, their pages worn and yellowed. On the right, a brightly lit glass case displays modern eyewear, polished and reflective, marketed with sleek precision. A drainpipe slices the frame in two, acting as a border between past and present, knowledge and fashion, permanence and trend. Technically, the image holds together through contrast. The exposure balances the dim warmth of the books with the cooler, artificial light of the glasses’ display. Reflections in the glass add layers, hinting at street life beyond the frame. The sharpness allows textures…
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What’s the Time?
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Garbage As Usual – Pantheon’s Nearby
Rome has an unrivalled way of holding beauty and decay in the same frame, and this street is no exception. The cobblestones, slick from a recent rain, mirror the ochre façades and Renaissance windows in a way that almost disguises the litter piled quietly along the curb. Almost. A man in a crisp shirt walks down the centre, back straight, seemingly immune to the refuse that flanks his path. It’s not that he doesn’t see it—it’s that he’s learned to live with it, as many Romans have. On the right, another figure leans against a doorway, absorbed in his phone, framed by stacked crates and plastic bags. Life continues unbothered.…
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Another Bridge
I shot this with a fisheye precisely to bend reality into something less familiar. The structure itself—a pedestrian bridge of steel and cable—already has a certain grace, but the distortion turns it into a sweeping arc that almost feels like it’s about to close in on itself. The cables draw the eye to the centre, while the graffiti below pulls it back to street level, grounding the image in the here and now. The day was heavy with cloud, the light diffused and slightly cold. That worked to my advantage: no harsh shadows to compete with the strong geometric lines, and just enough tonal variation in the sky to give…
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A Bridge
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Old Rolls, Immortal Style
When I stepped into the Toyota Museum in Nagoya I wasn’t there to chase a vintage V12 roar – I was after a photograph that could make the steel of those hatchbacks sing. I set the camera, took a breath, and aimed at the gleaming 2000‑series Corolla perched beneath that cathedral‑like skylight. The result is a picture that feels like a high‑octane sprint through a showroom, but let’s not pretend it’s flawless; let’s break it down the way a proper car reviewer would.
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Who Is The Machine?
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Mandatory Photo Position
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Street Magic@Nagoya Castle
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Nature gets its space back…
I was drawn to the silent battle playing out on this façade. The building, once proud in its classical symmetry, has yielded to time and decay. Nature, opportunistic and patient, is reclaiming space—creeping across brick and stone, entwining itself with Corinthian capitals and shattered sills. This isn’t ruin porn; it’s a quiet negotiation between permanence and ephemerality. I shot straight on, flattening perspective to emphasise the structure’s geometry. Vertical lines matter here—the columns, the window frames, the pattern of the vines—all reinforcing the sense of a former order. Exposure was metered to protect detail in the shadows, especially behind the broken windows, while still holding colour in the overgrown foliage.…
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Weight Training @ Rome’s Stadio Olimpico
I shot this in harsh midday light, the kind most photographers dread. But the mosaic didn’t care. Its story is laid in stone — or more precisely, tesserae — and midday is when shadows become honest. The ancient-modern figure caught mid-lift, exaggerated anatomy and all, stood out like a silhouette against cracked mortar, telling a tale of strength far older than gym culture. The composition was dictated by the subject’s posture — hunched, determined — anchoring the frame and leading the eye to the barbell below. I shot from slightly above, keeping the symmetry broken just enough to feel real. The top of the frame includes fragments of the inscription…
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Leaving
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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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Moistmaker@Piazza della Rotonda
I took this photograph at a crowded café terrace in the height of summer, when heat presses down on both locals and tourists. The focus is not on the crowd itself but on the industrial fan in the foreground, misting the air with a fine spray. Its utilitarian presence dominates the frame, turning into an unlikely protagonist against the backdrop of awnings, chatter, and bodies seeking shade. Compositionally, I placed the fan off-centre but close enough that its metallic grid commands attention. The yellow canopies lead the eye deeper into the scene, pulling focus towards the throng of people blurred in the background. That separation between sharp foreground and hazy…
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Asimo’s Ancestor@Tsukuba World1985 Expo
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Wasubot. A Stiff Organ Player@Tsukuba
Photographing WASUBOT, the humanoid robot from the Tsukuba Expo ’85, is an exercise in humility. This iconic machine, a piece of robotics history, has been standing in the same pose for decades, its metal tendons and cables forever poised over the keyboard. Every visitor with a camera or a phone has taken a shot like this. The result is a paradox: the subject is inherently fascinating, but the visual narrative is weighed down by over-familiarity. In this frame, I approached the challenge by focusing on clarity and accuracy. The composition is anchored in a three-quarter view, revealing both WASUBOT’s intricate mechanical anatomy and the keyboard interface it was designed to…
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Silhouettes@Osaka Castle
I shot this frame just before sunset, outside the grounds of Osaka Castle. I wasn’t chasing history or architecture—just silhouettes. The timing was right: the light low enough to flatten depth, strong enough to cast hard contours. The figures that passed in front of me weren’t posing, just walking—some slow, some hurried, all perfectly unaware of the geometry they were helping to construct. What worked here was the compression of scale. The castle, distant but looming, becomes almost secondary—a backdrop with less narrative weight than the humans slicing across the foreground. Their outlines are clean, their gestures distinct. A child’s exaggerated stride, a backpack slung low, a coat flaring out…
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Pizza Maker@Ueno’s Park
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Shin Pepper@Harajuku
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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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We Are All Made of Stars
The street is slick with rain, fenced for works in progress, cluttered with signs and barriers. Yet above it all, the stars have returned — bright, geometric, electric — heralding the slow, luminous arrival of Christmas in Brussels. A lone figure walks toward the camera, wrapped in a scarf and his own thoughts. He is grounded, ordinary, human. But above him, a constellation of neon dreams stretches deep into the vanishing point, inviting passersby to look up, to believe, even if just for a moment. This photograph captures the paradox of the urban winter: cold, messy, fractured — and yet luminous with potential. The construction fences are still up, the…
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The Bystander
Standing in the Grand-Place at night, I waited for something—anything—to break the near-perfect symmetry. Then he arrived. The man didn’t pose. He just paused in the middle of the cobbles, framed squarely between the elegant baroque façades and the soft reflection of lamplight on wet stone. His silhouette gave scale and narrative to the grandeur behind him. Alone but not lonely, motionless yet in transit—he became the photograph’s axis. I shot handheld at high ISO. Noise was a concern, but the Nikon sensor held up. I retained the grain because it added texture to the shadows without crushing the blacks. Technically, this is a symmetrical composition, but it’s also layered:…
