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Just Another Piccadilly Circus’ View
There’s a temptation, when standing in the middle of London’s Piccadilly Circus, to think that you’ve seen it all before. And in a way, you have. This is one of the most photographed corners of the city—neon-lit, traffic-heavy, forever brimming with tourists. Which is precisely why I wanted to make this frame. Not to reinvent the wheel, but to quietly acknowledge its inevitability. I chose a slightly elevated position, letting the sweep of Regent Street’s curve pull the viewer’s eye into the frame. The red double-decker is exactly where it should be—almost a cliché—but here it works as a punctuation mark in the composition, tying in with the bold McDonald’s…
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A Boat Under The Bridge
There’s something inherently cinematic about the Thames at night. The water becomes a restless mirror, fractured and stitched together by the city’s lights. In this photograph, taken beneath one of London’s bridges, the play of colour is what first arrests the eye: deep blues and purples flood the steel framework, punctuated by warm reds and yellows that seem almost to breathe against the cold tones. From a compositional standpoint, the arch of the bridge acts as a powerful leading line, drawing the viewer’s gaze toward the illuminated boat gliding quietly in the background. The layering here — water in the foreground, the bridge’s underbelly at mid-frame, and the distant boat…
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Batklubben
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Under The Bridge
Thank to its architecture, Stockholm is a very good place to shoot modern pictures. ストックホルムは現代の写真を撮るには良い場所です
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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 Watchman (Street-Photography Shortcuts)
As every thing under the sun, Street-Photography too has its own shortcuts: freaky street-portraits are one of those. It’s easy to have your pictures noticed when your subject is a 60-years old Brit-Punk, an implausible-color dressed man or whatever alike: these subjects do the work on your behalf and it is very hard to obtain such kind of picture AND conveying actual meaning. Personally I like photos that – alone or made meaningful by a title – can tell a story. This way I can try to (pretend to) make “unique” shots, that stand with dignity in front of the zillions of 500px/Instagram/Flickr’s great images that are often perfect but…
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One Coffee
The man was seated comfortably in the outdoor café, not in a hurry, holding a small cup of espresso with the ease of someone for whom this ritual is long-established. His posture—leg crossed, coat unbuttoned just enough, scarf tucked in with care—suggested familiarity rather than performance. What interested me most was the way he occupied the space. He wasn’t watching the street or waiting for company; he was simply present. The café terrace around him was active—people talking, a stroller being adjusted, the waitress passing through in mid-step—but his stillness formed the quiet centre of the frame. It’s not stillness as in isolation, but stillness within movement.
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A Vessel
I’ve always found that photographing boats is an exercise in balance—between structure and fluidity, between the hard geometry of rigging and the soft, shifting water beneath. This image leans into that duality beautifully. The yacht sits clean and confident in the frame, its hull catching the light in a way that reveals every subtle curve, while the fenders hang like punctuation marks, breaking up the strong horizontal line of the deck. Shot in black and white, the absence of colour shifts the viewer’s attention to texture and tonal separation. The polished deck, taut ropes, and the soft reflections in the harbour water each have their own surface quality. The exposure…
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Cold Stuff
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A Modern Orpheus
Shot in a southern Italian city on a humid evening, this frame owes as much to the ambient noise as it does to light. The man with the guitar wasn’t playing to be heard. He was playing because he had to—sitting on his amp, cables like roots spilling out beneath him. What I saw through the viewfinder was not a performer, but a figure entirely absorbed, distanced from the crowd that had only half noticed he was even there. The Orphic analogy came naturally—not out of romanticism, but necessity. Like the myth, he’s turned away from the world, pleading into the void for something irretrievable. His face is hidden, not…
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RedLight
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Ray-Ban in Milan
It’s not just about what sits on the roof—it’s about what it says without blinking. Shot in the heart of Milan, this image captures a building that has seen eras come and go, crowned by a brand that has spent decades convincing the world to look cool while blocking out the light. The lettering floats above the stone like graffiti gentrified by permanence. I framed the photo dead-on, as if to let the architecture and the logo negotiate their own contrast. The façade is neoclassical, orderly, almost too proud to wear an ad. But there it is—Ray-Ban—scribbled in neon above cornices and keystones, as defiant as it is inevitable. Black…
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Shaken
The frame is a study in disarray — not in subject matter alone, but in its very execution. The scene, taken on a busy street, is blurred throughout: the figures, the car, the elegant repetition of arches behind them. Whether caused by an unsteady hand, a slow shutter, or a deliberate choice, the result is an image where nothing stands still enough to become the focal point. Two figures anchor the composition: one in the foreground to the left, caught mid-turn, the other to the right, hunched over something in his hands. Their outlines dissolve into the tonal softness, denying the viewer access to facial expression or fine detail. The…
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A Waiter in via Sardegna
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Balilla
Some cars don’t just roll into view—they make an entrance. This Fiat Balilla, polished to the kind of deep red you only get from decades of careful ownership, sits dead-centre in the frame as if the entire piazza has been rearranged to suit it. The symmetry is irresistible: the grille’s vertical bars, the balanced curve of the wings, the twin headlamps gleaming like theatre spotlights. CompositionFraming here is deliberate and effective. The Balilla claims the central axis, with bright orange crowd-control barriers creating a vivid frame-within-a-frame. The people behind form a secondary layer, offering scale and a sense of place without competing for attention. It’s an image that works because…
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Pensive
This black-and-white image, taken along the riverside steps in Paris, captures the quiet weight of stillness against a backdrop of movement. At the centre of the frame sits a lone figure, their silhouette defined against the lighter tones of the water. They face away from the crowd, turned toward the river’s shifting surface, embodying a pause in a city otherwise in motion. CompositionThe most compelling element of this photograph is its use of leading lines. The sweeping curve of the steps pulls the eye from the lower right of the frame directly toward the seated figure, and then out toward the distant pedestrians. This arc not only structures the scene…
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Under the Arc of the Seine
Paris has a way of revealing its geometry to those who care to look. This photograph, taken from the cobblestone banks of the Seine, uses the underside of a bridge as a natural proscenium arch. The frame it creates is both literal and compositional, guiding the viewer’s gaze toward the urban stage beyond. The sweep of the bridge’s curve is echoed by the concentric stone steps leading down to the water, while the horizontal layers of the background—trees, buildings, roadway—add a pleasing counterbalance to the strong arc. From a technical perspective, the choice of black and white serves the image well. Stripping away colour emphasises the interplay of lines, curves,…
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Stinky Shoes
I didn’t stage the boots. They were already there — resting, waiting, perhaps forgotten. Red leather, worn smooth at the toes, zipped and upright like sentries. The scene caught my eye not because of the shoes themselves, but because of their place within this cage of repetition: iron grille, mesh netting, and behind it all, the geometry of a city reflected in the glass. The photograph rests on layers. Foreground: a net that seems both to protect and to obscure. Midground: the wrought iron, rusted and ornate, Victorian in its stubborn elegance. Background: the shoes. And beyond them, windows reflecting windows. This multiplicity of frames becomes the structure of the…
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Desolation
I remember standing at the entrance of this narrow underpass, camera in hand, struck by the oppressive stillness. The word “desolation” seemed to settle in my mind even before I pressed the shutter. There was no movement, no sign of life, only the faint echo of my own footsteps on the tiles. The composition is built on geometry and confinement. The corridor acts like a visual funnel, guiding the eye towards the back courtyard and the blank, closed garage doors. The graffiti scrawled on both walls interrupts the symmetry just enough to add texture and a hint of human presence — though not the kind that enlivens a space. The…
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Trespassed
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Springtime
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Where Did I Left My Car?
When I framed “Where Did I Left My Car”, I was chasing absence, presence, and the city’s quiet accusation. I recall stepping into a narrow lane, scanning facades, light and shadow, empty spots. I trained the lens not on what was there, but on what was not. The void became subject. I waited until all cars had passed, until the frame was emptied. Then I held the shutter, letting the urban grid, the lines of curb, doorways, and windows become witnesses. The emptiness sits heavy, like a question mark in concrete. I chose a vantage point slightly off-centre. The negative space on one side is meant to feel unbalanced—echoing the unease…
