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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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Street Of New York… Possibly
The image was taken in Italy. But remove the signage, blur the language on the air conditioning units, and this could just as easily be Queens or Brooklyn — any back alley where heat pumps hum above cracked asphalt and fading stucco. That universality was the point. Place becomes anonymous when its elements are global. I composed it as a frame within a frame — the corridor of walls leading the eye to the vanishing point, while the pipes, units, and rust act as punctuation marks. The textures do the talking: peeling paint, patched cement, and the industrial clutter that cities never clean up because no one looks down these…
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Up from the Waterline
As a photographer, I have always been drawn to the power of perspective—how the choice of vantage point can turn a simple set of stairs into a visual narrative. Up from the Waterline achieves precisely this, transforming an ordinary urban ascent into a scene layered with mood, tension, and a touch of mystery. Framed from the bottom of the stairwell, the composition draws the eye upward in a natural, almost subconscious motion. The heavy shadows along the concrete walls create a narrowing funnel of light, directing attention to the top landing where a burst of colour—a pot of flowers—awaits. This sudden contrast between the dark, gritty stone and the warm,…
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Very British
Taken in London, this photograph distils a handful of instantly recognisable motifs into a single frame — the black cab, adorned with a Union Jack roof, easing forward past a red telephone box, with “Look Left” painted on the asphalt as a quiet instruction to visitors. The two women waiting at the kerb, one in tights and flats, the other in sandals and jeans, are caught mid-interaction, their body language suggesting either anticipation of crossing or casual conversation. From a compositional standpoint, the cab takes command of the foreground, placed fractionally off-centre to allow the eye to travel backwards along the street. The depth is reinforced by the layering of…
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Half a Bridge
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Killing Time
I took this shot on a warm afternoon along the South Bank, a place that constantly offers small theatres of human behaviour. What caught my attention wasn’t just the variety of people, but the choreography they seemed to form without knowing it. On the left, a couple stand, the man in mid-turn, the woman absorbed in her phone. In the middle, four figures sit on the pavement, each lost in their own world—two immersed in digital screens, two in books. To the right, two women converse, bodies leaning slightly inward. The visual anchor is the large poster behind them: an intricate illustration of a face framed by peacock feathers. It…
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Weren’t a Smartphone and a Selfie Stick Enough?
I came across this scene by the river, a curious reminder of how professional video production still insists on carrying a certain visual gravitas—bulky cameras, tripods, cables trailing like stubborn vines, a producer juggling a laptop in the open air. The subject, immaculately dressed in black with a luxury backpack and gold-accented shoes, seemed to embrace the contrast: part street style, part broadcast formality. From a photographic standpoint, I framed the shot to capture the triangle of interaction: presenter, cameraman, producer. The bridge in the background, softened by a wide aperture, hints at location without intruding. The muted palette of the surroundings lets the splashes of colour—those gold shoes and…
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The Financial Times at Night
Photographing office buildings after dark often reveals more than the day ever will. In this frame, the Financial Times offices stand illuminated against the void of a London night, each lit rectangle a stage, each desk a silent prop. The bright interiors are clean and geometric, their fluorescent light pouring through the grid of windows, set into the modernist rhythm of the façade. The composition is precise, aligned so the vertical and horizontal lines of the structure carry the weight of the frame. A slight foreground intrusion — the blurred metal fence — reminds the viewer that the vantage point is from the street, outside looking in. This physical separation…
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Blackfriars Train Station Banner
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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…
