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Portraits From Nagoro, the Scarecrows’ Village
In the heart of Iya Valley, in Tokushima Prefeture, lies Nagoro, the Scarecrow Village. Half a ghost-town, half a still inhabited place, Nagoro’s main population is composed by about 300 scarecrows spread all around the village.
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A Night at the Opera – Plays and Opera Photography
This is an abbreviated version of a talk I gave to a local chapter of the Italian Federation of Amateur Photographers (FIAF) on the challenges of photographing in a Teatro all’italiana environment. A word to the wise: this post has just a few pictures because it talks about what happens behind the camera and not about what happens in front of it Initially published by 35mmc.com To approach professional photography in Italian-style theatres, it is essential to understand and deal with a series of difficulties and critical issues that characterise this particular environment. The Italian-style theatre, with its architectural structure, lighting layout and show dynamics, imposes a series of technical and…
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The Death of Cio-Cio san
The final scene of yesterday’s Madama Butterfly’s ‘Prima’ at Teatro Marrucino. Opera photography is always a delicate dance between anticipation and reaction. The photographer must respect the performers’ craft while being acutely aware of the unfolding drama, ready to translate it into still imagery that holds the same emotional weight as the music itself. In this frame, taken during the tragic denouement of Madama Butterfly, the composition works almost like a Renaissance tableau — each character positioned with clear intention. The central focus rests on Cio-Cio-San’s lifeless figure, draped in white and crimson, her body collapsed against the steps like a human punctuation mark. Around her, the women in white…
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Venditti&DeGregori – Live@Anfiteatro La Civitella
Here is the link at the gallery of the 10 August Antonello Venditti and Francesco De Gregori concert. A rather unpleasant experience, indeed. Photographers have been confined on the extreme left of the stage and not allowed to move. Of course the show comes first and any annoyance imperiling the performance must be prevented. A tad of flexibility for people who is there to work, though, would have been much appreciated.
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Il barbiere di Siviglia – Don Bartolo mad at Rosina
A shot from the mise en scene of the Il Barbiere di Siviglia I did as a scene-photgrapher for the Teatro Marrucino
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Nagoya’s reportage featured in The Good Life
The Good Life‘s October issue features my photoreportage of Nagoya.
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Denegata Justitia
Sometimes a picture acquires a meaning that goes beyond the original intent of the photographer. In this case, taken from a reportage I did for Victor Hugo’s Les Miserables featured at Teatro Marrrucino, in Chieti, the photography becomes the archetype of the denegata Justitia. The defendant asks to speak, the justice stares elsewhere.
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Italian Boxing Amateur Championship 2018. The Reportage
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Daniele Silvestri – Live@Cinema teatro Massimo – Pescara
Be Canon, Nikon or whatever, when the assignment is demanding, there is no substitute for a DSLR. I kept taking with me a Fuji (mainly, an X-E2 with the 18-55 and sometimes an X100s) as a wide-angle camera. The results are very good but, in a scenario like a theater, can’t possibly match the versatility of a 5D Mk III with the mighty Canon EF 100-400. Enjoy the pictures!
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Gigi Cifarelli Guitar Solo (feat. Michele Di Toro) – Live@Florian Espace Pescara
This the reportage I did on behalf of Rockol.it with a Canon 5d Mk III and the venerable Canon EF 70-200/2,8. These frames came from a night where the light was scarce but the music was abundant. I knew from the start that I would have to work with the available stage lighting, which meant pushing the ISO well beyond my comfort zone. The result is a grain structure that feels almost filmic — not something I tried to hide, but rather embraced, as it adds texture that suits the intimacy of live jazz. The composition developed naturally: Gigi Cifarelli to the right, fully immersed in his guitar, and the…
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Max Gazzè Tour 2016 Live @Pescara
For this reportage I’ve borrowed a Canon 5D Mk III coupled with a EF 100-400mm f/4.5-5.6 L IS USM and my Fuji X-E2 with the XF 18-55 f/2.8-4R LM OIS. Of course, I got no operational problems with the 5D (if you know how to overcome its limits) and the lens performed very good, but I must admit that I’ve been surprised by the quality of the X-E2 images, taken at ISO 3200. Does this means that is time to trash the Canon and go for a “Fuji-only” setup? I don’t think so, in particular if telephotos are a recurring presence in the jobs. True, now Fujifilm too has a…
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Labcoats In A Moment Of Rest
The lab was quiet. Machines still hummed, but the people had stepped away—lunch maybe, or a seminar down the corridor. I found this row of coats, slack and ghostlike, lined up with the kind of accidental symmetry that only happens when no one’s trying. Each hook bore a name: Stef, Erica, Anna, Sara, Giorgio… markers of identity in a place that prizes protocol over personality. Shot on a Canon 5D Mark II with the 24–105, the image leaned into its neutrality. No attempt to stylise the whites or fake a sterile glow. The coats were wrinkled, some slightly yellowed at the seams. I kept the exposure honest—highlights restrained just below…
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@ Mediterranean Beach Games 2015 – Italian Anthem (and a primer on sport photography, part 1)
Intro Working on assignment is different than loitering around “waiting for the moment”. This is true, in particular, for sport photography where you have to handle multiple issues at a time, most of them not related to the actual shooting activity. While there are a lot of sources to drink from that hint about how to assemble and check the gear, which lens is better suited for the job and so on, a less fancy but nevertheless critical issue to be aware of is how to handle the logistic and administrative stuff. Before the event 1 – Getting your media pass a – Accelerate the shipping of the accreditation…
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John De Leo’s Grande Abarasse Orchestra – Live
This is a reportage I did during a concert of the John De Leo’s Grande Abarasse Orchestra. Covering this performance reminded me why live concert photography is such a balancing act between observation and anticipation. Each of these images, though part of a single reportage, serves as a fragment of a larger narrative – one built on rhythm, tension, and fleeting expressions. The colour frame of the full band provides essential context, grounding the viewer in the environment. The arrangement on stage is clear, with good use of depth to layer the musicians. The lighting, though moody and uneven, is handled competently, preserving detail without blowing the highlights from the stage…
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A Toilet of the Court of Rome
This image wasn’t taken to shock, or to moralise. It was taken to document—to observe the banal degradation of a public space that ought to represent dignity, order, and functionality. The Court of Rome is not some anonymous bureaucratic annex. It’s an institution, a symbol of authority. And this—this corner of neglect, dirt, and rust—is part of its daily mise en scène. The frame is unadorned. The composition is split by a hard vertical: clean white tiles with a wall-mounted sink on the right, and a long, filth-streaked heating unit under sealed windows on the left. It’s the juxtaposition that struck me—two realities in the same room. One part designed…
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Just a soccer field… Part 2
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Just a Soccer Field… Part 1
Just a soccer field… the only place where freedom lasts, but just for the time of a match.
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Nico Cilli Band@Chiostro Comunale – Città S.Angelo
A few shots from a reportage I did during a jazz gig.
