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Purple Haze
Early on a winter morning a purple haze…
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Out for a ride…
The light was brittle—thin, like the quiet that hangs in the streets after a long, noisy night. New Year’s celebrations had just emptied out, leaving behind a silence filled with expectation and leftover firecracker smoke. I didn’t plan this frame; I was out walking off the heaviness of the night before, camera slung under my coat, when I caught this rider coasting through the city’s near-emptiness. What struck me was the sheer casualness of it. No drama, no destination, just movement. The world still had the sleep in its eyes. The bike and rider sliced through the morning like punctuation—bare, direct. Technically, the exposure leaned toward the soft end. Shadows…
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Silent Among Many Voices
This photograph was taken inside a crowded bar, late afternoon, just as daylight began surrendering to the low amber of early evening. It was a warm space, socially speaking—laughter, conversation, the usual clatter of espresso cups and cutlery—but this particular moment stood out for its subtle, emotional dissonance. In the foreground, a young man leans against the table, eyes lowered, expression withdrawn. He’s physically close to others, yet mentally and emotionally absent from the shared space. That’s the tension I was drawn to: proximity without connection. The glass chair’s curvature frames him in a way that feels almost isolating, like a barrier—not physical, but psychological. From a compositional standpoint, I…
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Late
Late. Again. As ever…
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Disagreement
When dogs (like that) start yelling at you with no apparent reason, becoming a bum starts being an option…
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Waiting for the match…
The scene is ordinary, but that’s precisely why I stopped. A teenager in full Givova kit, perched on a cold cement bench in a bare piazza, killing time before football training. A gym bag tagged “Città di Giulianova 1924” anchors the narrative—it tells us this isn’t just a kid hanging out. This is ritual, anticipation, part of the social choreography that surrounds grassroots sport in small Italian towns. Technically, it’s a straightforward frame, handheld and slightly imperfect—edges soft, shadows flat—but that rawness works here. The light is diffused under an overcast sky, producing a muted palette with little contrast. I let the saturation lean just enough to retain the plastic…
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The Argument
A fierce debate in a sunny winter day.
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Different Paths
Street photography has always fascinated me for its ability to compress fleeting moments into enduring visual narratives. In this image, taken on what appears to be a damp, overcast day, the photographer captures two figures heading in opposite directions — a man in the foreground walking towards the camera, his orange cap vivid against the muted palette, and a woman in the distance holding a bright orange umbrella. The composition cleverly plays on symmetry and divergence. While the subjects are positioned on opposite sides of the frame, they are visually connected through the repetition of colour — the cap and the umbrella forming two points of chromatic emphasis that immediately…
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A solitary journey
A man just comes back from a solitary journey into the snow. He’s already missing the peace of the mountains.
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The Waiting
A light rain covers a lonely car. A women, inside, is waiting for somebody that might never come.
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Has street-photography a limit?
Chasing the captain is a series of shots made in Venice (Italy) by Yanick Delafoge, a very good street-photographer whose website I visit almost daily. Chasing the captain is accompanied by an explanation of the circumstances that led to the shots and based on the assumption that the subject was, indeed, a Navy Officer. Thus, the whole mood of the comment was inspired by the suggestion coming from a soldier that crosses the calles’ of Venice. There is a small problem, though: the man portrayed in the photo is a chief petty officer – Capo di prima classe (you can guess it by the three-striped patch on is shoulder) and…
