-
Breaking the Fourth Wall
Shooting a play is challenging because you must be ready to seize ‘the moment’ and, at the very same time, think of unusual compositions to avoid the boring ‘frontal’ perspective. Shooting part of the reportage from the backstage of Hamlet, with Giorgio Pasotti and Mariangela D’Abbraccio directed by Francesco Tavassi I had the possibility to experiment the breaking of the fourth wall. This picture is one of the results.
-
Counter-intuitive Focus
This photo I took during a reportage for a theatre hosting a concert of Uto Ughi shows a counter-intuitive use of focusing. Rather than go for the obvious option, the attention is shifted on the two musicians in the background capturing their concentration, with the leading violin blurred and conceptually, thus, ‘left behind’. The global effect is reinforced by a neat separation between the dark and light parts of the frame.
-
When Colour Helps Composition
This photo I took during a reportage of Miseria e nobiltà – a classic of the Neapolitan comedy by Eduardo Scarpetta – in the mise en scene of Lello Arena e Luciano Melchionna gives a lot of insights on how composition works. The triangle designed by the two actors on the sides and the taller actress in the centre is reinforced by the colours of the costumes: black in the centre, white in the sides. Finally, the purple background behind the black figure enhances the eye-driving effect toward the centre.
-
The Power of Underexposing
This portrait was built in the shadows. Underexposing by design meant letting darkness dominate the frame, allowing only the essentials — the face, the glint of an earring, the folds of the dress — to emerge. The result is a scene stripped of distraction, where every visible element has earned its place. The composition is weighted to the left, pulling the viewer into the subject’s gaze and leaving negative space to amplify the drama. The rich crimson of the gown benefits from the controlled exposure: under normal lighting, its details might have flattened into uniform red; here, the fabric’s texture and the embroidery’s sparkle gain depth from the way light…
-
Will The iPhone Kill Traditional Cameras? Not Very
This isn’t a critique of smartphones in general—it’s a direct response to the overconfident marketing myth that an iPhone can replace a dedicated camera in every scenario. I took this photo to illustrate the limitations, and it delivered. Overprocessed, hyper-smooth, plasticky where it should have texture, and clinically shallow in all the wrong ways. Technically, the iPhone did what it was programmed to do: expose for the highlights, boost saturation, fake depth of field with computational blur, and call it “smart.” The result is a scene that looks like a rendering rather than a photograph. The contrast between the dead leaves and the healthy ones is crushed into flatness. No…
-
An Essay in Composition
I made this image out of defiance. The street was a mess of cars, headlights flaring, bodies moving — and instead of chasing sharpness or narrative, I stripped it down to pure visual rhythm. Defocused on purpose. Not by mistake, not due to speed, but as a choice to let form take over function. What remains is balance. The white beam on the right anchors the frame, violent in intensity, flaring just enough to fracture the blacks. On the left, the warmer tones — yellows, reds, soft reflections in polished metal — counterbalance with weight and curve. The centre dissolves into suggestion. Light, motion, nothing literal. The street disappears. Technically,…
-
Becoming a Human Tripod
An often forgotten topic in the photography schools and courses is the physical (I would say, physiological) side of the game. True, a Leica Noctilux and a Leica M can deliver exceptionally sharp images, but if your hands tremble or your body wobbles, no gear, no matter the cost, can save your shot from being shaken. Ideally, a perfectly steady shot would require a tripod. Yes you can tweak the ISOs and/or the aperture but this is a trade off with image quality , so we’re back to the opening statement: a steady shot needs a tripod. But the truth is that none of us – pros included – can…
