Via Collina, Empty, From Above

The perspective is vertical, as if leaning out and looking straight down. Cars line both sides of the narrow street, parked in strict succession, their roofs forming a patchwork of tones. The pavement and façades edge the scene, flattening into geometry under the camera’s angle. At the centre, however, the street itself is bare—an unexpected strip of emptiness in a crowded frame.

Composition relies on symmetry and repetition. The rhythm of vehicles, rectangles of windows, and parallel lines of pavement create a structured grid. The lamppost, suspended on its wire, interrupts this order with a curve, offering a counterpoint to the rectilinear logic. Two pedestrians near the corner introduce scale, reminding the viewer that this is not abstraction but lived space.

The black and white treatment intensifies form over content. Surfaces become textures—concrete, metal, stone—rather than colours. Exposure is even, holding detail in both shadowed façades and reflective car roofs. Grain is present, adding a tactile sense of documentary observation.

The title’s word “Empty” refers not to absence but to paradox: a street visibly full, yet momentarily devoid of motion. Seen from above, Via Collina becomes less a passageway and more a still composition, where silence dominates over flow.