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Batklubben
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Ultras
I took this shot in Pescara during a night of celebration and mayhem—where passion collided with authority, and the air thickened with smoke, sweat, and sound. It wasn’t violence, not quite. It was euphoria channelling itself into a public rite, where boundaries between fanfare and disorder blurred in real time. From a photographic standpoint, the scene presented a compositional chaos that demanded structure. I used the police car as an anchor. It sits dead centre, unintentionally symbolic, both literally and metaphorically surrounded. The crowd’s energy surges outward from it, flags, limbs, phones, chants—all reaching towards the bus in the background that carries the real object of devotion: the team. Technically,…
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Silent Reader
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The Ubiquitous Mobile
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Vasa’s Ghost
Photographing in museums is always a challenge — a careful dance between respecting the subject, working within strict lighting conditions, and negotiating the inevitable glass barriers. This image, taken in the Vasa Museum in Stockholm, is an excellent example of how those constraints can actually contribute to a picture’s mood rather than hinder it. The subject — a centuries-old skull — sits isolated against a dark, glittering background, its ochre tones warm against the cold, almost cosmic speckling that surrounds it. The lighting, subdued yet precise, falls in a way that enhances the contours of the cranium, the hollowed sockets, and the jagged remnants of teeth. The reflections — likely…
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Even
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A Special Dress for a Special Party
At night in Stockholm, when shop windows become small stages and the city quiets enough, interiors to speak outward. The mannequin stands alone, dressed in white, suspended between the street and the room behind it. There is no reflection of passers-by, no movement intruding — only the slow, deliberate stillness of fabric and objects. The dress is light, almost ceremonial, while the surrounding space is heavy with material: stacked books, dark wood, layered garments, textured rugs. The shop feels less like a retail space than a private archive, somewhere between wardrobe and memory.
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Strolling in Stockholm
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Outside the Nobel Museum
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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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Different Life
Taking royal sentries pictures is usually useless because all the pictures look alike, unless something happens that gives the composition a new life. この写真は、スウェーデン王宮のセンチネルを示しています. しばしば退屈です. しかし、別の何かを追加することにより、 写真は新しい人生を取得します
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A Different Passion…
If football is a religion — and for many it is — then what are its rituals, and who are its saints and martyrs? I came across this man during a rally, wrapped in his team’s colours, crowned with blue plastic strands like a DIY halo, cigarette pinched between fingers, gaze lost somewhere off-frame. He didn’t look triumphant, nor devastated. Just worn — by hope, by defeat, by something in between. This wasn’t theatre for the camera. He wasn’t performing. He was just still, in that half-breath between chants or cheers or curses. From a technical standpoint, I shot this with a shallow depth of field, using a fast lens…
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Hanging
Do dangerous things safely. 安全に危険なものを行います
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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 BatFire
A butterfly with wings of fire. 火の翼を持つ蝶
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An urgent phone call?
Staring At The Infinite
Harley-Davidson: Chrome And Presence
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Hard Stare
Shot this on a sun-scorched afternoon with harsh overhead light slicing the scene into contrast-heavy planes. The man in the checkered blazer didn’t slow his stride, didn’t shift his glare. He simply walked straight into frame, embodying the kind of presence that turns candid street into psychological confrontation. The choice of film stock—contrasty and slightly expired—helped strip the scene down to its tension lines. Midtones were sacrificed in favour of stark lights and choked shadows, a deliberate trade-off to drive mood over neutrality. The image is overexposed in the background, the whites blooming around the tourist group like a visual buffer, pushing them back and letting him advance. Compositionally, I…
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What Could I Do?
Don’t be afraid to do a mistake, but fear its consequences… 失敗を恐れていません でも 結果を恐れて
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As Deep As The Ocean
Shot on high-speed film, probably pushed too far for its own good, this image leans unapologetically into its grain. That’s not a romantic defence—it’s noisy, and there’s no hiding it. But the grit serves the subject well. This isn’t a fashion shot, despite what the woman’s posture might suggest at first glance. It’s a street portrait in conflict, a moment of clashing worlds on a Roman piazza. She walks absorbed in her bag—her hands, her head, everything drawn into that black void hanging at her side. And then, almost dismissed by distance and shade, the three men sit slouched on the steps, in hi-vis trousers, watching. They’re not interacting, not…
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Distraction
I’ve always been drawn to images that speak to the times we live in, and this one, captured in the dim glow of a theatre, says far more than it initially lets on. Rows of seats are filled, the stage lights cast their magenta hue across the scene, and yet the true illumination comes not from the performance, but from the tiny, cold rectangles in people’s hands. The glow of smartphone screens slices through the warm darkness, each one a small, personal theatre pulling its audience away from the real one. From a compositional standpoint, I opted for a diagonal perspective, allowing the rows of red seats to create a…
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Alex Britti – Live@Cinema teatro Massimo – Pescara
Another concert, another reportage. これらは マキシム劇場のペスカーラでアレックス Brittiのコンサートの写真です, ローマで ブルースと ポップの 音楽家です.
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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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A Sound Engineer
In this photograph, I wanted to show not the performer, but the architect of the sound. The image was taken in near-total darkness—lit only by a cold task lamp and the residual ambient from an electronic set. I waited until her face dipped into the glow of the desk lamp, her attention consumed by the maze of patch cables, mixers, and noise boxes she was bending to her will. I shot handheld at a high ISO, knowing it would introduce noise and softness, but also that any attempt to flatten the contrast would erase the mood. The exposure was pushed just enough to hold detail in the shadows while allowing…
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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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A Lamp in an Old Teather
There is something quietly poetic about an object photographed in isolation, removed from its intended context yet still resonating with hints of its former life. This image — a simple floor lamp set against a timeworn, crimson theatre curtain — speaks volumes in its sparseness. The lamp, with its contemporary, almost utilitarian design, stands in stark contrast to the opulent, textured backdrop, a relic from an era when theatres embraced velvet and grandeur. From a compositional standpoint, the decision to place the lamp off-centre allows the folds and rich patina of the curtain to dominate the frame. The interplay between the deep reds, the lamp’s soft white glow, and the…
