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Yes, We…Can
I took this photo because it stopped me mid-step. A banal object — a crushed Coca-Cola can — pierced on a historic stone spike, suspended in defiance or perhaps pure indifference. The tension between the industrial red cylinder and the worn, centuries-old limestone was too stark to ignore. The composition leaned heavily on perspective and focus. I shot wide open, letting the background melt into soft abstraction, just enough to hint at an ancient setting without overpowering the main subject. I tilted the frame slightly to echo the absurd balance of the can, breaking away from textbook horizontality to embrace the odd equilibrium of the scene. Exposure was critical. I…
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Between Two Sets
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Inside the Garrison
In a usually busy day, the bomberos enjoy a moment of relax.
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The New Church
In the XXIth Century, a new church grows, to satisfy old needs.
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Guru Meditation
Airports are temples of waiting. They strip away the illusion of control, leaving travellers suspended in time between one place and another. In that in-between, people invent ways to cope. Here, in a lounge of muted reds and glassy daylight, a man folds himself into a private space. One leg drawn up, back curved, cap pulled low, he cradles a tablet as if it were a small book or a talisman. His fingers rest lightly on it, not tapping, not scrolling—just holding. The surrounding noise and movement dissolve in his stillness. This is meditation for the digital age. Not in a forest clearing or a candlelit room, but in an…
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60×40 Borderless Printing with a HP Z3200ps 24
Printing a 60by40cm image on a A1 roll (61cm wide) should be a pretty straightforward task: well, not on a printer like the HP Z3200. To cut the story, here are the settings: set your image landscape, and size it 60 by 40 cm, set your CANVAS size to 61,8 by 41 cm with a white background (highlighted in red, in the picture) so that the final image size is, indeed, 61,8 by 41, In the Print Settings menu select the Paper Size option and set a custom page size of 61 by 40,5, Again, in the Print Settings menu select the Margins/Layout menu and check the Borderless radio button,…
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A Sunny day in Rome
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Inside the Elevator
Escher’s Relativity inspired these shots.
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Falling Tree
Again, an impossible perspective…
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WTF Are They Looking At?
Street photography often unfolds in fractions of a second that resist tidy interpretation. This frame emerged from one of those moments — brief, slightly absurd, and quietly revealing. The photograph shows three men crossing the same urban space yet seemingly inhabiting different psychological trajectories. The bald man in the foreground, dressed in a vivid orange jumper that stands out against the subdued tones of the pavement, appears momentarily detached from the flow of movement around him. His posture is firm, almost statuesque, as if he had paused mid-stride to reassess the scene. The shopping bag hanging from his hand becomes less an object of practical use than a compositional counterweight,…
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An Unplausable Perspective
There is something odd in this photo, isnt’it?
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For Sale
Long gone is the time when people loved to live in the countryside
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Protected: Black&White
There is no excerpt because this is a protected post.
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Portrait of a young guitar player
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Portrait of a (former) bike champion
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Belgian Ghosts
Midnight still has to come. But in Bruxelles even ghosts wake up early… The air was damp, the pavement glistening faintly under the sodium lamps. I wasn’t chasing a scene — only watching light. Then someone walked through the frame, absorbed in their own path, and the moment shaped itself. The passer-by moved too quickly for the shutter speed I’d set. At first, I thought I’d lost the shot. Then, reviewing it, I realised that the blur was the picture — motion distilled into presence. The figure became anonymous, spectral, more gesture than person. It summed up urban life in that hour: everyone moving, no one quite seen.
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Noon on the Beach
this image hinges on simplicity and distortion. The sun was directly overhead, leaving the shadow of the pole as a near-perfect sundial, slicing the centre of the frame from bottom to vanishing point. That shadow was the whole reason to shoot: absolute verticality rendered into graphic contrast on a near-featureless plane. The lens dictates the structure. At 16mm, lines bow. The horizon curves. Perspective exaggerates. I leaned into it—there’s no attempt to correct distortion in post. The intention was not to imitate a rectilinear frame, but to emphasise space as abstraction. The beach becomes a sphere, the sky a ceiling, and the tiny trace of buildings at the perimeter only…
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Ninja-Turtles?
I couldn’t help but smile when I saw this line of turtles perched neatly along the log, each one angled just so to catch the warmth of the midday sun. It’s a scene that strips away the pop culture fantasy of katana-wielding reptiles and replaces it with something far more universal — the quiet pleasure of simply doing nothing. From a compositional standpoint, I did well to let the log form a natural leading line, drawing the viewer’s eye from the cluster on the left to the stragglers on the right. The surrounding foliage frames the scene nicely, adding depth and a touch of chaos to balance the orderly arrangement…
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Urban Totem
Once upon a time, a totem helped the soul to get in touch with gods. Nowadays it helps the stomach to be fed.
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Horizon Bending, Again
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Red Wine Makes Good Blood…
I made this image at the end of a long lunch — the kind where conversation lingers long after the plates are cleared, and the table becomes less of a place to eat and more a canvas of what just happened. The residue of red wine had bled into the paper surface, leaving behind those familiar circular stains — not accidental, not staged, just there. And I leaned in, glass still in hand, and shot. Technically, this is an exercise in distortion and proximity. I used a wide lens, close focus, and a shallow depth of field. The resulting visual field is warped, but purposefully. You can see the sweep…
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The Misplaced Buoy
Kneeling in the surf with the camera just above waterline, I framed this beached buoy like a stranded witness—half-devoured by barnacles, its functional past eroded by time and tide. The wave motion is deliberate: a slow shutter gave the water its painterly strokes, pulling the viewer toward the object with a sense of gentle urgency. The wide-angle perspective exaggerates scale and places the buoy in stark contrast with the horizon. The red-orange plastic punctures the cool blues of sea and sky, a sharp chromatic discord that anchors the entire composition. It’s an aggressive intrusion into the otherwise pastel calm of the shoreline, yet visually satisfying because of the balance created…
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Protected: Prova Aurum
There is no excerpt because this is a protected post.
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The Eye
Another example of the constant brain’s meaning quest in the things the eye sees. It wasn’t supposed to look back. This is the underside of a building’s curved overhang, a detail most people would never glance up to see. Shot from the ground in perfect alignment, it becomes something else entirely: an iris of steel and shadow, a lens with no glass, watching the world below. I titled it The Eye not just for the shape, but for the feeling. The symmetry is strict—deliberate, almost mechanical—yet the reflection in the polished granite softens it, turning precision into something poetic. A full circle emerges where there’s only a half. What’s solid becomes imagined.…
