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Blob
I definitely have a thing for fountains…
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Welcome in the Twilight Zone
The fog was so dense that the lift seemed to be travelling through nothing rather than toward somewhere. Depth, distance, and direction became uncertain. Only the chairs, suspended and slowly moving, provided any sense of continuity. The skier in the frame wasn’t performing for anyone. They were simply sitting, waiting to arrive at the top, wrapped in that quiet concentration that comes with navigating a landscape you can no longer fully see. The gesture of the hand near the face could be a wave, an adjustment of goggles, or simply a moment of stillness. I didn’t need to know which. Technically, the image is defined by absence rather than clarity.…
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The Hasselblad Way
As the readers of this blog know, I seldom talk about gear because since the very first post on this blog I made a point of stay focused on (shooting) pictures instead of musing about pointless technicalities such as Camera A vs Camera B ISO performance, Lens X vs Lens Y sharpness, APS-C vs Full Frame and so on, but today I do an exception because of an old Hasselbld 500 C/M that I have been given to try (and that probably will buy.) There is only one way to shoot with a Hasselblad: following its rule. The film has to be loaded in a certain way, the magazine…
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Welcome in the New (?) Year
The year is new, but the job is same old. Work hard, earn your day.
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Stantsted Lounge’s Chairs
I took this photo just after the final boarding call echoed through the terminal, the kind of stillness that only follows a rush. The lounge was cleared in minutes — all urgency gone, replaced by silence. The chairs, once wrapped in the inertia of travel, now stood like architectural punctuation against the faux-wood paneling, waiting for the next wave of restless travellers. I framed the shot at a low angle, intentionally compressing the line of stools to push a rhythm into the scene — one repetition after the other. It’s a simple structure, but the legs of the stools, criss-crossing over each other, create a mesh of shadow geometry on…
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London Panning
Pure Luck. Sometimes happens.
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Ceci n’est pas un cadre
A few, different meanings. The most evident (?):it is a mirror, actually. Thus is not a peinture. The less evident: the title is a sleight of word on the famous Magritte’s masterwork “Ceci n’est pas une pipe“. The lesser evident: I shot the picture in Bruxelles, where is located the Magritte Museum.
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Fast Call
Clients are waiting, still, an urgent call needs to be done.
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The Silent Listeners
Covent Garden, again. Like the music of Orpheus’Lyra, the voice of the singer brings back to life the lifeless mannequins.
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Behind the Beer
Behind the beer’s sockets, a barman discretely fulfills the order placed by his clients.
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Christmas Time at Covent Garden
I caught this moment at Covent Garden during the run-up to Christmas—a place already soaked in atmosphere, now further steeped in the low murmur of seasonal anticipation. The light was dimming, not quite golden hour, but soft enough to let the scene breathe. Shot with the Leica M9, the CCD sensor rendered the colours with that particular tonal grit that makes digital files feel almost filmic. You can sense the density of the blacks without them ever falling into shadow-mud. What first caught my eye was the woman in the red coat. Not just the brightness of the garment—which naturally draws the eye—but the posture, the precise angle of the…
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A Curious Bystander
Rue de la Regence, at night. A fast pace calls the attention of a bystander.
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Late Afternoon Workers
At Place de la Monnaie, in Bruxelles, late-afternoon workers look their life go by, while the rest of the world, enjoy the fun. This photo felt less like a building and more like a roll of exposed film. Fifteen windows, side by side. Fifteen little theatres. The framing is perfect—not by accident, but by architecture. A row of lives unfolding under fluorescent light. You can almost hear the hum. Some rooms are empty. Some are dim. In a few, people remain—cleaning up, wrapping gifts, turning off screens. There are Christmas trees, forgotten chairs, coats slung over partitions. And above all, stillness. Each window holds its own shot. Unrelated, disconnected. A…
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A Bookstore in the Gallery
Taken in Bruxelles with a Leica M9, this photograph is as much about the atmosphere of a winter evening as it is about the subject itself. The bookseller, wrapped in a red scarf, is absorbed in the simple act of handling a book — a gesture that feels timeless, insulated from the passing crowd outside. The “Joyeuses Fêtes” decoration strung above her offers a seasonal frame, hinting at the warmth inside against the cold beyond the window. The composition is direct and frontal, using the shelves of books as both background and structure. The vertical and horizontal lines create order, their rhythm occasionally broken by a tilted spine or a…
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Waiting to Go Home
The gate is still close, a long wait before boarding, is easier to bear when seated comfortably.
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Shopping in Bruxelles
Early afternoon in Bruxelles, The best moment to go shopping.
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Landed
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The Seagull’s Rest
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A Winter Outdoor Chat
In the late afternoon light, when the sun sat low and cast a warm hue across the scene, two men are captured in conversation: one standing, bundled in a heavy jacket, the other seated, his green woollen cap and dark windbreaker contrasting with the golden glow. Their exchange appears informal, unposed, an everyday moment shaped by the season’s chill. Technically, the image benefits from natural light. The exposure leans toward warmth, enriching skin tones and enhancing the textures of clothing and tree bark. Shadows are long but not intrusive, while highlights avoid excess glare. Compositionally, the tree trunk on the right acts as a vertical anchor, framing the seated figure…
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After the Party
‘Round Midnight. The party’s gone. It’s time to clean the mess. Tomorrow, the square comes back to its dull life.
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An urgent phone call?
Using a tele (200 mm) allowed me to take the picture but the long focal didn’t separate the planes as a 50 mm would. Truth is that – in these condition – I would hardly have been close enough to obtain the visual effect I was looking for, but the alternative was not to take the shot at all.
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The 365th Shot: Between Sacred and Profane
“Between the Sacred and Profane” is the 365th picture that I’ve posted on this blog and it is the end of a one-year project where I made a point of publishing one picture per day. When, exactly 356 days ago, I decided to start I couldn’t imagine what would have been happened. I became deeply involved into exploring different genres and styles, covering big live events for a music magazine, cinema and arts awards ceremonies, street-photography, portraits, photojournalism and sport events. I went in for a couple of contests and started giving (for free, as I promised) seminars about the rights of the (street)photographers. Of course I don’t do photography…
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When the Rubbish Basket is full…
I made this photograph with the lens barely above the surface. The irony hit me only later: a crumpled, rusting bin—designed to contain waste—floating free, stripped of purpose, drifting like a rejected artefact in a river that had no interest in borders or rules. This wasn’t a chase-the-light moment. It was more of a document-what’s-happening moment. But even in documentary photography, composition matters. The crumpled bin sits dead-centre, emerging from the water like a reluctant symbol. The surrounding wash of grey-brown is indistinct by design—an oppressive field of repetition, without texture or detail, forcing the viewer back to that sodden, disfigured centre. Technically, I shot this with a long lens…
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The Day After The Tide
After the tide, the river comes back to normality, while the boatmen account for the damages. I waited for the light to fall low enough to cut across the hulls and expose what the flood left behind. This isn’t a storm photo—it’s what follows. Boats grounded sideways, lines tangled, some afloat, some tilted into the banks. Nothing dramatic. Just consequence. Shot from the opposite bank with a 300mm telephoto, compressed enough to layer the damage. The image stacks: river in the foreground, boats mid-frame, wreckage and crane behind. The eye bounces between verticals—poles, masts, supports—and diagonals—listing decks and snapped canopies. It’s cluttered by design. Recovery never looks clean. Exposure leaned toward…
