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ChitChat in a sunny day
I saw the two of them before I saw the light. They were already locked in conversation — not animated, but steady, the kind that only happens between people who’ve known each other for years. One leans back, hands in pockets, the other gesturing mid-sentence. Nothing theatrical, no drama. Just the architecture of ordinary talk. What made me lift the camera wasn’t them alone — it was the composition the shadows drew around them. The tree, out of frame, cast itself perfectly on the metal shutter behind. Two vertical lines from the trunk, branches spreading just above the heads. A stage set by sunlight. Geometry by accident. Technically, the exposure…
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Purple Haze
Early on a winter morning a purple haze…
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Out for a ride…
The light was brittle—thin, like the quiet that hangs in the streets after a long, noisy night. New Year’s celebrations had just emptied out, leaving behind a silence filled with expectation and leftover firecracker smoke. I didn’t plan this frame; I was out walking off the heaviness of the night before, camera slung under my coat, when I caught this rider coasting through the city’s near-emptiness. What struck me was the sheer casualness of it. No drama, no destination, just movement. The world still had the sleep in its eyes. The bike and rider sliced through the morning like punctuation—bare, direct. Technically, the exposure leaned toward the soft end. Shadows…
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Silent Among Many Voices
This photograph was taken inside a crowded bar, late afternoon, just as daylight began surrendering to the low amber of early evening. It was a warm space, socially speaking—laughter, conversation, the usual clatter of espresso cups and cutlery—but this particular moment stood out for its subtle, emotional dissonance. In the foreground, a young man leans against the table, eyes lowered, expression withdrawn. He’s physically close to others, yet mentally and emotionally absent from the shared space. That’s the tension I was drawn to: proximity without connection. The glass chair’s curvature frames him in a way that feels almost isolating, like a barrier—not physical, but psychological. From a compositional standpoint, I…
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Late
Late. Again. As ever…
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Yet Another Dawn
Yet Another Dawn Picture. There is a snobbish attitude among “real-photographer” (those tough guys that know all about cameras, lenses, optics, chemistry, physics, hardware, software, journalism, fine-art, landscape, portrait and, finally, Leica – and that barely shot a frame or two once at year) that photo like this one shouldn’t be taken at all. If you need an exposure of a dawn – I’ve read on a website whose link I’ve lost – you’d better go to Google image. I disagree for two reasons: first: shooting is a personal need. If somebody feels like exposing a dawn, a sunset or whatever banal… well that’s matter to him and is none…
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Disagreement
When dogs (like that) start yelling at you with no apparent reason, becoming a bum starts being an option…
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Waiting for the match…
The scene is ordinary, but that’s precisely why I stopped. A teenager in full Givova kit, perched on a cold cement bench in a bare piazza, killing time before football training. A gym bag tagged “Città di Giulianova 1924” anchors the narrative—it tells us this isn’t just a kid hanging out. This is ritual, anticipation, part of the social choreography that surrounds grassroots sport in small Italian towns. Technically, it’s a straightforward frame, handheld and slightly imperfect—edges soft, shadows flat—but that rawness works here. The light is diffused under an overcast sky, producing a muted palette with little contrast. I let the saturation lean just enough to retain the plastic…
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The Argument
A fierce debate in a sunny winter day.
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Different Paths
Street photography has always fascinated me for its ability to compress fleeting moments into enduring visual narratives. In this image, taken on what appears to be a damp, overcast day, the photographer captures two figures heading in opposite directions — a man in the foreground walking towards the camera, his orange cap vivid against the muted palette, and a woman in the distance holding a bright orange umbrella. The composition cleverly plays on symmetry and divergence. While the subjects are positioned on opposite sides of the frame, they are visually connected through the repetition of colour — the cap and the umbrella forming two points of chromatic emphasis that immediately…
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Footprints in the Snow
Footprints in the snow. A lonely path toward a journey in the mountains. I took this shot during a solitary walk across an off-season ski slope, where the infrastructure rests in suspended animation. The snow was untouched but for a single trail—mine—cutting through the soft silence. What drew me to stop and lift the camera wasn’t the cold or the scale of the landscape, but the purity of the composition: a line, a light source, and an expanse. Technically, the exposure required some compromise. Shooting directly into the sun flattens the highlights, but I wasn’t after tonal perfection. I wanted the viewer’s eye to follow the footprints without distraction, and…
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A solitary journey
A man just comes back from a solitary journey into the snow. He’s already missing the peace of the mountains.
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The Waiting
A light rain covers a lonely car. A women, inside, is waiting for somebody that might never come.
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My first shot (with purpose)
This is the very first shot I took with the conscious intention of “taking a photo.” No technical skill, no reading of manuals—just a camera, a chair abandoned in a field, and the instinct to frame it. I remember being fascinated by the contrast: the artificial shape of the chair dropped into a plot of neglected green, hemmed by broken walls. No narrative, just a question mark. I had no clue what I was doing. Exposure? Focus? Aperture? The camera was almost fully automatic, and I didn’t even think about composition rules. But the instinct to isolate the subject and centralise the frame kicked in, and so did a vague…
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People
People. So you wanna be a street-photographer, kid?
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Landscape
Landscape is another project-in-progress. I’m not a landscape shooter, nevertheless it always worth to explore different perspectives before choosing the preferred one. Here are all the pictures hosted by Photoshop.com
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Parallels & Diagonals
Parallels&Diagonals is a project that focuses on the different ways in which lines cross themselves. All the shots are available on my Photoshop.com space.
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My camera’s early test shots
Pictures with no specific “intent”. Just went to the docks and clicked around, to get an early feel of how does the camera work. Results: mixed feelings.
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Has street-photography a limit?
Chasing the captain is a series of shots made in Venice (Italy) by Yanick Delafoge, a very good street-photographer whose website I visit almost daily. Chasing the captain is accompanied by an explanation of the circumstances that led to the shots and based on the assumption that the subject was, indeed, a Navy Officer. Thus, the whole mood of the comment was inspired by the suggestion coming from a soldier that crosses the calles’ of Venice. There is a small problem, though: the man portrayed in the photo is a chief petty officer – Capo di prima classe (you can guess it by the three-striped patch on is shoulder) and…
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A new camera and the quest for the missed information
Convinced by the hype raised by the review of a well known camera review website I purchased a bridge camera (the brand doesn’t matter), just to be surprised and disappointed at the same time. The surprise came out when I discovered that the this camera comes – as standard – with a lens hood, does mount filters and has a remote trigger socket. None of these very important issues were addressed in the review I went through seeking advice and that, as always, focused on image quality, body and functionality, sensor performance etc. etc. Another “non significant” issue has been casually set apart by this review: the 12Mpixel resolution on…
