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Killing Santa? Really?
This image came out of one of those moments when absurdity and bureaucracy collide so neatly you’d think it was staged. But it wasn’t. A plastic Santa Claus, mid-climb on a balcony railing, hangs over a military facility—camouflage netting, barred windows, and a glaring yellow sign that reads ZONA MILITARE – DIVIETO DI ACCESSO – SORVEGLIANZA ARMATA (Military Zone – No Access – Armed Surveillance). The juxtaposition is so stark, it borders on the surreal. I composed the frame tightly to maximise that tension. Everything sits on verticals: the iron bars, the camouflage mesh, the uniformity of the railing. Against this grid, Santa—soft, cartoonish, deliberately naive—becomes a kind of visual…
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The last waltz
Everything is ready for the last waltz. The Master of ceremony has just come. Let the celebration begins.
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Lost in iPhone while the wind blows
A man walks along the seafront, head bowed, gaze fixed on the tiny black rectangle in his hand. His grip is firm, the frown on his forehead faint but telling. Behind him, palm trees bend slightly under the steady breath of a marine wind, and the horizon dissolves into a washed-out Mediterranean haze. It could be spring, or autumn—hard to say. The light is neutral, as if suspended. This is the image of the now: digitally connected, sensorially detached. The tide rolls, the wind whispers, figures drift in the background—and he is elsewhere. Not here, not in the place his body inhabits. Not with the sea, not with the moment.…
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Sunny Afternoon
I remember pausing before pressing the shutter on this scene, aware that nothing in it was extraordinary in the dramatic sense — yet everything in it felt essential. Two elderly men, sitting outside a restaurant that promised wood-fired pizza and grilled fish, leaning into the pale, low winter sun. There was a stillness to the moment, the kind of quiet that speaks louder than movement. Technically, the shot is simple, almost matter-of-fact. I framed with the entrance and signage as a backdrop, balancing the image so the men sit firmly on the right third, their presence anchored against the visual weight of the restaurant’s architecture on the left. The light…
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Friend or Foe?
A suspicious stare, Tails up, Get ready for the rumble!
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Paths of Life
Some images carry weight not because of their complexity, but because of the simplicity of the encounter they capture. This photograph, with its two human figures on converging yet separate trajectories, speaks quietly about direction, purpose, and the unspoken narratives we project onto strangers in passing. Compositionally, the scene is divided into two clear focal points: the cyclist pushing her bike from the left, and the hooded figure standing in contemplation on the right. The visual balance is well handled — the figures occupy opposing thirds, leaving space for the layered cityscape and soft mountain backdrop to stretch between them. This negative space is not empty; it’s where the tension…
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Fireworks on Film
There is a different kind of alchemy at play when working with Kodak T-Max 400. Unlike Tri-X, with its pronounced, almost romantic grain structure, T-Max offers a modern, cleaner rendering — sharper edges, smoother tonal transitions, and a capacity for detail that rewards precision. This photograph, made during the fleeting moment of lighting a fuse, plays perfectly to the film’s strengths. The composition is minimal and deliberate: three vertical elements in a horizontal frame — two cylindrical fireworks flanking the central act — with a hand entering from the left. The eye is drawn instantly to the burst of sparks, frozen mid-flight, their delicate lines rendered with razor clarity. Against…
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Visual
This image is, in many ways, a study in simplicity—yet one that rewards a longer look. What appears at first as a mere grid of evenly spaced horizontal lines soon reveals itself as a layered surface, a play between the tangible and the abstract. The photograph offers no obvious focal point; instead, the viewer’s attention is pulled rhythmically from edge to edge, caught in the hypnotic repetition of the slats. I composed the shot to be almost perfectly symmetrical, letting the central vertical seam anchor the frame. That symmetry is key—it provides a sense of stability amidst the visual vibration created by the parallel lines. There’s a slight tonal gradation…
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Mirror
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Why on Earth people, in Italy, still eat junk food?
A cold night in an Italian piazza. The air carries the scent of roasted chestnuts, espresso, and wood smoke—but here, under the halo of fairy lights, the smell is unmistakably different. Oil. Sugar. Processed salt. A small crowd stands in front of a street cart, its bicycle frame weighed down with canisters, bags, and the faint hum of a generator. The vendor moves with practised speed, ladling batter, folding paper, handing over parcels of deep-fried comfort. The queue is patient, hands buried in pockets, eyes following the ritual as if it were part of the winter tradition. Beyond the cart, a carousel spins in soft blur, its music faint against…
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Watch My Back
There’s a charged stillness to this image — a tension that sits somewhere between street observation and a quiet cinematic moment. Two men occupy the foreground: one turned away, phone to his ear; the other facing us, his gaze piercing the lens with an unreadable mix of caution and assessment. The title primes us to read this as a scene about alertness, and the body language supports it. The boulevard behind them is busy but not chaotic. A woman pushes a pram, silhouettes cross in different directions, shop signs glow faintly in the night. The interplay of light and shadow here is critical: the background is brighter, with the shopfront…
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Sic Transit Gloria Mundi
Some photographs do not simply depict a scene; they whisper about the inevitability of time. This image — a weathered wall plastered with torn layers of posters — is a meditation on memory and impermanence. At its heart is the fragmented portrait of a man, likely once an emblem of style or aspiration, now fading beneath the relentless work of sun, rain, and neglect. Around him cluster obituaries, each a stark, matter-of-fact record of a life lived and now concluded. Together, they form a quiet but profound juxtaposition: the glamour of an image meant to sell an idea, and the final notices marking real human departures. Compositionally, the frame is…
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The Unintended March
Strangers walk at the same pace
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PizzaPizza
I want a pizza!
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The dilemma
Should I Buy It?
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Humannequin
This frame was one of those taken on instinct—no tripod, no second thoughts, just a camera pointed through a pane of glass and a question forming even before I pressed the shutter: which one is the mannequin? The scene unfolds in a boutique window and interior where light, reflection, and posture blur the lines between display and presence. The mannequin on the right is dressed in earth tones, her boots absurdly plush, almost cartoonish. She’s poised with deliberate stillness, sculpted as expected. But it’s the figure just beyond her, partially obscured, that catches the eye. Upright, still, backlit—almost mimicking her. You could pass by and assume they’re both props, frozen…
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Mind Your Business…
Paths that shall never cross.
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Busy
Busy, taking her time…
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Action shot
With a little help of the Fortune, even a non-sport camera proves to be good for (relatively) fast moving subjects.
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Modern Times
A man walks through a square as ever did, and ever will. In the meantime, the world changes.
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Beach in black
There is a certain stubbornness in going to the shore at night with a camera and expecting to bring something back other than disappointment. The sea, under moonlight, doesn’t offer you light so much as it withholds it, forcing you to work with the barest scraps. This image was taken under those conditions — no artificial illumination, only the moon high above, its reflection tearing a path across the water. I composed with the reflection as the spine of the frame, letting it run vertically to draw the viewer’s eye from the immediate foreground into the distant horizon. The exposure was a balancing act: enough to reveal the texture of…
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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…
