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An interesting reading
To seat or no to seat?
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A relic from the (recent) past
less than twenty years have gone, and a telephone boot looks like a relic from the Stone Age.
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Waiting for the goal
Why can’t I enjoy my soccer team’s match instead of wasting my time here? Because my wife loves music…
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Knocking on lion’s door
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Roman Break
The light was harsh that day in Piazza di Spagna, shadows cutting deep, reflections flaring off windshields and stone. I was walking without intent, Leica in hand, when I noticed these two men — coachmen, likely — parked in the shade of their own carriage, deep in conversation. Their posture was telling: relaxed, inward-facing, close without being performative. Whatever was being said wasn’t for anyone else. It was a moment of pause between tourists, an honest interruption in a day spent performing a role. The scene called for monochrome. Colour would have distracted from the shapes and lines — the interlocked limbs, the glint off the bridle, the folds in…
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Late-afternoon’s snack
…who knows what will be served for dinner?
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Who is the mannequin?
… not sure.
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So what?
There is a certain energy in candid street photography that cannot be replicated in a controlled setting, and So What?captures it in full stride. This frame offers a slice of urban life in the late afternoon, when the sun hangs low and the streets teem with a mix of idle chatter, cigarette breaks, and casual posturing. The photograph hinges on the central figure—a tall man in sunglasses, cigarette poised mid-gesture—whose slight tilt of the head and half-smirk seem to issue the titular challenge. To his left, another man, hand to face and gaze averted, projects an entirely different mood: contemplative, perhaps guarded. The third figure, seen only from behind, forms…
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A young Iron Maiden fan
He might never have seen them, but who cares? Metal is immortal…
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When the day is gone
… there are plenty of ways to still make a newspaper useful.
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The Power of Music
The story is all in the child’s eyes
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No time for lunch at Piazza Fiume …
It was the shadow that pulled me in first—mine, cast sharply onto the boot of the car, creeping into the scene like an unwanted narrator. Midday sun can be harsh, unforgiving, but here it helped slice the moment cleanly into layers: man, car, street, façade. Rome, in its winter light, does this beautifully—sculpts with sun rather than bathing in it. The man was absorbed, cigarette in one hand, eyes squinting into the curbside distance. His posture wasn’t idle. It was tight, waiting. The shoulder bag pulled across his frame like a restraint. The frame itself is compressed—everything close, tight to the lens, from the Mercedes emblem to the man’s jacket…
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Opposites
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Busy (again)
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A perfect match
You don’t pose the street. You chase it — and sometimes, if your reflexes are fast enough, you catch it. In this image, it happened in a split second. A man sat reading the newspaper at a café table. For the briefest of moments, he held it in such a way that his own profile aligned perfectly with the image printed on the page — a fashion ad, a male model in a similar pose, eyes half in shadow, fingers near the mouth. Two men, one real, one imagined, locked in a mirrored gesture of casual confidence. Then it was gone. That’s the essence of street photography: the unrepeatable alignment…
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An outdoor theatre?
… no, just two friends debating vigorously.
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The Odd Couple
This shot came together almost accidentally. I had been tracking the pigeons on the sand, their erratic movements making them elusive subjects, when the man entered the frame and sat down. His stillness was in complete contrast to their nervous pacing — two worlds side by side, sharing the same strip of beach without truly interacting. From a compositional point of view, the layering works: foreground sand, mid-ground human subject, and the blurred stretch of sea behind him. The diagonals created by the man’s posture and the birds’ orientation give the image a subtle sense of direction, even though nothing dramatic is happening. It’s quiet, almost muted in mood. Technically,…
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A Missed Pricetag?
This frame was taken in the heart of a southern Italian city where IKEA briefly turned the central square into a showroom of absurd proportions. A towering yellow Klippan sofa and a monolithic orange bookcase stood awkwardly monumental, surrounded by the iconography of price tags and corporate identity. At first glance, the scene could pass as whimsical urban installation. But the more I looked through the viewfinder, the more it began to speak a different language — one of quiet irony. The man in uniform, arms crossed, positioned centre-right, is what holds this image together. His stillness is incongruent with the playful intent of the installation. He isn’t enjoying the…
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Quis Custodiet…
I photographed these two men standing guard outside a government building, their uniforms marking the distinction between routine policing and ceremonial presence. The man on the left, in standard attire, leans casually, his stance relaxed. The man on the right, draped in a cape and holding a sword, maintains rigidity, his posture ceremonial, as though embodying an institution rather than an individual. Compositionally, I framed them against the imposing stone architecture, the vertical columns echoing the upright form of the ceremonial guard. The iron gate behind them adds depth and formality, while the shadows creeping into the arch contrast with the brightness of the façade. The pairing of the two…
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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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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…
