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Foto-Grafo admitted to the Persol Reflex Edition contest
This photo has been accepted for the Persol Reflex Edition contest. I usually don’t like to participate in this kind of initiatives, but the appeal of the possibility to win a Leica M-E was too compelling!
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When the day is gone
… there are plenty of ways to still make a newspaper useful.
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Forgotten Bike In A Forgotten House
I found the bike in a room whose doors had not been opened in years. Paint flaked from the plaster. Light slipped through a broken pane and laid a clean rectangle across the floor. The bike stood where someone once left it mid-errand, an everyday object promoted by neglect into relic. I built the frame around planes and diagonals. The window sits high and left to keep the eye moving across the shaft of light to the handlebars, then down the front wheel to the scuffed tiles. Floorboards and wall seams act as guides, converging behind the saddle to hold the gaze. I kept a little headroom above the bars…
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A true friend
They enjoy their time together, as true friends ever should… No leash. No command. Just a gesture—and absolute trust. In this intimate frame, the lens captures a silent language spoken only between companions of a certain kind. The man’s hand rises gently, fingers curled, holding nothing yet holding everything that matters: attention, affection, history. The dog, massive and solemn, gazes upward with reverence—not out of obedience, but because it wants to. This is not a portrait of a pet and its owner. It is a document of friendship forged over countless days walked together, of shared silences and mutual understanding. The bond, invisible to the eye yet utterly present, transcends words. Loyalty…
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Don’t Forget!
It’s the moment between words that makes this picture. You can almost hear the shop owner’s voice, half command, half reminder, as the young man in the doorway glances back. The raised hand, the turned head, the slight lean forward — everything about his body language says, “You’ve got this, but don’t mess it up.” The frame itself is tight, almost conspiratorial. We’re standing just behind another figure — smart jacket, cigarette in hand — as if we’ve stumbled into a private exchange. That foreground figure acts as an anchor and a barrier at the same time: we’re part of the scene, yet removed from it, observing through a filter…
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Abruzzo’s made Coke??
Didn’t know that Coca-cola was a speciality of Abruzzo…
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The Long Way Up
I’ve always been drawn to stairways — not for their architectural elegance, but for what they suggest about human effort. This photograph, taken in a steep Italian hill town, is less about the stones and more about the person halfway up, leaning forward into the climb, each step a small battle against gravity and fatigue. From a compositional standpoint, I deliberately placed the vanishing point at the top of the stairs, where the light spills in from the open street beyond. The walls on either side act as vertical guides, forcing the viewer’s eye along the incline toward the lone figure. The choice of black and white wasn’t an afterthought;…
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The Power of Music
The story is all in the child’s eyes
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Hell Behind — Tiny Holes Reveal the Flames
This image came to life in a place most people would overlook—a weathered metal surface, pitted and worn, pierced by three small holes. From behind, the glow of fire seeps through, each point of red surrounded by the darkness of oxidised steel. It is a minimal scene, but one that brims with quiet menace. The composition is as simple as it gets: three points of light, vertically aligned, slightly imperfect in their spacing. That imperfection matters—it stops the image from feeling sterile and gives it the organic quality of something made by hand, or by time and decay, rather than design. The surrounding textures—the rust speckles, the gradient of heat…
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Seeking Directions
is a complex task, not only on the streets.
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A Kiss In The Shade
I made this photograph late in the afternoon, when the sun was low enough to turn ordinary walls into canvases. Two people leaned in — unaware or unconcerned — and their shadows became the real subject. The kiss itself wasn’t visible, only its echo in light. That absence, the translation of intimacy into silhouette, was what drew me to press the shutter.
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An inconvenient way to spend time.
Waking up at dawn, layering up like a World Cup slalom contender, waiting your turn at the ski-lift, gliding up to 1,800 metres… and then, instead of carving lines on powder, seeking out the perfect sunny corner to unfold a deckchair and read a magazine. De gustibus, indeed. I took this photograph partly amused, partly curious. The two figures, bundled in ski gear, are frozen in a still life of leisure that feels completely at odds with their surroundings. It’s an unspoken reminder that the mountains aren’t only for the adrenaline-seekers — they’re also for those who see them as a backdrop for a slower kind of pleasure. Technically, the…
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Overexposed?
The scene was candid — two figures, winter jackets zipped to the chin, one holding a small camera at arm’s length, the other patiently posing. The patchwork of snow and rocky ground under a hard midday sun gave me a chance to play with tonal contrast, though it came with its own technical hazards. Snow in bright light loves to trick meters, and the risk here was losing detail in both the highlights and the shadowed areas of the coats. I exposed with the snow in mind, letting the darker parts fall slightly under, trusting that I could lift them later without ruining texture. The clouds, stretched across the frame…
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Rest in peace
after half a day of ski.
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The perfect ski outfit
… which one is best?
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Chitchat under the rain
every moment is the right one, to enjoy a friendly conversation.
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The sentinel…
… hawkeye!
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Bored
… why go to dinner together, just to enjoy a boring night?
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The Last Puff, Before the Kitchen Opens
He leans into the corrugated shutter like it’s the only stable thing in his world. Dressed in pristine whites, but already marked by the day’s fatigue, this cook steals a few quiet moments with his cigarette and his phone. The street is empty, the restaurants still closed, and everything about the frame holds a soft tension—the pause before the fire and oil, the clang of metal, and the heat of service. What struck me first was the geometry. The vertical roll-up doors, the receding line of storefronts, the bricks underfoot—all form a corridor that isolates him visually and narratively. I composed slightly off-centre to echo the disconnection between his world…
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The Alchoolist’s garbage
…
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Lonely cart
… of a potato manic
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Enough Is Enough…
The man in the blue windbreaker is not just leaning on a railing — he’s leaning on a lifetime. I caught him mid-pause, his posture tilted forward yet anchored, as if he had been running but something — or perhaps nothing — made him stop. Behind him, others drift along the walkway, anonymous shapes in dark jackets, contrasting with his bright, almost defiant blue. Compositionally, I wanted the railing to serve as a visual guide, leading the viewer’s eye from the man into the horizon, creating a kind of bridge not just in space but in thought. The diagonal sweep of the barrier, with its graffiti and padlocks, speaks of…
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The Scooter
Trying to run faster than its shadow.
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Who’s Carrying Who?
When I spotted the man hauling this enormous red buoy, I didn’t hesitate. The irony was irresistible—a question of balance, effort, absurdity, and metaphor all in one frame. The netted lines clinging to his shoulders mirrored the posture of a beast of burden, and yet the visual punchline lands clearly: who’s really pulling whom? I shot from above, not just for vantage but to strip away all unnecessary background clutter. By doing so, I let the geometry speak. The diagonal created by the rope lines contrasts with the rigid, blocky paving and soft curve of the buoy. It’s a clean visual split, but not sterile. There’s dirt, grit, marks of…
