8/11/2012 by Alejandro Rubio

There is almost always a “crossing of glances,” outside of a church, including who gets in and who’s out. In general out there are the beggars, sometimes boys or tourists who use the stairs to sit and rest.
In those looks there are always many meanings: the practical, on simple request of a coin, in the deeper ones, on who you ask what drives a person to enter and pray, and what to remain on the fringes of the faith.
Going beyond the title that the author Alejandro Rubio gave us (“You do not remember me”), this photo expresses very well the difference of mind, and in doubtful look man, facing the woman who is entering , there is the whole mystery of dualism between faith and skepticism.
C’è quasi sempre un “incrocio di sguardi”, fuori da una chiesa, tra chi entra e chi sta fuori. In genere fuori ci sono i mendicanti, altre volte ragazzi o turisti che utilizzano i gradini per sedersi e riposarsi.
In quegli sguardi ci sono sempre tanti significati: da quelli pratici, di semplice richiesta di una moneta, a quelli più profondi, di chi si chiede cosa spinge una persona ad entrare e a pregare, e cosa invece a rimanere ai margini della fede.
Andando oltre al titolo che lo stesso autore Alejandro Rubio ci ha fornito (“Lei non si ricorda di me”), questa foto esprime molto bene questa differenza d’animo, e nello sguardo dubbioso dell’uomo, rivolto verso la donna che sta entrando, c’è tutto il mistero del dualismo tra fede e scetticismo. (rewiew by Carlo Traina)

20/10/2012 by Gilles Fitoussi – Sorry


A singular image, with all the details taken in an incomplete (the book of sacred readings, the black hat) but enough to make to understand that it is a time of prayer and solemnity. In the middle, highlighted by the color that stands out from the black surrounding the eyes of a child among adults. Although this detail is partial, that look conveys the mood of the child and goes straight and intense observer.
This photo is a classic example of how one can do without a wide angle showing the whole scene, and represent equally well – with a few simple elements – an event and the relations between it and the people who participate.

Un’immagine singolare, con tutti i particolari ripresi in maniera incompleta (il libro delle letture sacre, il cappello nero) ma sufficienti a fare comprendere che si tratta di un momento di preghiera e di solennità. In mezzo, in evidenza grazie al colore che spicca rispetto al nero circostante, lo sguardo di un bambino tra gli adulti. Sebbene anche questo particolare sia parziale, quello sguardo ci trasmette lo stato d’animo del bambino e arriva dritto e intenso all’osservatore.
Questa foto è un classico esempio di come si possa fare a meno di un angolo ampio che illustri tutta la scena, e rappresentare ugualmente bene – attraverso pochi elementi – un evento e le relazioni tra lo stesso e le persone che vi partecipano.

12/10/2012 by Orly Danieli

When things looks prety much in order,
always make place for the unexpected 
Firenze, Italy
Superb image, mirror of our cities, with thousands (often millions) of people who live in them, that animate the streets, in the subways, skyscrapers in crowded used for offices. But the case however, that once represented the “center” of people’s lives have become huge dormitories, where you return only in the evening and where you live a few hours each day.
The shot of Orly Danieli tells us this: windows closed, curiously aligned in a geometry involuntary, with a single person to symbolize the loneliness and anonymity that we often hear when we go back and re-enter the workplace in our buildings, where the most of the time we do not know the neighbors upstairs.
(rewiew by Carlo Traina)

28/09/2012 by José E. Tan

People distracted not realize be observed by a series of virtual faces. This makes the image interesting.   The B/N strengthens the communicative power of the shot, a beautiful street of José E. Tan ( rewiew by Amos Farnitano)

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