What Lies Beneath is a personal photographic project about quiet places and unnoticed moments.
I photograph spaces shaped by time, light, and human presence, sometimes visible, sometimes only suggested.
I’m drawn to what remains when everything slows down.
My work is not about spectacle or perfect moments.
It’s about observation, patience, and atmosphere.
About walking, stopping, and letting a place speak on its own terms.
Photography, for me, is a way to listen.
To stay a little longer.
To discover what lies beneath the surface of what we usually see.
This project reflects the way I move through places.
Often slowly, sometimes without a destination,
allowing intuition to guide me rather than intention.
I’m interested in spaces where something has happened
— or might have happened —
and in traces left behind by people, nature, or time itself.
Whether urban or natural, these places are never empty.
Even when no one is present,
there is always a sense of passage, memory, or quiet tension.
What Lies Beneath is not about documenting locations,
but about exploring a relationship with them.
A dialogue between what is visible
and what is only felt.
Tools
I work with Fujifilm cameras not because they promise perfection,
but because they encourage intention.
The possibility to work with film simulations, even in post-production,
allows me to approach each image as an interpretation rather than a correction.
What I see while shooting is never a final result, but a suggestion, a direction.
I value the ability to evaluate a photograph at the moment of capture,
while knowing that the real work will begin later, slowly, from the raw file,
starting again from zero.
My Fujifilm X-T5 has a tactile, almost vintage feel.
It invites immediacy, presence, and instinct.
The GFX 100 II, on the other hand, demands slowness.
It asks for distance, reflection, and time.
With it, photography becomes more deliberate, more meditative, an act that begins well before the shutter is pressed.
Choosing Fujifilm, for me, is not about chasing the technically perfect image.
It is about embracing a way of seeing.
A philosophy that values atmosphere over sharpness,
intention over speed,
and meaning over spectacle.
