For me, photography is first a way of observing. It is about slowing down, reading light, understanding atmosphere and waiting until a place reveals something more personal than its obvious appearance.

A strong travel photograph is rarely only a record of where I have been. It is the result of time spent watching: how people move through a street, how shadows change on a wall, how water reflects a city, or how silence can become part of an image.

This approach is also central to my African wildlife photography portfolio, where returning to the same landscapes and observing light, seasons and behaviour over time is part of the photographic process.

In wildlife photography, patience often means waiting quietly for behaviour, light or a gesture. In travel photography, it can mean staying longer in one place, resisting the immediate postcard view and allowing smaller details to appear.

A street corner, a temple entrance, a canal, a market or a quiet landscape can all change completely with time, weather and human presence.

The objective is not to collect images quickly, but to build photographs that carry atmosphere.

Venice, Rome, Japan and other iconic destinations are full of recognizable subjects. But my interest is not only in showing what a place looks like. I am more interested in what it feels like.

That means looking for:

A postcard shows the destination. A photograph should also suggest a personal experience of being there.

A complete story can include wide views, intimate details, quiet moments, architecture, people, movement and stillness. Together, these images create a more complete impression than a single iconic view.

This is why I see travel photography as a form of visual storytelling: not a literal report, but a personal interpretation of a place.

When photographing people, culture or daily life, I try to avoid intrusive images. A photograph should not take dignity away from the subject. Whenever needed, consent, context and discretion are more important than the image itself.

The same principle applies to wildlife and landscape photography. My broader photographic work is rooted in patience, observation and respect for the animals and people living in the places I photograph.

Without colour, the image depends more strongly on:

For travel photography, black and white can transform a familiar scene into something more timeless and abstract. It is not a nostalgic effect, but a deliberate choice when colour is no longer the main subject of the image.

Water, clouds, people and light can become softer, more fluid and more atmospheric. In cities such as Venice, long exposure helps separate the permanent from the temporary: architecture remains still, while water and movement become part of time itself.

This technique is not only technical. It is philosophical. It changes photography from an instant into a duration.

This “Not Only Africa” portfolio extends the same visual approach to other places: observation, atmosphere, patience and respect.

Whether I photograph African wildlife, Venice at night, Japanese temples or Mediterranean landscapes, the intention remains the same: to create images that are personal, quiet and visually meaningful.