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  • Noir et Blanc

  • Simple
  • Architecture et Vie Urbaine
  • /
  • Nature Morte
  • /
  • Enjeux environnementaux et Climatiques
  • /
  • Photographie expérimentale
  • /
  • Voyage / Essai
  • /
  • Sports et Véhicules
  • /
  • Fine Art
  • /
  • Portrait
  • /
  • Mode et Beauté
  • /
  • Faune
  • /
  • Documentaire / Reportage
  • /
  • Photographie de Rue
  • /
  • Procédé Ancien
  • /
  • Téléphone Portable
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  • Photographie conceptuelle
  • /
  • Photomanipulation et IA
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  • Noir et Blanc


Série - FotoSlovo 2026 - Category « Nature Morte »

Mention Honorable

Mr  Matti  Simone (Italie)
@liuthen
Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)

Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)Sembra Poco (It's Just a Little)


Sembra Poco (It's Just a Little)

Those leftovers we dismiss as "not much." Multiplied across all of us, across every meal, every day, they become an enormous problem — yet we keep ignoring them, one scrap at a time.

"It's Just a Little" is a visual diary of domestic food waste. Each image begins with a simple act: photographing discarded food — the heel of a loaf, four forgotten oranges, a handful of leftover pasta — and then inverting it chromatically (cmd+I in Photoshop). A technical gesture that becomes symbolic: food normally made visually desirable by commercial aesthetics is overturned, estranged, transformed into something mineral, geological, alien. Objects that once looked appetizing now resemble specimens, relics, evidence.

The series places itself in dialogue with the tradition of Baroque still life painting — a genre that has always used food as allegory for transience — while deliberately subverting its codes. Where the still life seduced, these images unsettle. Where food photography induces desire and consumption, here it induces reflection.

The project does not point fingers at others. It is a personal confession, a private archive of waste, built on the belief that seeing clearly is the first step toward changing. A single drop — but every revolution starts there.



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