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Albeross

Welcome! I'm Albeross, a content creator and a travel photographer based in Bangkok and specialized in landscape, people and food photography.

Follow my explorations around the world and discover photography tips and tutorials. 📸🌍 Welcome to my official page!

📸 Travel Photographer | Content Creator | Expert in Photo Editing & Fine Art Prints

I'm Alberto Rossini, aka Albeross, a passionate content creator and travel photographer with over 8 years of experience capturing the beauty of the world. I've had the privilege of collaborating with global brands like Nike, WeWork, and Mindvalley, creating visual content that not only tells stories, but also inspires those who watch it.

🌏 Global Explorations

My camera has taken me to remote and breathtaking corners of the world, from Kyoto to Machu Picchu, from Venice to Bangkok. Every journey is a new adventure and a new story to tell through the lens.

🎨 Transform your photos with my Cinematic Presets

I create Lightroom presets that allow photographers of all levels to transform their images into cinematic works of art. My presets are inspired by film aesthetics and are designed to make each shot unique and exciting.

🖼️ Japan themed photographic prints - UNIQUE

I offer a selection of high quality photographic prints that capture the beauty of Japan through my lens. Each print is carefully crafted to ensure maximum quality and durability, perfect for enriching any living or working space.

🌱 Cultural Sustainability

I believe in the power of photography as a means to promote cultural sustainability and bring people together. Currently, I am working on projects in Japan that I can't wait to share with you (they will involve you).

💡 Sharing and Inspiration

On this page, I share not only my photos and travels, but also photography tips, editing tutorials, and stories behind each shot. I want to inspire others to explore the world and see the beauty around us.

📬 Connect with Me

If you are passionate about photography, travel and culture, follow me to stay updated on my latest adventures and discoveries. Feel free to leave comments, share your thoughts, and connect with me!

16/10/2026

Fishing is the slow way of doing street. You find a stage, compose it, set your exposure once, and wait for the street to send someone in. The opposite is hunting, where you walk and react. Both are interesting in their own ways.

The interesting part of fishing is that once you’ve picked the stage, you’re not waiting for “a person.” The stage has already decided what kind of person it needs, and most of the waiting is rejecting people who don’t fit.

The light is usually the real stage, more than the sign.

And then there’s a side effect I find genuinely interesting. When you fish, you’re the one thing in the scene that isn’t moving. People clock you. That’s probably why two of these frames have someone looking straight back. Those glances aren’t luck so much as the price of standing still, and sometimes the price is the photo.

13/10/2026

In Kyoto, how to shoot a landmark without shooting the landmark is actually a pretty hard thing to do.

These are some of the most photographed spots in Kyoto (Nanzen-ji, Gion, etc) and none of the pictures are about the spot. The famous thing is reduced to a backdrop for one person doing something small. Notice how few faces there are, too. Feet, backs, a bowed head. Only the cook gives us a face, and he’s at work, not posing.

The key is to wait for the person who’s actually using the place.

10/10/2026

Rain is one of the easiest conditions to shoot and one of the easiest to waste. Using different photo techniques pull the pictures in a different direction, so it helps to pick one to drive the frame.

Using the ground as a light source: dry asphalt at night is a black hole. Wet asphalt is a mirror that doubles every sign above it.
A reflection only shows up when your eye sits where the light bounces. If the puddle looks dull, don’t change settings. Drop lower or step sideways until the sign appears in it.
Put someone against something bright, like a lit wall, a screen, or a shop window, and the wet floor gives you a second, softer version of them underneath.
Shooting through: rain pushes you under cover, so use it. A café window, a convenience store door, the edge of an awning, a bus shelter.
Umbrella change how people move and how they read. Faces disappear, so people become shapes. Clear umbrellas glow under neon. Two people under one umbrella is a small story on its own. If you wait near a crossing, someone with an umbrella will walk into your light eventually.
Exposure and color: underexpose a little. Wet surfaces add brightness in the shadows on their own, and protecting the highlights keeps the signs from blowing out.

09/10/2026

Prayer at a Japanese temple has a rhythm, and once you know it you never have to move during it. Someone walks up, drops a coin, maybe pulls the bell rope (at a temple there’s no clapping, that’s shrines), puts their palms together, bows, holds it a few seconds, bows again, leaves. The whole thing takes maybe fifteen seconds. So you’re set up before they arrive, not chasing them while it’s happening.

In a lot of places religion is an event. You go on a certain day, you dress for it. Here in Japan, a lot of it happens on the way to somewhere else. Someone has a backpack on because they’re going to work. Someone set her shopping down on the bench. The prayer is folded into the day, not separate from it.

One of the most beautiful mundane events to photograph in Japan, from afar, respecting the moment.

05/10/2026

In the morning the street is full of things that haven't been opened up yet: doors, windows, mirrors. So one might end up shooting through things and into things more than at night, when everything's open and lit.

In the morning the street is brighter than the inside of most of these places, because they haven't switched everything on yet. So the glass starts reflecting. That's why the cook gets a second version of himself walking next to him in the door. The same door at nine at night would just be a view into the restaurant.

The other thing is that a closed or half open shop gives you edges. Doors propped at an angle, panels pulled across, a gap you can only see into from one spot.

18/09/2026

Rainy-day street shots. Some of these shots fully use Osaka's accidental mirrors, polished granite, plate glass, wet pavement, and they don't just bounce light, they clone people.
The photographer who's paying attention can catch a person walking beside, above, or through their own duplicate, and that doubling does something to the picture, it makes the ordinary commuter briefly strange, it splits one person into two, it suggests the city is a hall of mirrors where everyone is copied and multiplied.

16/09/2026

Rain doesn't only give you the dramatic neon reflections at night. In daytime it hands you soft even light, muted color, wet dark ground, umbrellas that add a shape and a pop of color to a subdued scene, and a whole mood of quiet, hunched, private people that you cannot get on a sunny day.

Rain changes not just how the city looks but how people behave in it, heads down, umbrellas up, moving with purpose, sealed in their own bubble. The umbrella itself becomes a gift, a clean geometric shape and often the one spot of color.

14/09/2026

Sometimes I like for street photography to be a slower, further-back kind of seeing. Not the wide-angle, get-close, chaos-of-the-street reflex most people mean when they say street photography. It's the opposite: standing back, compressing, stripping the color away, waiting for one small thing to land.

Kyoto is the second most photographed, most over-saturated subject in Japan. Everyone shoots it loud, in color, in autumn, filled edge to edge. Doing it in quiet black and white, pulled way back, is a small act of refusal.

09/09/2026

The daily life of working people in Kyoto.

Every one of these is an ordinary person doing an ordinary thing, and the frame places them in a very particular Kyoto that is half old and half new. It's contemporary life carried out inside a city that keeps its old skin. Modern people, old streets.

When shooting environmental portraits, context is everything. The craft is about deciding how much environment to include so that the setting does the characterization for you. Not a tight portrait that isolates the face, not a wide scene that loses the person, but the balance where subject and setting explain each other.

07/09/2026

Sometimes color is noise, and removing it forces everything else forward, the geometry, the tonal contrast, the expression, the timeless human essence. Color tells you when and where. Black and white tells you what and who. By removing the color, a specific Osaka afternoon becomes a photograph about age, or light, or endurance, that could belong to any decade.

住所

Kyoto-shi, Kyoto