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Actors, Autumn, B&W, Bruxelles, Colour, Daily photo, Fighters, Fighting Disciplines, Photography, Spring, Summer, Winter
What Does ‘Professional’ Mean in Photography?
Pro’ is the photographer’s blessing and curse. It is the status we all – well, many of us – aspire to. It is the marketing gimmick created by the exploiters of the Gear Acquisition Syndrome to make people believe that tools make the craftsman. ‘Amateur’, on the other hand, is a word associated with casual photographers, ‘wannabe’ artists, and people who want to make you believe that tools make the craftsman. I have always been unconvinced that such a difference exists, at least in the general meaning associated with the words ‘pro’ and ‘amateur’, and in relation to the idea that the equipment used or the quality of the shots…
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Creativity vs Originality
Is the photo above creative? Is it original? Well… yes and no. It is certainly original because I ‘in person’ took it, and it is creative because – regardless of the aesthetic result – I took the time to arrange all the elements (composition, light, etc.) in a coherent moment —and I have the film negative to prove it. On the other hand, it is neither original —as in ‘unique’— nor creative because the same photo can be found here and maybe elsewhere on the Internet. Obviously, the linked photo it is not ‘the’ same as mine, because it is clear that they were taken at different times and places (mine was…
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5 (improbable) Frames with a roll of Ferrania Orto and a Nikon 35TI
The photographer is a peculiar type of social being, characterised by a ‘rules are meant to be broken’ attitude in the search for the perfect exposure. So, sooner or later, all the dogmas about composition, hyperfocal, zone system, rule of thirds, etc. will be put aside to try something ‘different’. This is what happened with these five images, taken at night in Piazza Venezia and Via Salaria in Rome with a Ferrania Orto on a Nikon 35TI; a rather strange choice given the inherent limitations of an orthocromatic film and a 2,8 35mm lens of a compact camera in this scenario. Against all odds the 35TI performed well (especially in…
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Iphone 15 Billboard in Via XX Settembre
This is an attempt to exploit the limitations of an orthocromatic film. Shadows and highlights were deliberately pushed, as was the contrast. This isn’t about the billboard. Not really. Yes, there’s a giant child smiling over Rome, her face stretched across several metres of vinyl, captured “with an iPhone 15,” if we’re to believe the tagline. She’s luminous, playful, part of a campaign you’ve probably already seen before you’ve even looked at it. But the photograph is something else. This was shot on orthocromatic film—intentionally. Shadows are carved in deeper than they should be. Highlights flare and collapse detail. The tonal scale isn’t flattering, and it isn’t faithful. It’s limited.…
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Nagasaki Biker
Sometimes carrying a camera with a slow autofocus, slow shutter and low ISO can be a hindrance. Had I had a better camera and a faster film, this photo would have been much better.However, it is the eye that is to blame, not the old Nikon 35TI. I realised too late that what I was looking at could have been an image and had to react within a few seconds. In those conditions, the camera did what it could, but if I had been aware of my surroundings, I would have been ready at the right moment. So I paid the price for my bad habit of relying on gear…
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Different Stories
Taking ‘static’ pictures, such as those of buildings and other architectural structures, can be quite challenging, as it is easy to fall into obvious, already seen compositions that rob the shot of any individuality.One of the things that can make an otherwise dull image more interesting is the presence of some kind of action that blends in with the stillness of the environment.In this case, the woman on the phone is in exactly the same position as the model on the billboard. Only they are telling two different stories.
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An Antique Shop in via Cadorna
I made this frame with a Bessa R2 paired to a Nokton Classic 35mm f/1.4, loaded with Kodak Tri-X 400. That combination has a way of imposing its character on an image, and here it played straight into the atmosphere of the scene. The urn in the foreground caught my attention first, its surface worn and flaking, the sort of texture that Tri-X renders with a quiet authority. Its reflection in the shop window doubled the presence without turning the composition into a perfect mirror—imperfections in the glass kept it alive. The rust-speckled lamp leans towards it, both physically and compositionally, as though curious about the object’s past. I exposed…
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A jam in via Alessandria
Taking pictures with a fully manual camera is a way to keep practising the basics. Honestly, I would not use a film camera for a professional assignment —at least, not as the main one— but it’s worth doing it in a less challenging condition.As per the technicalities, waiting for the next batch of Ferrania Orto to arrive, I resorted to a Kodak Tri-X 400 roll, which is my favourite film at these ISOs.
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As Seen on Ferrania Film’ Stories section…
A selection of the pictures I took this year in Boston and Tokyo has been published on the official Film Ferrania website, in the ‘Stories’ section.
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Ghosts of Ginza
Another shot from my last visit to Japan, taken with a Nikon 35TI and a Ferrania Orto in the corridors of the Ginza subway station, Tokyo.
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Isolation in Public Spaces
Tokyo’s subway is rarely empty, yet in the press of bodies and the blur of passing stations, solitude often asserts itself. This frame was made with a Nikon 35TI, paired with Ferrania Orto, whose orthochromatic palette brings a certain austerity to the scene. The absence of red sensitivity pulls skin tones toward pallor and renders signage and advertising in a flatter, more subdued register — perfect for distilling a moment that’s more about psychological distance than geographical setting. The composition is anchored on a single figure, set against the geometry of the carriage interior. Lines from windows, doors, and grab rails intersect in a way that almost corrals the subject,…
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An experiment with Dall-E, ChatGPT and a Nissan S8
This is an experiment based on a picture of a Nissan S8 taken at the Nissan Crossing in Ginza.First, I asked Dall-E to describe what he ‘sees’. Then I started asking questions to locate the place where the showroom should be, being careful not to give any hints.ChatGPT did not give a correct answer on the first try, but eventually it did. Me: Describe this photo ChatGPT: This photo features a futuristic-looking race car displayed indoors, presumably within a showroom or an exhibition space. The car is designed with an aggressive aerodynamic shape, with large, protruding front winglets and an expansive rear wing, characteristic of high-speed, high-performance vehicles, possibly a…
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How Privacy Hysteria Killed Street-Photography
At other times I would have dismissed this image as ‘out of focus’ and unusable. Just another missed shot caused by poor focusing technique on a fully manual film camera. Nowadays, however, I have begun to change my attitude towards these kinds of blurred images because of the privacy hysteria affecting the practice of street photography. There have been cases where people have been found guilty of harassment for covertly taking pictures in public spaces, but street photography has nothing to do with criminal behaviour. There is a huge difference between taking sneaky, random, meaningless pictures of people on the street and trying to freeze sketches of life to tell…
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The Traveler’s Dilemma: Where To?
Shot on a Voigtländer Bessa R2A with the Nokton Classic 35mm f/1.4, this frame unfolded in less than a breath. A man, motionless, eyes scanning a departure board. Behind him, the chaos of travel hums, but he’s suspended—mid-decision, mid-wondering. No phone, no luggage in view. Just posture and projection. The Bessa’s meter can be unforgiving in contrast-heavy interiors, but I exposed for the board and let the shadows fall where they would. The Nokton, wide open or nearly so, brings in the classic swirl and falloff I wanted—enough sharpness in the centre, enough softness at the edges to suggest thought rather than define action. I didn’t wait for better light.…
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From Waltham to Boston
‘From Waltham to Boston’, an offshoot of a bigger project on documenting Boston’s pulse, is now available on Amazon as a Kindle e-book.
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The Expired Film Series – Episode 2 – Ilford XP2Super 400 – Nov. 2017 shot in May 2023
This is the second episode in a series documenting the use of expired film in various contexts (mainly in Rome, Italy). Episode 2 features an Ilford XP2Super 400 shot with a Voigtlander Bessa R2 and a Voigtlander Nokton 35/1,4 in Rome (IT), between Colle del Quirinale and Piazza di Montecitorio. Also in this case, but this time by mistake, film’s ISO and the exposure compensation were not adapted to allow more light to impress the film. Once again, the blacks lack detail and show severe grain.
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UnortORTOdox (Ferrania)
This is an unorthodox use of an orthochromatic film (namely, Ferrania Orto.) It is not supposed to be the first choice for reportage or travel photography, but rules are made to be broken, aren’t they? As per the photo, it was taken in North End, Boston’s Little Italy.
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The Expired Film Series – Episode 1 – Kodak BW400CN – Dec. 2014 shot in June 2023
This is the first episode in a series documenting the use of expired film in various contexts (mainly in Rome, Italy). Episode 1 features a Kodak BW400CN shot with a Nikon 35TI in Rome (IT), between Piazzale Flaminio and Piazza di Spagna where the world premiere of the latest Tom Cruise motion picture —Mission Impossible: Dead Reckoning— was going to be held. As the Nikon 35TI does not allow one to ‘pull’ film’s ISO and the exposure compensation did not work, it was impossible to overexpose the pictures. As a results, the blacks lack detail and show severe grain. Legal Notice Reuse is free for pro bono personal and educational…
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Content Creators
There are many reasons for the lack of details in this image.The main one is that this roll of Kodak BW400CN expired about 15 years ago. Secondly, the Nikon 35TI used for the shot was set to ‘P’ mode, which does not allow ISO to be changed, and exposure compensation is broken: this made it impossible to use longer exposure times, as it would have been necessary.
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Masters of Propaganda
In the heart of Rome, unbeknownst to the horde of tourists heading for Trinità dei Monti and the Fontana della Barcaccia, hidden in plain sight lies silent the headquarter of the Congregazione de propganda fide, the ante litteram master of modern propaganda.
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Coffee at Caffè Nero
On the technical side, this photo was a test of the X-T5 capability to handle scenes with both strong highlights and shadows without increasing the standard dynamic range. As per the quality, despite the similarity of the name, definitely no, it has nothing ado with the ‘Nero’ one can taste in Trieste which —unbeknownst to many — is the Italian capital of coffee.
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A Maserati GranTurismo
Another piece of Italy in Boston…
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A Ferrari 812 GTS in Boston
Amid the urban thrum of a bustling boulevard in Boston, a Ferrari 812 GTS rests with theatrical poise, like a tenor waiting for the curtain to rise. Its rosso corsa bodywork catches the sun like a blade, slicing through the cluttered backdrop of imitation, of diluted Italian flair printed onto shirts, menus, slogans. But here—here is the real thing. This image captures more than automotive power. It embodies the burden and brilliance of authenticity in a world obsessed with mimicry. The Ferrari’s uncompromising lines, forged in Maranello, don’t shout. They assert. In contrast to the busy street and distracted passers-by, the car is still, composed, sovereign. It doesn’t need motion…
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Justice measured as the distance between Words and Facts
This photo, in itself, is nothing special. Bur it carries an implicit message about law and rights: the level of democracy in a country is measured by the distance between bold statements and the daily courtroom’s reality.
