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On Film Simulation or ‘is fiction more real than reality, and why should we care?’
Simulations have turned an inevitable fact —using the chosen brand and type of film for an entire roll— into an aesthetic tool allowing the selection of the most appropriate image rendition for each single exposure. Using simulations is like having all the different kinds of film in the same roll with all the convenience of digital technology, opening a huge number of creative possibilities. Initially published on 35mmc.com This is what the standard marketing claims for software simulations are based upon, but is that actually so? As a matter of fact, the answer is yes, but if we look at the matter from a different perspective, we should consider some…
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5 Frames with various cameras – Ferrari On The Road(s)
Sports car photography usually happens in specific settings such as motorshows, official events, race tracks etc., where lights, crowds, fences and limited access to restricted areas are an issue. Doing the same on the street, however, is no less challenging as things happen unpredictably and, unless taking photograph of parked vehicles, there is no time to compose – Initially published on 35mmc.com In this photograph of a Ferrari F8 Tributo, the framing makes the car the focal point, and even though the door on the left adds a bit of visual clutter, it doesn’t detract from the overall result. The following image illustrate the trade-offs of reacting in real time…
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The Expired Film Series – Episode 5 – Kodak Tri X 400 – September 2015 shot in Sept. 2023
This is the fifth episode in a series documenting the use of expired film in various contexts. Episode 5 features a Kodak Tri-x 400 shot with a Yashica Zoomate 105 at the Marina di Pescara. The film was not overexposed, was processed with Darktable’s Negadoctor module and finalised with Pixelmator Pro. The results are not, by far, definitive.
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Yet Another WDISF Post
Yes, this is another ‘why do I shoot film’ post, and no, the answers are not ‘because it slows me down’, ‘because it connects me to the act of taking pictures’, ‘because I love the unique feeling of analogue images’, ‘because the inherent limitations of a film camera inspire creativity’, ‘why not?’ or any of the other common (and perfectly legitimate) reasons usually associated with the question. In addition, the wide range of post-processing options available to make a digital image look like an analogue one, even in terms of film emulsion, satisfies the need to produce an image with the ‘personality’ of a specific film. So, even the idea…
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Photography and the Importance of a Proper Training
In photography, among the various activities falling under the ‘preparation’ label, training is oftend underevaluated. Just as many newcomers to the world of guns think that buying expensive equipment will make them better shooters, many photographers think that mastering a bunch of exoteric camera settings will be enough to get decent pictures. This is summed up in a common piece of advice to novice shooters (of both guns and cameras): get out there and shoot. Results will just happen. I have nothing against a ‘Zen’ approach to things, based on instinct and intuition, but my Western, Benthamite mind does not allow me to forget that preparation is necessary to achieve…
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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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Pentax – In Praise of Usability of Cameras and Lenses
The Internet is full of columns and videos about why ‘I left brand X for brand Y’, magnifiying this or that ‘new feature’ that forced a photographer to ditch his previous setup in favour of a brand new one. Sometimes there is a genuine motivation behind such a choice, sometimes – often – it is just a clickbait set up by the need (or hope) to monetise a piece of content published on a social network. This long introduction violates the golden rule of journalistic writing – tell the reader what’s the matter in the first paragraph or so – but it was necessary because this article is exactly that:…
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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.
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The Expired Film Series – Episode 7 – Kodak Portra 160 – June 2015 shot in Oct. 2023
This is the seventh episode in a series documenting the use of expired film in various contexts. Episode 6 features a Kodak Portra 160 shot with a Canon Eos 1V and a Canon EF 50 1,8 at the Trofeo Judo Italia. The film was not overexposed, and processed with Affinity Photo 2 .
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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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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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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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Red Beam
The Viltrox XF 85 F1.8 II is a very capable lens. Here is a shot taken with a Fuji X-T4 in difficult lighting conditions.
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Where to?
Unlike my previous shots, this is a ‘normal’ analogue image. The film – Ferrania P30 – was not expired and the camera was fully manual – a Voigtländer Bessa R2A with a Voigtländer Nokton Classic 35 1.4.
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Modern Moai?
Still pushing the Viltrox AF 56/1,4 XF on a Fuji X-T4.The limit has not been reached just yet.
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A Skull
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Questioning the Referee
Sports photography is all about the moment. Freezing the moments of success – a win, a comeback or a try – as well as failure – a miss, a fall or an injury – is what usually attracts photographers’ attention. But there are many other stories to be told during a competition, and the complex relationship between coaches and referees is one of the most interesting – and overlooked. In this picture, taken during a national judo tournament, I captured the moment when a referee decided to stop talking to a complaining coach. Technical note: I took this picture with a Pentax K-3 II and a Pentax DA* 80-200/2.8. Maybe…
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Floating
Another shot taken with the Viltrox 56/1,4 XF and a Fuji X-T4.
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Sailing Home
The quality of the Viltrox 56 1/4 XF never ceases to amaze me.This image was taken with an X-T4 at ISO1600, so the quality of the sensor plays a significant role in the overall result. However, as the lens is not supported in Affinity Photo 2, the image is wysiwyg in the sense that no profile-based corrections have been applied.
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When Venus meets the Moon
Taken handheld early in the morning with an X-T5 at full res, this picture pushes the XF 150-600 to its limits. The moon is decently exposed and captured with enough details. Venus, by contrast, is but a glitch in the sky.
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Serva padrona @ Teatro Marrucino
LED banding is a major problem when using electronic shutters, and the Fuji X-T4 and X-T5 are no exception. In the specific conditions of this piece, I found that setting the shutter speed below 1/100s tamed the problem. However, there is one major drawback: the number of ruined shots increases. This is particularly true of the moments when the actors are waving their limbs or moving randomly. In this case, the slower parts of the body remain in focus, while the peripheral parts do not. Unfortunately, there is still no post-production technique that can eliminate this problem, which makes it difficult to achieve usable results. Of course, using a mechanical…
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The Death of Cio-Cio san
The final scene of yesterday’s Madama Butterfly’s ‘Prima’ at Teatro Marrucino. For this reportage I used an X-T3 and a Fujinon XF 100-400 that did an excellent job.
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Stadio Olimpico, seen from Tribuna Monte Mario
The picture of Rome’s Stadio Olimpico has been shot from a very exclusive vantage point: Tribuna Monte Mario. Light conditions were so unmanageable that the only option to get an interesting photo was a heavy, borderline unrealistic post-production
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A Vessel Moored on the Pier
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The Compelling Power of Photography
This is a picture taken while a storm was coming. The wind was expected to blow at about 80 km-per-hour. It turned the sand into a myriad of micro-bullets, pricking all exposed body parts and filling the lungs. Nonetheless, a man took his chance, went to the shore and shot a picture with his smartphone. He is no professional, nor had a particular reason to do that. He just wanted to freeze a moment. This is the power of photography. p.s. Pentax K II and the DA* 50-135 2,8 went through the sandstorm brilliantly and survived without consequences.
