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The Expired Film Series – Episode 4 – Ferrania Solaris 100 – Dec. 2006 shot in August 2023
This is the fourth episode in a series documenting the use of expired film in various contexts. Episode 4 features a Ferrania Solaris 100 shot with a Voigtländer Vitoret DR and a Color Lanthar 50/2,8 in the vicinity of the sea of the city of Pescara (Abruzzi) .The film was overexposed by one stop as it is customary with expired film to allow more light to impress it.The results are just subpar, however the pictures have some sort of ‘individual’ trait.
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The Expired Film Series – Episode 3 – Ilford HP5 400 – Dec. 2010 shot in August 2023
This is the third episode in a series documenting the use of expired film in various contexts (mainly in Rome, Italy). Episode 3 features an Ilford HP5 400 shot with a Pentax ME Super and a smc Pentax A 28/2,8 in various parts of the city of Pescara (Abruzzi) . The film was overexposed by one stop as it is customary with expired film to allow more light to impress it. The results are subpar and also in this case the blacks lack details and pictures show severe grain.
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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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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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Editing a photo taken with a Carl Zeiss Jena 135/4 Sonnar and a Fuji X-T3
A vintage Carl Zeiss Jena 135/4 Sonnar whose RF mount has been replaced with a Fuji X mount by Adriano Lolli (https://www.adrianololli.com).Coupled with a Fuji X-T3, it delivers pleasant results. Post production is highly subjective, so the final outcome might no be ‘acceptable’ to some taste. Still, the lens is very good.
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A sample of the Carl Zeiss Jena 135/F4 Sonnar and a Fuji X-T3
This photo was taken with an old Carl Zeiss Jena 135/4 Sonnar whose Contax RF mount was replaced by a Fuji X mount by Master Adriano Lolli.
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Processing a DSLR Digitised Black and White Film with Affinity Photo
This videos shows how to process a Black and White film digitised with a DSLR camera.The process starts from opening the RAW file in Affinity Photo’s Develop Persona. In short and in order, the steps are:
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Not AI-made…
The colour rendition of a photo taken with a Pentax (camera and lens) is unique. Taste is personal, and so is this opinion. One thing, however, is sure: the pictorial look of this photography is not made by an ‘AI’.
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Is AI-generated art actually killing ‘real’ Art?
This picture is how Dall-e 2 interpreted a prompt like Kodak Tri-X 400 black and white sketch in the style of Andy Warhol of a scientist facing a hajime sorayama-like cyborg in a 1940 mad scientist sci-fi lab. Does that mean that —as everybody and his cousin keep repeating— that AI killed Art(ists)? Not very. AI-generated imagery serves to specific purposes and whether is creation or not is utterly irrelevant.
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The Mystique of Film
I have resisted for a long time before giving out my two cents about the neverending debate ‘film vs digital’. I gave up after the next self-delusion I read in a well-known ‘semi-pro’ (purposely not linked) online photography magazine. It featured the umpteenth column explaining how shooting film ‘gets the experience back’, going full-manual ‘forces you thinking’, having limited exposures ‘pushes you to become more selective’, and all the usual motives connected with the choice of travelling on a horse-powered chariot instead of using a regular car. There is no need to shoot film to experience all that. Set the camera on full manual, disable OIS and IBIS, use a…
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A Fix for the Wikipedia Photos’ Copyright Scams?
As reported by Petapixel, a new form of copyright (better, ‘moral rights of author) scam hits photographer: the credit stealing on Wikipedia. In a nutshell, as everything on Wikipedia is editable, somebody started changing the photos’ ownership information from the original author to somebody else who, as Petapixel writes, get a series of ‘benefit’. As bad as it sounds, copyright protection on the Internet is a lost battle for an individual. Some services like Unsplash “turned the problem into an opportunity”. However it did not solve the issue in general terms. I’m seriously considering if just going back to a print-only sharing is a better way to handle pictures’ copyright,…
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(Not so) Intelligent Design
A white hand dryer, sleek and sterile, is mounted firmly on a tiled wall. Below it dangles a single electric cable, ending uselessly in an unplugged RJ connector. There is no socket in sight. No conduit, no power. Just absence. The image is clean, quiet—and absurd. The title, Intelligent Design, delivers a sharp, dry irony. It borrows from the vocabulary of creationist theology to highlight a mundane failure of basic planning. What was meant to be functional is, quite literally, disconnected. In this unassuming scene, the promise of utility is contradicted by execution. The dryer, meant to dry hands, is impotent. The infrastructure, meant to enable function, is missing. Photographically, the…
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The Solitude of Power
In this staged tableau, a single white king stands isolated at the centre of a chessboard, surrounded by a dense perimeter of pawns, bishops, rooks, and knights—black and white alike. The visual symmetry is precise, the tension deliberate. It is a composition that speaks of power, but also of its limits. The king is both the most important and the weakest piece on the board. Its capture ends the game, yet it is immobile without protection. The title, The King’s Solitude, plays on this paradox: the sovereign stands alone, sovereign yet vulnerable, elevated yet exposed. In the context of international relations, this image evokes the precarious nature of leadership on the…
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An Essay on Light
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Leica Shop @ Strada Maggiore
The red Leica circle glows against the darkness, a beacon above a shuttered storefront. Below, the metal grate closes the shop to the street, yet faint reflections and hints of light bleed through—an illuminated mask on one side, a small display on the other. The brand’s prestige is reduced to fragments, glimpsed through barriers. Composition is strict and minimal. The glowing round sign sits high in the frame, commanding attention as the only strong colour against black. The shutter’s horizontal lines dominate the lower half, flattening depth and insisting on closure. Within that darkness, however, faint details emerge—faces, objects, light—making the viewer lean closer, as if to pry open the…
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Becoming a Human Tripod
An often forgotten topic in the photography schools and courses is the physical (I would say, physiological) side of the game. True, a Leica Noctilux and a Leica M can deliver exceptionally sharp images, but if your hands tremble or your body wobbles, no gear, no matter the cost, can save your shot from being shaken. Ideally, a perfectly steady shot would require a tripod. Yes you can tweak the ISOs and/or the aperture but this is a trade off with image quality , so we’re back to the opening statement: a steady shot needs a tripod. But the truth is that none of us – pros included – can…
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The Watchman (Street-Photography Shortcuts)
As every thing under the sun, Street-Photography too has its own shortcuts: freaky street-portraits are one of those. It’s easy to have your pictures noticed when your subject is a 60-years old Brit-Punk, an implausible-color dressed man or whatever alike: these subjects do the work on your behalf and it is very hard to obtain such kind of picture AND conveying actual meaning. Personally I like photos that – alone or made meaningful by a title – can tell a story. This way I can try to (pretend to) make “unique” shots, that stand with dignity in front of the zillions of 500px/Instagram/Flickr’s great images that are often perfect but…
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@ Mediterranean Beach Games 2015 – Wrestling, Italy vs France (And a primer on sport photography – Part 5)
Part 1 – Intro, Before the event, getting your media pass Part 2 – Before the event, having your media pass working for you Part 3 – During the event, get ready for the show Part 4 – During the event, how to choose which event attend to 3 – Shooting the game As I said before, the chances of getting a good exposure greatly improve if you are (or have become) comfortable with the game. But knowing how the ball rolls worth nothing if you’re not in the right position to take the shot. a – Reclaiming your space from other photographers Event (and thus sport) photography is a…
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Money Doesn’t Smell
The main photo depicts a Syrian kid surrending to a photographer, whose camera she thought was a weapon, while the side pictures are automatically displayed by the advertising engine of the online newspaper. There is a contrast between the brutal reality where the kid lives and the luxury aura implied by the two fashion shot that shows how insensitive magazine editors can be. I understand the need to monetize every click or content, but I’m not sure that this is the right way to do it. Why don’t chose, for instance, to advertise a fund raising campaign supporting UNICEF or Doctors Without Borders? And, by the way, I don’t understand…
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YANE – Yet Another Nepal Exhibit
This the poster of Yet Another Nepal Exhibit. It is hard to see the point in going to the other end of the world to take pictures that, as a Google Image Search shows, have already been shot zillions of time. In other words: taking original photos in Nepal is very hard. This teach a simple lesson: going overseas in the belief that the place makes the photo is wrong.
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From Camera to Print…
This is what happens when a shot is not taken thinking of its final destination (or when a graphic editor doesn’t consider what the outcome would be once printed): a poor rendition.
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Dress Different
According to the fashion-photography standards this is a perfectly usable shot. To me, that’s simply a missed photo.
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Italy, Street-Photography and The Law – A Real Case
Last July, members of the Polizia municipale of Rome seized the camera of a British-Brazilian street-photographer, Simon Griffee, while he was documenting the way they dealt with an immigrant. As Simon’s lawyer I’ve filed an appeal and a week ago the Court of Rome revoked the seizure. The battle is not over, yet, but hopefully Simon’s camera will be back on his hands pretty soon. As soon as possible I will release a thorough analysis of the case matched with what the law says, in theory.
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The Street Photographer Rights In Italy. The Leaflet
Here is an easy-to-carry A4 leaflet to be used in case you are confronted by a law enforcement agent of officer that question your Street Photography activity. Legal issues apart, please remember to always be polite and to help the officer not to look goofy or ignorant (as he actually would) in front of the public. Q. Does taking people’s photography in public spaces infringes sec. 615 bis of the criminal code? A. NO. Under the Corte di cassazione ruling n. 47165/2010 outdoor there is no reasonable privacy expectation, as there is no reasonable privacy expectation in case of tacit – while non equivocal – withdrawal of this right, as…
