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  • B&W,  Daily photo,  Rome,  Spring,  Streets&Squares

    5 frames with the (much awaited) Ferrania P33, a Nikon F3 and a Nikkor 50 F2

    April 30, 2024 /

    I managed to grab a few rolls of the very first batch of Ferrania’s brand new P33 film, so I wasted no time in putting it to work with a Nikon F3 and the glorious Nikkor 50 f2. I won’t go into the technical details of this film, firstly because I can’t claim to be an authority on the subject, and secondly because Ferrania’s website has plenty of information. There is only one thing to know: the canister is not DX-coded, so shooting is only possible in full manual mode. This may change in the future, but for now this is the state of the art. Finally, a transparency note:…

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    Andrea Monti

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    The Day of the Zombies

    October 23, 2016

    An illuminated escape path will help you to reach the exits …

    November 10, 2013

    Ceci N’Est Pas Une Pipe

    September 27, 2014
  • B&W,  Daily photo,  People,  Technique,  Winter

    Coats

    March 19, 2023 /

    Getting rid of film noise is a recurring necessity when shooting film at (relatively) high ISO.In this photo the negative was digitised using a Pentax K-1 Mark I and a Pentax FA 100/2,8 Macro. Then, before inverting the curves to make a positive, it was fed into DxO PureRaw3 (by the way, it properly recognized the camera and lens). Finally, in Affinity Photo Develop Persona’s Details tab, once the curves were inverted, it was necessary to tweak the Noise Reduction options by setting Luminance to 50% and Luminance Details to 0.

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    Andrea Monti

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    Ninja-Turtles?

    April 30, 2014

    Max Casacci – Live@Circolo Aternino, Pescara

    January 4, 2018

    The Crew’s Rest

    July 20, 2014
  • Bridges,  Colour,  Daily photo,  Odds,  Winter

    Stairway to Hell

    January 9, 2022 /

    This photograph emerged from a fascination with how architecture shifts once stripped of its context. What the lens captured here is, in essence, a flight of stairs. Yet under the harsh saturation of artificial red light and the obliteration of all surrounding detail into deep black, it becomes a surreal passage, one that feels less like a functional structure and more like an allegorical descent—or ascent, depending on how one reads it. The title, of course, plays on that ambiguity. From a compositional standpoint, the image relies heavily on abstraction. The staircase cuts diagonally across the frame, its curve creating a dynamic tension with the void beside it. Negative space…

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    Andrea Monti

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    An inconvenient way to spend time.

    March 15, 2013

    Generations – I

    August 6, 2014

    Portrait of a politician – 1

    October 25, 2013

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