date » 15-05-2026 08:30
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tags » landscape archeology, street photography, urban life, daylight photography, olympus c 5060 wz, manunzio archive, thumberwald,
© archive manunzio
====== Like a sniper ======
It is a sunny day, perhaps even during same the today's more or less. The image is lean and a shadow from the left, a wall, a silo rising above it, and on that same wall, appearing to the right, are what seem to be two musical notes. Mi & Fa—and writing them with an ampersand would be far from irrelevant.
The image develops horizontally, save for that "peak" mentioned: the silo anything but a harmless piece of iron or steel, it is filled with... and in these times when Hormuz is blocked at intervals (like one of those ladies... you understand me) Oil.
Returning to the left, the entire image feels like an apparent rebus. Upon closer inspection, a long face (shadow) and a prominent nose emerge. Do we see it? No? Well, actually, yes. Those two "notes" solve the puzzle: Mi Fa. It isn't just that—by swapping the vowel "i" for the final "a," and vice versa, the result is... Mafia. You can't get any clearer than that; in fact, it’s enough
The shot comes from the much more the Olympus C-5060 WZ, a big, beastly tool. That is all people. I'm sniper...
date » 14-05-2026 09:28
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tags » calembour image, street photography, billboard on strett, urban life, olympus c 5060 wz, thumberwald,
© archive manunzio
====== On the Street ======
In the image (a calembour where U stands apart from the X, translating as "You for such/someone", leading into "are 3D"—literally "You/you all are 3D"), I am not merely documenting an urban find. I am performing a surgical intervention, the frame as a space where memory and surface must align. My approach is rooted in the Analogic Era but refined through digital precision.
I looked at the original sky—with its two generic, coincidental clouds—and found them inauthentic to the weight of the silhouette.
The Intervention:
The Rejection of Chance: I removed the original clouds (side rifht) because they were a distraction that weakened the tension of the billboard.
The Archival Graft: I replaced them with a specific cloud from my personal archive, bridging decades of technical experience. It is the insertion of a known truth into a found decay.
Surface and Balance: My choice was dictated by a deep familiarity with textures, such as the Ferrania Vega surfaces I have handled throughout my career. The grain of this specific cloud acts as a formal counterweight to the "crack" in the shadow's head.
The result is a synthesis. To the left, the U X TALE ARE 3D fragment represents the physical, wounded reality of the billboard. To the right, the sky is no longer a random occurrence; it is my sky, a curated space that transforms the "dolor" of the shadow into a purposeful authorial statement.
date » 13-05-2026 10:58
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tags » nikon first digital camera, tarall norvegesi, nikon and kodak digital camera, era digital, thumberwald,
====== How the first DSLR had military roots ======
Despite Eastman Kodak making tentative steps back into the consumer photo film market, and its name still being applied to the front of countless licensees' compact cameras, there's still a widely-held sense of 'What if?' surrounding the Kodak name.
Not only did the company dominate the film industry, it also did more than its share of founding photography's digital age.
It was a Kodak engineer, Steve Sasson, who in 1975 produced the world's first digital camera as we recognize them today: a self-contained, comparatively hand-holdable device that captured images with a CCD sensor. Though, perhaps thankfully, the Compact Cassette tape it used didn't last long as a storage medium.
Likewise it was a Kodak engineer, Bryce Bayer, who invented his eponymous, and now near ubiquitous color filter pattern, patented the same year.
So perhaps it's not a surprise that it was Kodak that, 35 years ago this month, launched the first commercial digital SLR....
Continue read on: https://www.dpreview.com/articles/8955066571/35-years-looking-back-at-the-kodak-dsc-100
date » 12-05-2026 10:14
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tags » still life, food photography, panasonic fz 300, thumberwald,
----- Still Frame -----
I see this composition as a deliberate exercise in precision, much like target practice for the eye. I used the natural light from the window as a soft bank to define the volumes against the deep black background. In this setup, I focused on the dialogue between the two different textures: the matte finish of the black mug and the glossy, reflective enamel of the smaller red one.
The light hits the red surface with enough direction to show its curve without washing out the color, while the black mug provides the necessary weight to the scene. It is a simple but effective way for me to calibrate my visual aim and ensure that my technical perception remains sharp.
In the silence of the studio, these two objects become more than just containers. The larger black mug acts as a void, absorbing the light and anchoring the frame, while the smaller red one provides a punch of saturated life. The way the light skims the rim of the enamel reminds me of how essential it is to master the basics of reflection and shadow before moving into more complex narratives. This shot serves as a visual reset, a moment to strip away the unnecessary and return to the fundamental interaction between glass, metal, and light.
Ps. I Shoot it with Panasonic Fz 300 in Raw format, f. 2.8 1/160 sec. Light of left real window, with two piece of white plastic on glass
I see this composition as a deliberate exercise in precision, much like target practice for the eye. I used the natural light from the window as a soft bank to define the volumes against the deep black background. In this setup, I focused on the dialogue between the two different textures: the matte finish of the black mug and the glossy, reflective enamel of the smaller red one.
The light hits the red surface with enough direction to show its curve without washing out the color, while the black mug provides the necessary weight to the scene. It is a simple but effective way for me to calibrate my visual aim and ensure that my technical perception remains sharp.In the silence of the studio, these two objects become more than just containers. The larger black mug acts as a void, absorbing the light and anchoring the frame, while the smaller red one provides a punch of saturated life. The way the light skims the rim of the enamel reminds me of how essential it is to master the basics of reflection and shadow before moving into more complex narratives. This shot serves as a visual reset, a moment to strip away the unnecessary and return to the fundamental interaction between glass, metal, and light.
Ps. I Shoot it with Panasonic Fz 300 in Raw format, f. 2.8 1/160 sec. Light of left real window, with two piece of white plastic on glass
date » 12-05-2026 07:07
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tags » virus hantavirus, georgia guide stone, wall poster virus, rotary club, daylight, street photography, hantanvirus bigh pharma,
© archive manunzio
The Architect’s Sepulcher: A Diary of the Great Viral Program
The narrative does not start with a medical emergency, but with a theological and architectural premise. As it is written: "In the Beginning was the Virus, and the Virus was with God, and the Virus was God." My personal re-evocation of Gospel of Bible St. Jhon This is the sacralization of the contagion—a "Viral Vessel" (Venezia, Medieval Peste in primis) navigating through history to reshape the human landscape. From the Roman plagues to the Black Death of the Middle Ages, arriving at the shores of Venice (around 1348-50) and spreading across the European terraqueo, the plague has always been a "program."
Image in cover another "virus" biological same family. Poster whit "weel" The Vitruvian Precision of Power
This is not the realm of mere coincidence or "conspiracy theory"; it is the domain of Architectural Precision. Following the lineage of Vitruvius, the world is being treated as a construction site. The Great Architect uses the square and the compass to "level" the population.
continue...
date » 11-05-2026 16:17
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tags » covid and hantavirus, new strategy world epidemy hantavirus, televison hantavirus, image hantavirus, new order world hantavirus, strategy of human destruscion, global hantavirus,
Copy & Past
https://www.youtube-nocookie.com/embed/gaI3bHz4gZk
date » 09-05-2026 16:08
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tags » reportage aldo moro, death italian aldo moro, dies moro 1978, black and white photograpy, street photography,
----- Death of Aldo Moro -----
1978 - 2026
I go up to the first floor. In the next window there is another colleague, Rolando Fava from ANSA, then Maurizio Piccirilli, and a cameraman from Tele GBR (private television in Rome). The street begins to fill with agents, confusion, and a low hum of voices, but you can sense the epicenter immediately: it is a red Renault 4. The rumor is that they have found a homeless man, dead and abandoned. I start shooting, and I am shooting in color. An officer approaches the car and opens the side door. But in that instant, I see Cossiga arrive—the Minister of the Interior at the time—I shoot again, then the crowd of agents nears the Renault and one policeman turns around and puts a hand to his face, in despair. Simultaneously, from the television turned on in the apartment where I was, an announcement is heard: "News is reaching us this instant that the body of Honorable Moro has been found in Via Caetani." And I was right there, so it was him in the car. From the street, a policeman sees me, points his gun at me, and orders me to come down and hand over the rolls of film. I withdraw from the window and follow the scene through the reflection on the glass. I have only one camera with me and three lenses: a 35, a 50, and above all, a 200. I am the only one who has it. But at that point, the owner of the house, frightened, kicks me out. I leave and climb onto the roof of the building. From above, I see the arrival of the bomb squad. There is a fear that the Red Brigades have booby-trapped the car.
continue...
Ps. Copy & Paste
https://www.giansanti.com/video
date » 09-05-2026 11:12
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tags » street photographyarchitectural photography, daylight, olimpus camedia c 5060 wz, jpg file camedia olympus, reds, woman on balcony, thumbervald,
© archive manunzio
I was busy shooting a those urban eyesores—like aseptic building named the Courthouse, which is exactly las that, nothing but raw cement and glass—when out of the corner of my eye, this "povr' Maronna" (neapoletan dialect for a woman) appeared for just a moment.
With the glorious Olympus Camedia C-5060WZ in hand, on the fly "zacchete".
No RAW files—when you have the "manico" (the skill), you don't need them. I cropped the image precisely, in fact without that crop, it would have been just a massive block of a building and the woman would have remained insignificant.
It was a stroke of luck, sure, but and a sharp eye, nothing less.
date » 09-05-2026 07:57
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tags » cesare pavese poetry, portrait woman black and white, portrait kodalith, avaible light,
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date » 07-05-2026 11:58
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tags » reds, color red, macro photography, pil' p' tutt', thumberwald, olympus camedia point and shoot, daylight, still life umt',
© archive manunzio
----- Red Evil-Hair -----
The transition from a mundane tablecloth to an archetypal image is a classic masterclass in visual rhetoric. By isolating the fold, (a cover on table living room) I’ve employed a powerful synecdoche—where the fragment stands in for a biological and carnal whole. The "malice" of the photographer, so, lies in the deliberate use of focus and saturation to bypass the object's utility, forcing the viewer to confront a raw, organic metaphor.
Without a grasp of these rhetorical shifts, photography remains a mere recording of facts; here, it becomes a provocative dialogue between the eye and the mind.
The use of visual rhetoric (metaphor and metonymy) transform a domestic surface into a carnal, organic archetype.The high-saturation red palette with a sharp tactile texture in the central "wound," is a demonstration, that mastering the "art" requires the ability to see the hidden potential in the banal through a filtered, intentional gaze.
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