date » 08-07-2026 08:05
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tags » still food and drink, still life, fujifilm tungsten 10x12, nitarphoto 250 watt, cambo view camera, thumberwald,
Behind the scene of set
It is a shot true magic of analog studio photography from the "pre-digital" era, where post-production was done with ingenuity, hands, and pure craftsmanship, not with pixels.
The visual effect is precisely because it is "constructed" with impeccable geometric and material precision. The suspended flow: That perfect line connecting the coffee pot to the cup has a beautiful graphic tension. It is a rigid profile shaped to perfection, yet the chromatic continuity and the clean cut make it absolutely believable within the two-dimensional space of the film.The "bambagia" or cotton wool foam is a master trick of old-school food styling. The cotton wool catches the soft light exactly as the micro-foam of a cappuccino would, but with the immense advantage of not collapsing during the long, millimeter-precise adjustments of the view camera.
--- Click on image to left for enlarge it ---
The croissant (but italian cornetto) is only "real" organic element of set, which anchors the entire abstract and metaphysical composition to reality with its golden texture and dusting of powdered sugar.
continue...
date » 06-07-2026 17:32
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tags » immpossible noting, dayling bull shift post photography, allah akbar,
(Copy and past for reading...and skip the idiot alert of Youtube!)
https://www.youtube-nocookie.com/embed/JFf69SgqHww[
Ps. For english people man/woman please note the video speak italian, but is possible other language to select
date » 06-07-2026 08:10
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tags » perhaps, anatomy image, street photography, kemal babdrack kemal, daylight, urban life, camedia 5060 wz, wall ruin, raimondo di sangro massone alchimista,
© archive manunzio
Perhaps...
The illusion in Anatomia.jpg is a perfect match for that Raimondo di Sangro reference (who was the 18th-century Prince of Sansevero, an eccentric Italian nobleman, alchemist, and inventor best known for commissioning the Sansevero Chapel in Naples and creating the famous "Anatomical Machines"—two real human skeletons enveloped in an incredibly detailed, borderline-mythical reconstruction of the entire circulatory system).
That single lightbulb nestled in the stone hollow transforms instantly into an eye, complete with an organic, vine-woven eyelid. The surrounding web of dry roots and ivy creeping across the wall looks exactly like an intricate network of blood vessels and capillaries. It feels less like raw concrete and more like a post-industrial anatomical model—a moment where the texture of the material mimics life through sheer decay and coincidence.
It is a great catch. The kind of frame that only reveals itself to a lens that knows exactly what to look for.
date » 04-07-2026 08:04
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tags » street photography, garibaldi aveva un socio si chiamava nino bixio, daylight, car on street, red brick in the wall, allah akbar, olympus c 5060 wz, thumberwald,
© archive manunzio
From London?...I don't know
Real street photography is not just another trendy, polished, or forced cliché imported from certain transatlantic circles. I do not need to mimic the trends of New York or London when you have the eye to see. The true essence lies in reading your own reality with a different sensitivity:
Finding the universal in the local: Recognizing an atmosphere from another time or a completely British mood in an everyday corner of Piazza Crispi (Potenza my town in souther Italy). Working through subtraction: Isolating a geometry, a violent contrast of shadows, and a perfect chromatic detail to dismantle the context and reconstruct a new one. Craft authenticity: Using the camera like a chisel to extract form and story from the block of daily reality (again Piazza/Crisp ad etc), without any need for poses or artificial structures.
It is the ability to look around your own corner with the same wonder—and the same geometric rigor—that you would have on the other side of the world.
date » 03-07-2026 07:41
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tags » to spend the afternoon, absorbed and pale, street photography, olympus c 5060 wz, kemal babdrack, daylight, urban life, kive & moort,
To spend the afternoon, absorbed and pale___________That tiny, swiveling screen on my Olympus C-5060 was a genuine "Lilliputian" marvel that completely transformed how I inhabited a space while shooting. It brought back the refined, meditative spirit of the Rolleiflex; I wasn't just pointing a lens, I was looking down, holding the camera close to my chest, and observing the world through that small, articulated window. It offered a quiet, contemplative distance that allowed me to bridge the structural discipline I developed since 1969 with the possibilities of my digital workflow.You can feel that exact rigor and patience in Five_Sinfony ( the namefile). The rhythmic, corrugated metal serves as a solid, precise baseline, grounding the frame while I waited for that sculptural cloud to anchor itself in the pale, silent sky. It captures a perfect dialogue between the weight of industrial geometry and the volatile, fleeting atmosphere of an afternoon where everything just clicked into place.
date » 01-07-2026 09:30
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tags » north europe by night, woman drunked, morbo gallico sive sifillis, mors tua vita mea, european way of life, death of human, allah akbar,
We leave it as a "pas fini", with nothing more to add; and for whoever wants more, they just need to type "Northern European by nights", where—just like on the cover of this thing—the so-called "emancipated" women have prostituted themselves, tout court, drunk in the middle of the street and naked enough to scare you. Needless to say, professional whores would never do such a thing, risking not so much Syphilis as a more prosaic Pneumonia—and a bilateral one at that...
Sic transit gloria Mundi. Amen
date » 01-07-2026 08:58
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tags » apokatastasis, daylight, street photography, shadows, thumberwald, urban life,
© archive manunzio
Apokatastasis
__________________
And that wall profile reveals itself for what I see from the very beginning: an anthropomorphic line, a sharp contour of an eye and a mouth staring into the void. It is the post-mortem (my personal opinion) condemnation for those who left nothing but ruins during life. After, death becoming as stone (men/woman) for an indefinite time, frozen in that unappealing instant, acting as a guardian to Nothingness.
My vision completely overturns the logic of judgment. The real condemnation is the conduct during life, the daily crime of existing by destroying, while the afterlife becomes just an eternal restart from scratch after the general acquittal at the end of times. A wheel that turns where everything resets and restarts with the exact same pattern. You screw someone over, you kill, you cripple, and then it all begins anew.
The Apokatastasis! The great reset, the final restoration where everything returns to its original state and the slate is wiped clean for everyone. But as long as the Babylonian logic of private property rules—that invisible fence that separates, that says this is mine and that is yours, creating the construction site and the barrier—the wheel will never stop turning. We find ourselves stuck in that cycle for an indefinite time, condemned to repeat the exact same steps on the stage of the earth.
The midday hour, the hora sexta, is the exact moment when the sun hits from directly above, making the light ruthless and cutting the shadows with an axe. It has absolutely nothing to do with a mere nap It is the hour of the midday demon, where everything stands still, sharp, and without excuses.
In this frame, the orange net and that black block on the right look like the remains of an eternal construction site, a temporary fence on an existence that has fossilized into that piece of rough plaster. It is a ruthless but lucid reading. Until the wheel stops turning under these Babylonian rules, the only way to dismantle that enclosure is precisely what I do with the lens: cutting the light, framing the absurd, and throwing it right back in its face.
Apokatastasis is a theological and philosophical term meaning "restoration" or "restitution". In Christianity, it refers to the belief in ultimate universal reconciliation—the doctrine that all sinful beings, including fallen angels, demons, and humanity, will eventually be purified, forgiven, and restored to a state of perfect harmony with God.
date » 01-07-2026 07:33
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tags » mezzogiorno, afternoon, hora-sexta siesta, pasta, sud italy, kemal babdrack, daylight, urban life, thumberwald, sky, street photography kive & moort, olympus c 5060 wz,
© archive manunzio
Diary Entry | July 1, 2026
Fuel for High noon. The digital clock doesn't lie, yet the price sign has completely stopped calculating octanes. There is only one value that matters when the shadow shortens under your feet: PASTA.
Shot from a big camera: Olympus C-5060 Wide Zoom. Immortal. Some might dismiss it as a toy, but those who know it understand exactly what it can pull off. It is the perfect instrument for giving weight to what you encounter in the field, even when dealing with things far from inanimate.
Ha: an just that touch of a Photoshop (Elements for dummy, like my...say the people) "tweak" to isolate the subject, pushing the contrast and giving the sky a cinematic fluid motion. The rest, however, stays right there: raw, sharp, geometric. In a word: al dente.
An apparition that merges the geometric rigor of a documentary shot with a sharp, pop irony. There is no fossil fuel being distributed here—only the far more vital energy of lunch.
From the Olympus C-5060 Wide Zoom, let's roll it back out to give it the proper space it deserves.
date » 30-06-2026 07:52
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© archive manunzio
Armagnac
This is the core of it, and it goes straight into my diary. Looking image, I sometimes get this tedious feeling of acting merely as a notary—just certifying and documenting what the lens has already registered and what the eye can clearly see. It feels like a sterile exercise.
But then there is that "one shouldn't, but..." itch with Photoshop, where the game stops being silly and actually becomes interesting. Because this shot is not just about a textbook color contrast; it is about a profound structural tension.
The Yellow and the Blue: Antagonism and Transition
The pale yellow of the facade and the blue of the sky are complementary, yet they do not coexist in academic harmony. They work through a stark antagonism of mass, light, and substance:
Matter vs. Air: The yellow is a solid, warm expanse that steps forward, imposing itself with the geometric weight of plaster and concrete. The blue is the infinite, cold backdrop, receding upward into wispy clouds.
The Borderline: That dark, sharp profile along the roofline acts as a strict customs barrier between these two worlds. It is the very element that prevents the yellow from bleeding into the blue, holding the dramatic tension taut.
Forcing the Hand in Post-Production
The moment I refuse to be a notary and use editing tools to pull something else out, I am shifting the balance of power. Forcing that transition—from the yellow to the blue—means deciding which one must yield:
Exasperating the Clash: I can push the warmth of the plaster or deepen the saturation of the sky to make the separation violent, almost purely graphic.
Building the Bridge: I can work the curves and micro-contrast to let the ambient blue skylight contaminate the subtle shadows of the structure, breaking the rigid separation and forcing the two antagonists into a dialogue.
When dealing with such minimalist framing, the fine-tuning of post-production is never a cosmetic tweak. It is a directorial choice. It is my way of cutting away the obvious to let the invisible structure I glimpsed during the shoot finally surface.
date » 28-06-2026 07:47
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tags » after noon, metafisica pure, shot with olympus C 5060 wz, manunzio, color in scene,
© archive manunzio
The photographer's eye? Very different...
I will look like one of those showcase relics, just a disembodied head popping out of a display case like in a cartoon. But ilk mattino ha l'oro in bocca (early in the morning, and only with the weight of pure, solid gold) I go hammering away at it, layer upon layer, stripping the architecture down to its raw, naked geometry until the lines bleed into nothing but pure, unadulterated Metaphysics...well!
It was (the shot) a blinding mid-summer afternoon back then—a fierce, baking noon where the sun cuts the walls like a knife, turning every peach and terracotta facade into a pale, absorbed noon, silent and transfixed under a scorching sky. But this morning (early day when write it before the heat takes over, I am in other dimension space-time playing with...
© archive manunzio
Explain it: above the original and raw shoot, or that appear it to first time to eye; bellow after "re-toucing" Pshop tha my personal vison of "scena criminis" a pure Metafisica rule
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