date » 17-08-2026 11:23
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tags » history of photography, brand nikon, brand canon, analogic era, film camera early 70s, professional camera,
(Copy & Past)
https://www.youtube-nocookie.com/embed/wapY5CFsKUA
Ps. For people not speaks italian see an choise menu for other language
date » 20-07-2026 10:57
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tags » foto lampo potenza, agency foto-lampo via pretoria, big print procedure, big balack and white, analogic era, dark room black and white, artisan printer-man black and white, allah akbar, printed matt 20 x 25, colombo boss democratic party italy, thumnerwald,
Big Print statio (part one)
Now, this is going to be a long one, so we are splitting it into two or maybe three episodes for those who have the stomach for it. And let’s be clear: "iPhone-scrollers" or compulsive Android-swipers are definitely not welcome here. Go find some other arena to release your squalid digital discharges. Likewise, the minchiapixel (coin for "pixel-peepers")—too busy measuring the size of their digital junk under a virtual microscope—can take a hike. Both of people, please go play somewhere else...continue
date » 15-06-2026 19:21
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tags » a fessa 'mman' e criatur', polaroid camera 20x24, portrait with camera polaroid 20x24.Venezia polaroid, photography in analogic era, thumberwald,
----- "A fessa ’mman’ e criatur’" Project Polaroid 20x24 -----(Placing a precious and serious instrument in the hands of someone who lacks the maturity or skill to master it: A fessa 'mman' e criatur'.
[font2]This dynamic could easily be described by the evangelical idiom "casting pearls before swine." Either way, what is on display here is "phuck-tography"—not a typo, but a deliberate play on words. In this context, it refers to the art of trickery or deception, far removed from the genuine craft of the past.
continue...
date » 08-06-2026 11:33
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tags » potenza my town, southern italy in strange hour summer time, black and white, day photography, street photography, thumberwald compà, analogic era,
© archive manunzio
Ciunnella (as My Africa)
As No any regular clock, this afternoon of whispers and blindin' reflections is sparklin' all along the walls of the Società elettrica lucana— at this time Enterprise called Enel today a big energy. The sun is playin' hide-and-seek with the shadows of the Montereale pine forest up above, a holy kind of woods wrappin' up the trashman’s shack, white like lime, lookin' like some cheap Western movie western set.
Right at the edge of the cliff underneath, wide open there’s that evil, cracked-up ugly big building. On the right side, between the retaining walls and the slopes, rivers of open sewage are top-spillin' straight down toward the garage-workshop of the Calabro-lucana railway.
Behind those walls, a fuckin' beehive is boilin' with raw humanity, leanin' out of balconies with rusty-ass iron railings. Bare-chested kids walkin' barefoot, slops, manure, donkeys brayin', big spitters on the floor, mothers screamin' fit to die, and broken straw chairs with clothes hangin' to dry in the sun. Sows, rabbits, chickens, all mixed up together, no stop, no distance.
Far away, in a dog day of summer stay the taxidriver (of Piazza Prefettura—Piazza Matteotti,) elbows on the railing, is the starin' staring into space And he mutters to himself ca s' la 'ntend'—that the guy is screwin' around with a mother o. And he takes a quiet drag from his Nazionale cigarette while slickin' back his greasy hair, his eyes lingerin' on the common wood box (Wc): a shitter with three planks around it just for a joke of privacy, two holes in the ground, and the whole fuckin' countryside open right on the horizon line.
You see? No Hollywood stars here. This is raw, sun-burnt land . Shadows so black they stain your fingers, and light so sharp it cuts like a razor. Go home Yankee!
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 » 05-05-2026 08:03
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tags » architectural umanoid, living in the past, modern appartament, milan mask, skiline, building no soul, allah akbar, thumberwald,
© archive manunzio
I---- llusion living ------
The Great Amnesia: Architecture in the Age of the "Green Toupee" and the "E-scape" When the human eye scans the modern skyline, it no longer finds a dialogue with the soul, but a cold monologue of "1s and 0s." We are witnessing a Great Amnesia of the Detail, where the "ictus"—that rare flash of architectural genius—is treated like a glitch in a system designed by humanoids who have lost all contact with the material world.
1 The Dictatorship of the Binary Code
Modern construction isn't "built"; it is "rendered." We have moved from the Analogic Era—where light was a tool to carve shadows into stone—to a digital e-scape. In this electronic landscape, the building is no longer a body to be dressed, but a product to be optimized.
The Cost of Beauty: A molding between floors or a hand-crafted window frame is a "variable" that the spreadsheet cannot justify.
The Plastic Void: We use PVC and pre-assembled kits because they are cheap, but they are silent. They don't resonate; they don't have "grain." They represent an architecture of avoidance: avoiding maintenance, avoiding risk, and ultimately, avoiding humanity.
continue...
date » 02-05-2026 09:16
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tags » analogic era, kodak epr 64, slide kodak, reportage, ferrania papers, ferrania p 30, tomato recipe, hands to work, natural light, food photography, zeiss 135 mm, contax rts,
© archive manunzio
The strength of those hands, etched with deep furrows and engaged in the ritual of cunserv' (tomato in bottle for winter seanson when in old time never tomato is possible to made any recipe), tells a story that crosses and connects generations.
This image captures a moment of the domestic tomato ritual from a place here in Lucania in southern Italy, where a "cunserv' p' l'invern'" (stock tomato for winter) was both a necessity and an art (again, for example, a tall and shapely aunt tried to do in New York in the Sixties) like (other memory) the wine made by Agostino Coppola from Bernalda, in the province of Matera—who, in the 1920s, produced wine in the basement of his New York apartment building—this quintessentially female ritual represents an identity that Generation Z is entirely unaware of.
The Rendering of the Film: The chromatic density of the EPR 64 slide emerges with that deep blue that only the chemistry of the last century could deliver, preserved here by the reproduction made with my faithful iPhone "sketchbook".
The 135mm lens Zeiss, used in this shoot, on the Contax RTS isolated the moment with surgical precision, transforming domestic labor into a Mandala of pure concentration, free from distractions.
The Invisible Retouch: The intervention of the "trained silicon" acted like my uncle's that via pencil, on the inclined table, retouched the negative for studio-portrait as Hollywood scene essence, eliminating those intruders that were impossible to remove on location at the time of the shoot in the 1970s.
Professional Technique: Despite the use of Photoshop Elements, the structure of the image maintains that analog dignity belonging to my professional history with Ferrania and its specific surfaces.
date » 17-03-2026 08:22
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tags » street photography, puddles photography, mokatar bel mokatar, morte supra nos, cloudy photography, urban life, thumberwal,
© archive manunzio
The Inversion of Reality: What is "above" is a blurred, mechanical non-entity—the "blindness" of a ghost of motion. What is "below," in the puddle, is the only thing with structure. The reflection isn't a copy; it’s the truth of the encounter.
The tension isn't between bodies, but between shadows. The man's silhouette is leaning into the Signora (Morte). It’s an inevitable attraction, a magnetic pull toward the dark shape that waits in the water.
We are in the gutter, yet the light is divine. The high-contrast black of the coats emerging from the reflected sky is pure chiaroscuro. It's an archeological dig on a horizontal plane: I didn't dig into the earth, I waited for the sky to fall into a hole in the asphalt to see the "unaligned."
Morte Supra Nos we walk over our own end every day, distracted by the pace of the "analogic era" vs the "digital shoot." I caught the exact millisecond where the physical step (Life/Motion) is superseded by the reflected destiny (The Signora/The End).
date » 09-03-2026 16:22
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tags » era analogic vs digital, rain on glass, landscape from window, panasonic fz 300, images raw, thumberwald,
© archive manunzio
When we say "vegetal" instead of "digital," we are mocking the modern obsession with pixels and sensors as if they were something "natural" or "living" that grows on its own.
In fact: The "Vegetal" vs. Silicon is an Glossary for the Uninitiated. To the "barbarian" English speaker, the term "vegetal" might seem like a mistake. It is not. It is a sharp, ironic jab at the Digital Era.
The process "vegetal" because, since the year 2000, pixels have started to "grow" and multiply across our screens like weeds in an untended garden. It’s a sarcastic way of saying that digital imagery—often praised for its "organic" or "life-like" quality—is actually a chaotic, synthetic overgrowth that needs a human hand to prune it.
The Pruning, just as a gardener cuts back a hedge, a photographer from the Analogic Era (since 1969) knows how to "cut". I Don't just let the digital sensor "grow" whatever it wants; they force the "vegetal" pixels into a specific, dramatic shape.
The Irony of Calling it "vegetal" mocks the idea that the machine tout court is "smart" or "natural." But I reminds the reader that without the human "trick"—the eye that knows how to handle a lens—the digital result is just a mess of silicon-based "foliage."
date » 18-02-2026 10:40
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tags » urban poster, street affiche, urban life, daylight, olympus C 5060 wz, photo calembour,
"Soldier's Sword"
This shot is a classic piece of Analogic Era grit, now blown up and plastered as a street poster (affiche) for the whole city to see. The shadows don't just exist; they perform. The lace creates a literal "battlefield" of geometry against the soft, organic fur, but the real punchline is in the caption staring everyone in the face.
"Col Filo di Milite" isn't just about a military edge; it’s a direct, anatomical wink to the "Soldier's Blade" (his sword, his piece, his... well, you get it). It’s a classic calembour that cuts through the sterile, polite BS of modern digital imagery.
The human eye catches the "stiff" irony of a soldier standing at attention right in the middle of the sidewalk. It’s a middle finger to the "inopportune light" and a celebration of the raw, irreverent calembour.
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