date » 14-07-2026 10:46
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tags » architecture photography, street photography, olympus camedia c 5060 wz, cuamerlengo, urban life, daylight,
© archive manunzio
Un albero di trenta piani, Celentano
Shot with a Olympus Camedia C-5060 Wide Zoom is an absolute classic from the golden age of early high-end digital compacts. Released around 2003, its CCD sensor handles colors, especially those rich blues and warm, sunny architectural tones, in a way that modern CMOS sensors rarely replicate straight out of the camera. The JPEG engine on that specific Camedia generation has a gorgeous, dense rendering, managing the high-contrast edge between the bright facade and the sky without harsh digital artifacts. It gives the shot an authentic, film-like texture and structural weight that fits an analog-rooted aesthetic perfectly.continue
date » 20-04-2026 17:11
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tags » artificial intelligence architecture, street photograhy, panasonic s1, umidità relativa, architecture photography, daylight sun set, italian architecture, kemal babdrach, olympus point and shoot c 5060 wz,
© archive manunzio
De Intelligentia Artificialis
Since I have no prejudice between the "living" and the "dead"—the former understood as real data (I will stop with the quotation marks, or it will be a tragedy, however necessary) while the latter is AI.
Let me explain: there is a glimpse of the historic center of this land, barely recorded on old road maps of Italy, which the eye tends to straighten every time I pass by. Thus, the problem is solvable with those damned things called view cameras; specifically, after leveling it on a tripod, through Tilt & Shift movements, everything "straightens up." So be it, local traffic aside. But we have been in the Digital Era for twenty years (not E.F., but E.F.D. That is to say, the first Era is that of ruspante Fascism, made of caricature and papier-mâché, like the film Scipione l'Africano... indeed of that Ventennio and how it tragically ended. And since everything "recycles," that capital D in the Littorio style stands for the current Digital. Everlasting Fascism of which, coincidentally, the Fellini of Amarcord speaks, as he does in the book "Making a Movie" published by Einaudi Italian Publisher).
Let us come to us, then. The glimpse that, to be honest, I could very well capture with the fifty-millimeter (Tilt & Shift) on the Panasonic Lumix S1 in full Full Frame; but it is another era and I would no longer know how to do architecture like that: years pass, atmospheres and the gait change, the elderly step that no longer holds the same head of twenty years ago (daje with the Ventennio!). So? After giving the file—alongside the original shot—to Google's AI Gemini (may God preserve it. Amen), the result ends here... then maybe I’ll come back to it, and yet the chords are what I was looking for. But radio silence is mandatory.Ps. It is a galactic piece of nonsense to say that the "machine" has "capacities" that are, if not superior, let’s say intellectual, to those of the Humanoid who believes himself to be God and wants to play the part: machines do not drink, they do not eat... they give numbers, perhaps good for the Bingo, but nothing more than that—at least for those who have a holistic vision of the surroundings: they are machines for making stock market "forecasts" and what else?
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