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date » 10-09-2026 09:45

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tags » paul strand blind new york, book that I writing, manunzio site, photographic culture, history of photography,



The Fortunella


It is the remake of Paul Strand’s Blind (this is a part of book that writing my book and the text left image...here’s why I recount she that cavernous, toothless Pugliese mouth, the personage—a dark abyss of a face—is the very frame of raw, unvarnished survival, mirroring Strand's portrait without a shred of Christian mercy).

Limping up and down the stone pavement of the Main Street all day long, by evening hoisting her carcass up the steep stone stairs of Locanda, clinging to the iron handrail,wheezing all the way back to the "hotel" Regina d'Italia boarding house she eathing. Bundled up, legs swollen tight into coffee-and-milk stockings, sitting watchful at a chocolate-coloured table she eating. She parries the snickers of the locals while plunging her fork into her solitary meal of the day: stewed potatoes. Cold ones, most likely.

Hunched over she own bosom, she count the day’s pennies for a night’s (as Cahrlot in movie The Monel) sleep on an impossible mattress of corn husks of "hotel" Regina d'Italia

date » 18-08-2026 18:12

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tags » 1939 born photography, niepce daguerre 1939, fox talbot inventor process negative positive photography, square & compass sign of freemassonery, florence hercules real inventor photography, history of photography, allah akbar, hippolyte bayard develope a direct positive paper process prior to august 1839,




Anno Domini 1839


August 1839 in Paris, the umbilicus mundi. Napoleon and his Grandeur—the underlying substrate of transalpine cousins descending from Caesar’s Gauls, though their tribal formats trace back to the dark forests of Germanic cavemen—have long been buried with a dose of poison. The air is electric in the not-yet Ville Lumière. A static buzz of whispers passes mouth to mouth among the common folk. Meanwhile, the powdered wigs—laden with lice, because washing is deemed a sign of popular decay, far removed from the public latrines, free fountains, and Roman thermae of every social stratum—see Deputies, "scientists" of every mandatory capitalized Order, and a horde of court hangers-on paid off by the "daubers" gather. Those Messieurs of the Academy of Fine Arts, no less....continue...

In a teeming Paris, the invention of Monsieur Jacques Mandé Daguerre is handed to the world Urbi et Orbi. His mentor is François Arago (accent on the final o), the Grand Master of the Grand Orient of France and a "radical" Deputy. A staged performance to give you chills, thrown together haphazardly. True, the political machinery began rolling in Parliament back in January of that same year, but the heavy marketing deployment hits around mid-August, right when the Masonic Sun sits at its true or false zenith.

Hugs, kisses, pats on the back, and Arago is completely unstoppable. A picturesque scene, precisely how the sacred texts of the "magnificent and progressive destinies" of Capital swallowed it whole.

Across the white cliffs of Dover (England) stands a pompous, short-tempered landowner, immortalized by history as a filthy lord barely holding back his rage: Lord Fox Talbot. A clever fox, yet he has every right to be furious: by Jove, these French people are inspicable! I am the pure truth, I am the inventor of Photography! Negative to positive, the famous window fixed on wax-treated paper, placed in contact with another, et voilà. "Stop the game," says Talbot.

Yet there is a third party, far away between the Pampas and the Amazon: another Frenchman forgotten by mainstream history and Masonic lodges alike.

The accepted story no longer holds up, which is why the trumpets are sounding—not yet of the Apocalypse, but perhaps pointing to the real inventor.

The image (tiny image) where Niépce and Daguerre formalize their business partnership, a square and compass sit right on the edge. Intelligenti pauca.of the "generous" Daguerre and his partnership with Nicéphore Niépce—whom hagiography credits with recording the rooflines of Le Gras after an eight-hour exposure—presents a specific narrative. Yet earlier still life shots of plaster casts suggest a history shaped by well-fed, directed historians. The birth of photography has many fathers not fully brought to light, while Freemasonry has pulled strings since Babel, institutionalized in London 1717 at the Goose Tree Tavern.

The Forgotten Pioneer of São Carlos to Brazil

While Paris celebrated and Talbot protested to the Royal Society, Hercules Florence—a Frenchman living in Vila de São Carlos (now Campinas, Brazil)—was working in total isolation as early as 1832–1833.

The Terminology: Florence used the word Photographie in his manuscript diaries in 1833, six years before John Herschel and Daguerre popularized the term in Europe.

The Method: Lacking European materials, Florence developed a contact printing process using silver nitrate-sensitized paper, fixed first with urine (for ammonia) and later ammonium hydroxide. He used a negative/positive system to reproduce pharmaceutical labels, diplomas, and his Zoophonie illustrations documenting animal calls.

The Rediscovery: His work remained buried in his notebooks until Brazilian photographer and historian Boris Kossoy uncovered and authenticated his precedence and scientific autonomy through laboratory analysis in the 1970s.

The Map of Fathers and Shadows


Official history imposed a narrative of simultaneous discovery between France and England. Looking past 19th-century institutional marketing reveals a broader set of key figures:

Nicéphore Niépce (left, sitdow in drawn image with Daguerre, up): Produced the 1826/27 heliograph on pewter coated with Bitumen of Judea, establishing the technical foundation Daguerre later commercialized.

Louis-Jacques-Mandé Daguerre (left image cover) was the inventor of daguerrotype more different to Photography

Hercule Florence (center image cover) Independently produced stable photographic images on paper years before the Paris announcement.

William Henry Fox Talbot (right image cover) Invented the negative/positive paper process that formed the methodological foundation for analog photography.

Hippolyte Bayard: Developed a direct positive paper process prior to August 1839. Persuaded by Arago to delay his announcement to clear the way for the Daguerreotype, Bayard staged his Self-Portrait as a Drowned Man in protest—one of the earliest conceptual photographic works.

The end of Tragedy named Photography (at this days noticied as Fotto-grafia, or exactly Fuck-graphy" right up the ass, through the Kapital's marketing propaganda)? I don't no. And Hippolyte Bayard..?

Ps. On table (image) below hand of Daguerre a "square & compass" like sign of Freemassonery

(Copy & Paste)
https://boriskossoy.com.br/textos-selecionados/
https://boriskossoy.com.br/wp-content/uploads/2014/11/hercule_florence_image.pdf






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 » 27-07-2026 10:15

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tags » big one minolta analogic camera, history of photography minolta company, plot on minolta america, japan minolta, bifore sony was minolta,



Chapeau !

An incredible history (plot?) a Mito named Minolta Company

(Copy & Past, forget and jump the Alert Youtube!)
https://www.youtube-nocookie.com/embed/nIMJM_QQ5EQ


date » 24-07-2026 11:49

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tags » history olympus cameras, revolution om system olympus early 70s, history of photography, allah akbar, maitani olympus, thumberwald,




Maitani? Maître of Olympus cameras, an Great Mitology


(Copy & Paste)
https://www.youtube-nocookie.com/embed/wjk7VFH36lE

For people that speaks (only!) english it possible translate it with selected preference on Youtube
...There are more things in Heaven and Earth, Horatio, than are dreamt of in your philosophy...(click on for more)

date » 11-06-2026 08:22

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tags » history of art, history of photography, andrea del sarto madonna arpie, modern photography, urban life, thumberwald, the art dealer,


Click on to enlarger


Matteo 6:22
La lucerna del corpo è l'occhio; se dunque il tuo occhio è chiaro, tutto il tuo corpo sarà nella luce; 23 ma se il tuo occhio è malato, tutto il tuo corpo sarà tenebroso. Se dunque la luce che è in te è tenebra, quanto grande sarà la tenebra!

The lamp of the body is the eye; if therefore your eye is clear, your whole body will be full of light; but if your eye is bad, your whole body will be full of darkness. If therefore the light that is in you is darkness, how great is that darkness!
_________________________________________________

Defund Culture? No, Thanks.
We are drowning in a summer of postcard tourism, a drive-by "discovery" of villages and breathtaking architecture reduced to a checklist. No, not the Colosseum, Florence, or the Grand Canal—been there, done that, bought the t-shirt. The world wants the predictable pizza, ammore, and mandolino routine, serving up "very nice" locations for the casual consumer. Thanks, but we’ve had our fill of that too.
continue...
For anyone who takes photography seriously—a craft that has predictably devolved into fottografia (and the double 't' is entirely intentional, a total screw-up)—this reality forces a tip of the hat, and not just for the sake of having a "good eye."
To put it bluntly: photography would not, and could not, exist without the entire history of Art. And to be perfectly honest, that history is exquisitely Italian. It is a two-millennium-old stratification that has cross-pollinated and seeded other soils across Europe—a genuine United Colors of Benetton moment, if you'll excuse the skid into corporate irony.

This doesn’t mean the photographer’s trade—for those who cut their teeth on the black-and-white craftsmanship of the Camera Oscura—is a direct rib of painting. No. A custulella, maybe. A small, stubborn rib. The Anglo-Saxons chew up the concept, spit out a confusing mess, and scurry off with the term "Darkroom." But there is no passive "darkness" there; it is a place of pure chemical transformation, an alchemical workshop. Don't bother explaining that to those quatt' scurnacchiat' ("good-for-nothing")
English speakers who grab a word from here, borrow a concept from there, and end up completely tangled in their own empty loan-words.
Whether people like it or not, the visual language of photography is coded. It is strictly Western, for a change. Codes and codicils. Personally, I like it that way. But let’s not get ahead of ourselves, drifting into a parade of wooden legs, eye patches, and gallery pirates, followed by a trailing entourage of glossy, airbrushed magazine vanity. In the end, it’s always about Pecunia non olet (money doesn't stink), and modern photography proves it once again.

Let’s finish in glory, looking at how a truly intriguing painting, with its specific light and composition, becomes an absolute must-study. To nail this finale, I’m calling upon Wikipedia to set the record straight. Così è se vi pare—right you are if you think so.
The Reference: Andrea del Sarto’s Madonna delle Arpie (1517)
The visual structure of this masterpiece embodies exactly what the modern, commercialized eye misses.
The image is split in two, allowing us to read what the critic Natoli highlights regarding the painting's direct alignment with Chapter IX of the Book of Revelation (Apocalypse).

While traditional art history labeled the sculpted figures on the pedestal as "harpies" (giving the painting its common name), a deeper theological reading reveals them as the smoke-born locusts or demonic entities of the Apocalypse, conquered and held down by the Virgin's stance.
The monumental, almost sculptural weight of the figures—deeply influenced by Michelangelo—combined with a sharp, directional light that cuts through the atmospheric haze, creates a profound tension. This isn't just decoration; it is a masterclass in visual architecture. This is the very foundation that feeds serious photography, the kind that rejects the glossy, commercial void to reclaim the power of pure, deliberate light.

https://it.wikipedia.org/wiki/Madonna_delle_Arpie

Ps. The cover image is divided into two parts to allow the reader to "interpret" the critic Natoli's analysis of the painting, in relation to Chapter IX of the Book of Revelation (highlighted by the arrows on the right).

Pss. The link above is italian language, please for other idiom use Google/Traslate










date » 01-06-2026 18:48

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tags » history of photography, divers" (subacquei) George Hoyningen-Huene 1930, plein air photography, daylight, street photography, allah akbar, xx century of photografpy, thumberwald,

"Divers"(Subacquei) shoot of photographer George Hoyningen-Huene in year 1930.
_____________________________
"The history of photography could be read as the history of the struggle between two different imperatives: the one to beautify, which comes from the fine arts, and the one to tell the truth, which comes from the sciences. While initial thought held that the photographer was an acute but impartial observer, with the discovery that objectivity was merely a mystification (no one photographs the same object in the exact same way), the hypothesis that photographic images provided an impersonal representation had to give way to the fact that photographs do not just attest to what is there, but also to what the photographer sees through their interpretation, which is never just a document, but above all a personal evaluation of the surrounding world." continue...
This core paradox defines photography from its very origins. This constant tension between the "beautiful" and the "true," between the precision of the scientific document and the choice of artistic expression, is what makes the photographic medium so layered and beautifully unstable.

At the beginning, photography was welcomed as the ultimate objective tool of the modern era—an image not impressed by a human hand, but by light itself through chemistry and optics. This presumed objective virginity was useful for science, archeology, and the cataloging of the world. It seemed to say: "The medium is impersonal, therefore reality is here, naked and incontestable."

But reality never offers itself unfiltered. It requires someone to decide where the frame ends, which fragment to isolate from the surrounding chaos, and above all, how to direct and shape the light. The moment a photographer chooses a lens, cuts out the rest of the world, or decides to expose for the shadows while sacrificing the highlights, objectivity dissolves. It becomes a personal evaluation.

What was initially considered a limitation or a "betrayal" of the documentary purpose—the interpretive intervention of the photographer—has proven to be its greatest strength. Photography does not mirror the world; it translates it. Every single choice, from the density of a black to a warm tone or the selection of a specific surface, is a precise semantic decision that shifts the balance from pure fact to the intimate testimony of a gaze.

In this sense, every shot ends up being a double portrait: it photographs what is in front of the lens, but it reveals in the background the mind, the background, and the intention of the person behind it.


date » 30-05-2026 11:55

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tags » ugo mulas italian photographer, ugo mulas verification tecnical photographic language, history of photography, maria push push, balck and white photo, photografic language,


© Ugo Mulas

"Le Verifiche" (The Verifications), the moral testament of the Italian photographer Mulas, leave a trace of the mature reflection of him poetics, representing the final outcome of a long research where photography is not reduced to the image:

«In 1970 I began to take photos that have photography itself as their theme, a sort of analysis of the photographic operation to identify its constituent elements and their intrinsic value. For example, what is the sensitive surface? What does it mean to use a telephoto lens or a wide-angle lens? Why a certain format? Why enlarge? What connection runs between a photo and its caption? etc. These are, fundamentally, the themes of any photography manual, but seen from the opposite side, that is, from twenty years of practice, whereas manuals are usually made, and read, for the debut. It may be that at the base of these digressions of mine there is that need to clarify one's own game, so typical of self-taught individuals, who having started in the dark, want to make everything clear, and maintain a certain innocence and a lot of enthusiasm toward the craft conquered day after day. I called this series of photos Verifications, because their purpose was to make me touch with my own hand the meaning of the operations that for years I repeated a hundred times a day, without ever stopping once to consider them in themselves, detached from their utilitarian aspect».





date » 22-05-2026 18:23

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tags » history of photography, black and white photography, european photography of xx century, kemal babdrack, andré kertész,



=== A Father of Photography ===

(Copy & Paste and pay attention at idiot alert for vision on Youtube)
https://www.youtube-nocookie.com/embed/Q0Y9_5qHUsg

date » 26-12-2025 09:37

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tags » artificial intelligence, koudelka photographer, smith photographer, analog photography, history of photography, intelligent pauca verba, chatcpt fake manipulation, minamata eugen smith,


On the left, a photo by Eugene Smith©, reportage Minamata (tragedy of chemical poisoning of a population by Japanese industry). On the right, photo by Josef Koudelka©, images of the occupation of Czechoslovakia by the Russian Army or Warsaw Pact. Two different images but united by the same commitment to black and white reportage before the corruption and mass distraction of Web by Cia-Pentagon-Mossad.


Intelligenti? Pauca verba...perhaps
Crucifing the compelling “Artificial Intelligence” is not that difficult, provided you have a good cultural background and knowledge of Photography.
I asked ChatGPT for a photographic parallel between photographers Eugene Smith and Koudelka: a tragedy! First, it started write echo, as they used to say in programming terms, on the monitor but I asked “No, you have to show me photos.” Double tragedy. In fact the so-called artificial “intelligence” said it couldn't: what? But if it showed me images from the web before, now it's calling it “privacy.” No, the problem lies with those who programmed the pre-cooked responses. I imagined I could resolve (photographic parallel) the issue quickly and easily: time is money, right? And so, being as intelligent as I am, I have to weave ‘parallels’ with infinite patience and hope for “meridians” as well. Sic transit gloria artificialis...Bullshit.

Ps. This isn't the first time I've destroyed (razional arguments) so-called artificial intelligence, parce-que la classe (culture tout court) ne pas l'eau
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