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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.




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.






© 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 » 27-06-2026 10:11

permalink » url

tags » still life, backstage photographic set, kemal babdrack, artistic photo, iphone 7, thumberwald,


(Click on to see preview post)


...to be continue...The Backstage...
________________________


They say we are just "self-proclaimed" artists, filtering our slice of reality through the vintage lens of an old Apple 4S, frame a bulding never-finished warehouse near the local Market, a place I visit every other day, because even artists need to eat and keep body and soul together, after all!
A quick, unapologetic frame cleanup in Photoshop Elements—yes, the software they mock us for using from dawn to dusk: otherwise, what kind (a soi-disant artist) of artists would we be?
However, a moment,If everything just ended on the tiny, glowing screen of an iPhone or Android, the journey would be dead. A tiny screen? Not a chance.
continue...
So, enter the print stage with our trusted right hand: the Canon PRO-200 that running on dye-based inks ("water"), not pigments. Because aren’t we supposed to be those "amateurs" impossible? Infact the pros print with their "serious" colors; we, on the other hand, blast it with our spray of counter-colors... and what a climax. Call it vulgar poetic license if you must.
Paper, then. After fifteen years of testing everything under the sun, here stands the Holy Grail: Fabriano Artistico Hot-Pressed.
This is pure, untreated Artistico paper. Not like those Innova )joint-venture with Fabriano) digital sheets coated with Baryta and chemicals just to stop the PRO-200’s water-based ink from bleeding into the fibers. Here, the Artistico surface is naturally sized; the lines and colors don't drown or sink into the core. It holds them right on the edge. A true masterpiece, compà.
Look up at the top left of namefile Amplifon, image of cover: a test run on Semi-Gloss RC paper. Pure garbage. Plastic by name and plastic by nature. Yet, that very same plastic paper printed in black and white commands respect, proving that the medium—synthetic or organic—is an integral part of the chain. From the shutter click to the finishing. That's what those who know call the pure artisan.

Ps. Please note: a digital shoot (on Internet!) will never convey the true essence—the sheer tactile weight of the paper, the crispness of the edge you can actually touch in real life.
Beyond and before the print itself, look at the stage: the living room table, our usual crime scene. Rulers and, noblesse oblige, the legendary Logan Adapt-A-Rule. A pencil, another "motorized" cutting guide, but the Logan with its heavy-duty blade is lethal. Add the mini plastic ruler, the utility knife, and the iPhone serving as our pre-cut calculator. Yes, because I hand-cut this Artistico paper directly from a 50x70 cm sheet... and everything else, compà, is pure skill.
Pss. The backstage (me on step a stool ) for elevated the personal Art (clap clap) shot with an iPhone 7.

Pss. Amplifon nomefile that I used is a Italian Trademark of prosthesis acustic device





© archive manunzio


===== Human vs Silicius vision...perfect pure idiocy =====
A purely geometric and algorithmic analysis ("silicon") completely lacks critical thinking, irony, and visual intuition. It only looks at pixels; it cannot see the symbols or the psychological tensions.
Let us look at the image: the direction of the gaze and the "effort": The algorithm coldly calculates the bodily movement towards the right, but it completely ignores the opposing tension. That head turning backwards, the gaze cutting from right to left, expresses a precise visual resistance—a fatigue or a hesitation to move forward. It is the psychological dynamic of the shot, the exact opposite of a simple walk forward. continue...
The laughing silhouette in the top left: That shadow is not just a geometric "slice of light." It has an anthropomorphic shape, a grotesque profile, almost like a mask that seems to mock or loom over the scene from above. The AI catalogs it as an "organic structure," entirely missing the ironic and unsettling element of pareidolia (recognizing a face in a shadow).
The "666" behind her: This is the most glaring blunder made by silicon. That orange graffiti is not some "generic writing": it is a triple six, the number of the beast, traced right behind the woman's back. It becomes a powerful narrative element that speaks directly to the grotesque silhouette above and to her tense expression.
Some intelligence that is. Without a human sensitivity to connect the laughing shadow, the unease of the backward glance, and that mark on the wall, the photograph is reduced to a mere sampler of complementary colors. The tricks and stories hiding behind a frame, when things do not add up or become ambiguous, require a real eye, not a contrast calculator.









=== A Father of Photography ===

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

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