date » 18-02-2026 10:40
permalink » url
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.
date » 17-02-2026 07:58
permalink » url
tags » olympus point and shoot, olympus c 5060 wz, landscape fog, early day, photographic mood, fog atmoshere,
© archive manunzio
The image shows a riverbed flowing through a landscape heavily obscured by dense fog. In the foreground, the water is clear and shallow, revealing a bed of grey and tan pebbles and stones. The river transitions from the bottom left toward the center of the frame, where it curves slightly to the right and disappears into the white mist.
On both sides of the river, there is thick vegetation consisting of shrubs and trees. The foliage displays a mix of autumnal colors, including muted greens, deep reds, and brownish-yellows. A prominent tree with yellowing leaves stands near the center-right, its form softening as it recedes into the fog. The background is almost entirely washed out by the atmospheric conditions, creating a high-key effect where the sky and the distant landscape merge into a solid pale grey.
The lighting is completely flat and non-directional due to the heavy overcast and mist, which eliminates any distinct shadows. This lack of contrast emphasizes the textures of the stones in the water and the hazy silhouettes of the branches. The overall composition uses the river as a leading line that guides the eye from the sharp detail of the foreground into the total obscurity of the background.
The image has a soft, organic texture characteristic of early digital sensors from the early 2000s, which manages the transition of the fog without significant digital artifacts or harsh transitions.
The Olympus C-5060 Wide Zoom (used in this shoot) was a machine that defied the disposable logic of the early 2000s. It was built with a magnesium alloy shell and a fast, high-quality 27-110mm equivalent lens that allowed for a mechanical precision usually reserved for the analog gear you handled since 1969. In this shot of the city stream, the optics did the heavy lifting. The wide-angle glass pulled in the atmosphere of the fog without letting the digital sensor turn it into a muddy mess.
The mechanics of that specific lens allowed for a clarity in the foreground pebbles that anchors the entire image, while the natural diffusion of the mist was handled by the glass elements themselves. It was not a software trick; it was a physical capture of light through an objective that knew how to "see" depth. The result is an image where the moisture in the air feels tactile, a testament to a tool that was more than just a toy for the masses.
date » 01-02-2026 18:18
permalink » url
tags » olympus c 5060 wz, sky blu, urban scape, daylight, geometry photo, minimalist photography,
© archive manunzio
The image presents four white vertical flags, caught in a moment of physical tension against a streaked, open sky. The focus here is on the anatomy of the objects themselves: the turgid stretch of the fabric, the rigid alignment of the poles, and the way the light hits the unblemished surfaces. By stripping away any specific heraldry or commercial identity, the flags are reduced to pure geometry and movement. They act as accidental monuments, marking a space where the wind becomes visible but remains silent. It is a study of rhythm. Four identical shapes, slightly staggered, cutting through the atmosphere to create a sense of order out of the vast, wispy background. Without a logo to distract the eye, the viewer is left only with the interplay of shadow, cloth, and the sharp clarity of the frame. This effect is heightened by the low, upward angle of the shot, which forces the perspective to elongate. The poles seem to originate from nowhere, thrusting the white banners into the clouds to emphasize their vertical weight. This angle transforms the flags from mere roadside fixtures into towering monoliths, making the simple act of "looking up" feel like an encounter with a deliberate, rhythmic architecture of the air.
date » 25-01-2026 10:51
permalink » url
tags » giorgione la tempesta, digital giorgione tempesta, olympus c 5060 wz, urban landscape, bolt of lightning in the sky,
© archive manunzio
A personal view of "Giorgione" : experiment a Study in Atmospheric Sublime. The work titled Giorgionetto (my personal irony in digital) represents a compelling contemporary reinterpretation of the landscape-with-lightning topos, most famously established by Giorgione in his sixteenth-century masterpiece: La Tempesta. From an perspective, the photographic medium here transcends its documentary function to embrace a late-romantic aesthetic of the sublime (my personal view).
Central to this composition is the chromatic tension between the deep violet hues of the upper celestial sphere and the salmon-pink luminescence of the cumulus bank. This contrast evokes the tonalist traditions of the Venetian school, where color and light, rather than line, define the depth of the field. The lightning bolt, striking a modern residential structure, serves as a bridge between the ephemeral energy of the atmosphere and the permanence of human construction, creating a focal point that is both violent and aesthetically satisfying.
Furthermore, the image invites a psychological reading through the lens of pareidolia. The upper portion of the storm clouds reveals two distinct horizontal fissures, resembling ocular cavities, which oversee the scene with a sense of watchful detachment. Below them, the pink-lit cloud mass resolves into a humanoid profile, creating a mythological presence within a secular setting. This alignment of natural chance and artistic perception transforms a coincidental meteorologic event into a complex iconographic study, where the observer is no longer a mere spectator but an interpreter of a sentient landscape. In conclusion, Giorgionetto (a bit ironic: digital vs analogico, omaggioBig Master Giorgione)) stands as a testament to the enduring power of the classical aesthetic in the digital age, proving that even a chance encounter with the elements can resonate with the weight of centuries of art history.
date » 24-01-2026 12:11
permalink » url
tags » olympus c 5060 wz, point and shoot camera, nd filter, monopod manfrotto, daylight, urban life, ernst haas style,
© archive manunzio
Screen play
Scene: The descent
(Character: Minosse (The Judge) Equipment: Olympus Point&Shoot, Monopod, ND Filter Atmosphere: High Key White / Haas Motion / The Weight of Remorse)
The road is a flat strip of asphalt that stays level for a hundred meters before the descent The Monumental Cemetery, who hosts the remains in the bare earth.
You are there with a point&shoot olympus and a monopod, capturing the physics of the end.
Look at the frames: on the right, the figures are already vanishing into the white, mere ghosts losing their grip on the world.
But behind them, in the center, stays minosse. He is the black mass, the weight of reality, the one who judges the walk.
He doesn't dissolve because he is the chronicle of what remains.
Using an ND (Neutral Density) filter and Ernst Haas-style motion with a simple point&shoot isn't about technical perfection or counting pixels—it's the raw evidence of the body surrendering to the blur.
What you did on this side of the line, before the slope, is your business.
As Pino Daniele italian singer said, if you don't get it now, you'll learn it at your own expense in hell—where nothing burns but the torment of what was left undone: the remorse.
date » 23-01-2026 12:54
permalink » url
tags » jail digital, urban landscape, concrete bulding, olympus c 5060 wz, sky blu, daylight scene,
© archive manunzio
Jail
The flaw in this image ( I think) is not in the concrete, nor is it in that scarred sky. The real crack in the system—the visual pun that the director of the Truman Show failed to hide—lies in an almost invisible detail.
The reflection (you see) of the outside, the small square windows at the bottom. Despite the structure looking like an impenetrable prison, the glass reflects a different, deeper blue, almost as if showing a portion of the sky that the chemical trail above the building has not yet managed to cover. It is proof that the dome (System Mafia) is not perfect. There is always a blind spot where true reality beats the simulation.
The shadow corner (The digital shadow zone) Notice the sharp shadow cutting across the upper facade. In that zone of darkness, the sensors and cameras of the panopticon struggle to read. That is where resistance is born: in the shadow produced by their very own walls. The more they build imposing structures to crush us, the more they create free zones where the light of their control cannot reach.
The illusion of stability The building looks solid, but the light makes it appear two-dimensional, like a cardboard cutout. The flaw is its aesthetic fragility. If you remove the backdrop of the manipulated sky, all that remains is a concrete cube with no roots. The Davos system is like this: imposing to the eye, but it only takes a sufficient number of people to stop believing in it for it to reveal its nature as a movie set ready to be dismantled.
In summary: The flaw is perspective. If look at the image as a prisoner, you see a cell. If you look at it as a photographer or an external observer, you just see an ugly building under a sky that is trying to heal. The pun is that they built such a perfect prison that they forgot to close the only door that matters: the door of individual perception.
date » 21-01-2026 10:09
permalink » url
tags » pink floid brick in the wall, red tube, wall, workin to internet fiber, olympus c 5060 wz, daylight, urban landscape,
© archive manunzio
A ...brick in the wall
A plastic eye staring at the mess. They are tearing through the concrete to bring their so-called progress (named Web) into this gray corner. It looks like a raw wound, but it is just infrastructure. They give it a name (the progress of civlization base bit 1 and 0) to claim The Power over it, but to me, it is just another hole in the wall (a brick/hole in to wall from a song of Pink Floid Fifty years ago ?). I am here, watching this orange snake as it watches me from the dust. The orange eye is a signal that says they are working for you (they said) but it is just an excuse to track you (what you think to reality) better through speed base 1 and 0. Internet Uber Alles!
date » 16-01-2026 19:02
permalink » url
tags » imaginary archeology, territory, olympus c 5060 wz, daylight, bird view,
The shot was a reflex, a "save at the goal line" born of pure instinct. Before me lay a patch of earth, "scarpisate" by the passage of men and beasts, which I cleaned and desaturated in post-production until the red clay surrendered its secrets. In that frame, the mud was gone, replaced by an aerial fantastic photogrammetry of a lost civilization. What looked like random footprints became the blueprints of a Capitale made of dust—temples, arenas, and ancient roads carved into the ground. It was that split second of intuition, that "colpo di reni" where the eye sees what the machine cannot, capturing a world of history in a handful of dirt before the mainstream(ing) world could look away: a ghost imaginary ruins.
Ps. If you observe the scene more closely, you will discover “faces” that are both fantastic and unexpected
date » 14-01-2026 08:13
permalink » url
tags » snow, landscape snow, window of stone, papa was a rollin' stone, winter, olympus c 5060 wz, infinite,
© archive manunzio
Standing within the skeletal remains of a forgotten ruin, beyond the jagged frame of stone, the world is a pale shroud of winter, a silent expanse of white that the 'mainstream(ing)' mind would call a mere landscape.
To the left, the cold calcified blocks are no longer mere masonry; they have congealed into faces—stern, ancient sentinels with hollow eyes and silent mouths, watching the horizon with a gaze that predates time. They are the guardians of the threshold, of the "infinite."
To the walking dead, the "zombies" of this suffocating space-time, this is but rock and snow. They fear the end, unaware that he has already lived it a thousand times through the lens. He does not fear the Last Breath; he has spent a lifetime homeopathically diluting the Great Silence into "files," bridging the gap between this world and the Other. He records what they will only realize when it is too late to turn back. The shutter clicks, the command is fulfilled, and the secret remains locked in the stone.
date » 18-03-2025 15:27
permalink » url
tags » olympus camedia c 5060 wz, camera digitale camedia olympus c 5050, archivio digitale manunzio, nati non foste, calembour fotografico, cimitero e loculi, pshop elemnts, ernst haas america,
Uno dieci cento anni...di carcere
Vedete cos’è la fotografia: scrittura e, tuttavia, nulla sparte e tange con altri linguaggi che manu militari la tengono in catene (ancora oggi!): quante volte si deve citare Ernst Hass** uno dieci… e centomila?
Andiamo all’immagine parietale, ecco. Vicino al Cimitero (!) Monumentale di questa landa, l’altro è un loculario fuori dal territorio urbano e che affaccia sul verde d’una valle sottostante: mezzo pieno e mezzo no il bicchiere di chi si contenta gode. Loculario, celle, anfratti di un silenzio da obitorio tutt’altro del Monumentale richiamato che sembra la “chiazza” piazza cittadina dove ci si incontrava, centro storico cuore (una volta) di questa landa.
Ora c’è stato un tempo in cui andavo in giro con quei zaini “monospalla” cui interno c’era anche la fidata Olympus C 5060 WZ o la C 5050, questa né più né Meno che una Leica, ma con occhi a mandorla, va.
Senonché l’occhio girovago del fotografo (Manunzio) ha colto al volto l’involontario calembour di qualche buontempone: no, non è di Pshop (il mio Elements per dilettanti, eh!) a fare lo scatto l’assemblato, no. E’ storia molto lunga di fatti che, in un modo o in un altro, compone il mezzo milioni di file l'archivio Manunzio e ci vorrebbe almeno uno scaffale dal soffitto a pavimento a narrare (altra cosa raccontare fattarielli) ogni singolo file. Fatti che Excel non contempla: cosa c’entra questo, beh per una prossima quando si darà conto, alla lettera, degli Excellista, excillador neo nuovo “neologismo” da affiancare a minchiapixellista, scrollatore di schemettini iphoneschi e pure andreottiani (non viene il dito di battere android/androiani). Tutto qua, al solito occhio come mestiere e rubiamo il titolo di Calogero Cascio, ahh, che negli anni Settanta passati a miglior gloria (!?) mise a titolo. Si è fotografi o non si è, altrimenti state core a core con il Nulla della vestale Munari & Co e pure (per altro dire) Padre guardiano di Myphotoportal: tiè tiè i che café pomeridiano mentre le dita batto le ultime lettere. Lettere? Ma si, ma sì siamo tipografi e stampiamo l’immagine che ne vale uno dieci cento...per educarne altrettanti: vabbè è scappato il sessantottino dire. Amen!
**Esiste un mondo letterario di pensare e vedere, per secoli il letterario ha prevalso sul visivo. E oggi i nostri occhi sono costretti a vedere in termini letterali. Mi auguro che, per quanto possibile le immagini possano farlo con il loro Linguaggio. Ernst Haas prefazio in America
search
