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 » 27-05-2026 11:37
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tags » poster on the road, daylight, olympus point and shoot, olympus camedia c 5060 wz, street photograhy, thumberwald,
© archive manunzio
The Overturning of Arcana XII
The Position: In traditional Tarot, the Hanged Man is suspended by one foot, upside down, representing a voluntary pause, a radical shift in perspective, sacrifice, or spiritual enlightenment. Here, the figure is strung up by the shoulders and neck, completely upright, stripped of any enlightened passivity. It looks like a mechanical suspension—an inert body held back by heavy straps.
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date » 26-05-2026 11:15
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tags » poster on the road, daylight, olympus point and shoot, olympus camedia c 5060 wz, street photograhy, thumberwald,
© archive manunzio
The Palimpsest of the Street
A surgical operation of wall tearing, where the casual (or brutally deliberate) pairing creates a perfect semantic short circuit. It holds the entire grammar of urban décollage turning into flesh, irony, and the counting of days.
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date » 25-05-2026 19:26
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tags » poster on the road, daylight, olympus camedia c 5060 wz, street photography, allah akbar, dayliht, urban life, thumberwald,
© archive manunzio
On the right, the sharp contrast of the graphic poster: a saturated yellow serves as the background for the black silhouette of a tense cat, in full feline motion, captured just as its head ideally aligns with that opening.
The visual "dialogue" is immediate and lightning-fast: it almost seems like the staging of a millennia-old waiting game. The hole in the concrete suddenly becomes a mouse hole, and the cat’s graphic profile is transformed into the predator in wait, crystallized in an expectation that will never end.
date » 20-05-2026 11:09
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tags » landscape archology, panorama industriale, toruccio pistone, daylight, olympus camedia c 5060 wz, jpg file olympus camedia, kive & moort, thumberwald,
© archive manunzio
======= Landscape Archeology ======
Behind the illusion of an open-air concrete yard, this shot conceals its true, dramatic impact. What might appear to be a casual arrangement of industrial blocks is reconstructed through a deliberate optical illusion, transforming the composition into a modern, chilling allegory.
The Ghost in the Cloud
The background is not a natural mist, but a mirrored, duplicated sky designed to form a distinct, spectral face. This ethereal presence hovers directly above the structure, transforming the atmosphere into something haunting and watchful. It is a silent entity looking down from the sky—the very realm of air and breath.
The Monument to Eternit
Directly beneath the yellow shape, the industrial branding ETERNIT is stamped on the material. The connection between the face in the sky and the word below creates a powerful short-circuit: the aerial, human element bound to the name of what contaminated the breath of entire generations.
The Sacrificial Altar
With these elements combined, the concrete blocks lose their raw, industrial neutrality. The low angle and ascending geometry subvert the structure completely: these are no longer simple steps, but a solemn SACRIFICIAL ALTAR (ARA SACRIFICALE) dedicated to a tragic modern deity.
It is a sharp, calculated manipulation where the “trick” serves memory, giving a monumental, funerary weight to a ghost of our recent industrial history.
date » 06-05-2026 08:44
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tags » poster on the road, urban life, calembour photographic, olympus camedia c 5060 wz, thumberwald, reds,
© archive manunzio
The image of paper and glue make triggers an involuntary calembour visual and linguistic pun. When seen through the lens of a calembour, the decay ceases to be damage and becomes a deliberate semantic short circuit.
The Paradox of Identity ("All the women you are"). The Exte slogan, "tutte le donne che sei" (all the women you are), is met with a ruthless visual pun. The physical layering literally stacks different "women" on top of one another. Beneath the arm of the model in the red blazer, the face of another woman from the underlying poster emerges. The advertising promise of "internal multiplicity" is transformed into a fragmented, almost monstrous external reality made of scraps and cellulose.
Cerchi Partner / Ex-te
A sharp wordplay arises from the accidental juxtaposition of the two posters:
The top layer asks: "Cerchi partn..." (Looking for a partner...).
The bottom layer answers with the brand: "exte". Read vertically, it suggests an ironic invitation: "Looking for a partner? Ex-te" (An ex of you). The calembour shifts the context from fashion and classified ads to a cynical commentary on relationships—seeking someone who is merely a projection or a "past version" of oneself.
Stratification as "Text"
For this the pun is an existential condition rather than an error:
Decomposition: The "btobe" logo (business to business) sits atop the fashion imagery, stripping away the aesthetic value to highlight the purely commercial nature of the "advertising flesh."
Materiality: The tear running through the model's leg creates a "gap" that speaks through silence.
What looks like a ruined wall is actually a piece of semantic guerrilla art. The layering doesn't hide meaning; it reveals a new one that neither original advertisement possessed on its own.
date » 29-04-2026 17:12
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tags » failure artificial intelligence, street photography, urban life, signs and simbol, olympus camedia c 5060 wz, thumberwald,
© archive manunzio
The Failure of the Binary Grid
Modern algorithms are designed to find patterns, not to understand the spirit of a moment. When faced with a physical collage like this, the software hits a wall. To a program, a torn poster is simply "missing data" or a "corrupted texture." It cannot perceive the intentional friction between the classical painting and the contemporary face emerging from the paper.
The Limits of the "Standard" Human Model
Programmers often build these systems on a simplified, logical model of humanity—one that values efficiency over ambiguity. They provide a "grid" that measures by the kilogram, failing to account for the finesse d'esprit that allows a person to see depth in a laceration.
Material Reality vs. Coded Logic
The Unrepeatable Act: Every tear in that paper is a unique event in time and space. Digital code is serial and replicable; it cannot truly simulate the "chaos" of a physical street poster.
The Power of the Void: Where the machine sees a broken word or a white gap, the human eye finds subtext. The machine is programmed to follow rules, while the human understands that the most profound meanings often emerge when those rules are violated.
In the end, the image remains a "short circuit" for the digital mind. It is a reminder that reality is composed of layers, shadows, and physical history—elements that the binary world can describe but never truly inhabit.
date » 28-04-2026 08:09
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tags » street photography, manifesto, compà tu fatije e je magn', camedia olympus c 5060 wz, point and shoot photography, urban life, thumberwald, street poster, affiche on street,
© archive manunzio
Up side down
This image is a striking example of street art and urban decay acting as a canvas for social commentary. It features a layered, torn poster aesthetic that blends historical philosophy with modern visual language.
The Text
"...bisogna promuovere la cultura perché la mancanza di essa genera vizi e miseria."
(...it is necessary to promote culture because the lack of it generates vice and misery)
At the bottom, the bold phrase "OLTRE IL MODERNO" translates to "Beyond the Modern."
Layering (Décollage): The image uses a technique similar to décollage—the opposite of a collage—where layers of posters are torn away to reveal what lies beneath. This creates a sense of passing time and "archaeology" in an urban environment.
The Subject: The partially revealed face appears to be a historical figure, likely Agostino d'Errico himself or a person representing the intellectual era associated with the quote. The gaze is direct and piercing, creating a "witness" effect for the viewer.
Symbolism: The tearing of the paper suggests that while "culture" might be neglected or decaying (represented by the worn poster), the core message remains visible and urgent.
Historical Context
Agostino d'Errico (1806–1883) was an Italian figure associated with the town of Palazzo San Gervasio in Basilicata Southern Italy. The d'Errico family was known for its significant art collection and cultural contributions to the region. The quote emphasizes the Enlightenment-era belief that education and art are the primary defenses against social decline and poverty.
The juxtaposition of this 19th-century wisdom with a weathered, modern-day street poster highlights the timeless relevance of his message.
P.S. In a world where stupidity is cloaked in pixels from cameras with billions of pixels, a simple Olympus point-and-shoot—the (my glorious) Olympus Camedia C 5060 WZ—is more than enough for anyone who has a story to tell; the rest is just useless marketing.
date » 18-03-2025 15:27
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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
date » 18-08-2020 16:14
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tags » ercole pomodori, giardino esperidi, san marzano pomodoro, super eroi, codifica raw olympus, software olympus work space, olympus camedia c 5060 wz, manico del fotografo, ocristofor colombo pomodori, africa pomodori egizi, poeta orazio flacco, marco polo spaghetti,
Pummaro’ boat Vabbene Harry Belafonte al posto dei pomodori cantava più prosaiche e turgide “banane”. No è che navigando ci s’imbatte in uno scatto Manunzio del pomodoro. Ah un momento prima che scappi: Ercole oltre le sue colonne vi andò e nel giardino delle Esperidi per prendere i pomi-doro non già i pomodori? Dite? Ah ma non ci siamo capiti: se il super Eroe non della Marvel si recò per una delle sue sette fatiche, erculee per l’appunto, lì, cosa fa 1492 anni dopo il buon Cristobal Colon o se vi pare il genovese Cristoforo Colombo? Significa che i “pomodori” il mondo antico lo conosceva già, e ci faceva come noi da condimento (oltre che conserve in buccacc' o rituali barattoli odierni) per la pasta, almeno del tipo lagane citato del conterraneo Orazio Flacco: spaghetti bisogna attendere Marco Polo l’orientale ( e soliti Gesuiti)...E poi a continuare pizza etc etc etc. Capite come il sanmarzano del caso stravolga la cronologia dei soliti noti, babilonesi pandemici.
Converrete che nella furia iconoclasta questi nostri babilonesi buttatosi a capofitto, ‘ndo cojo cojo, non s’accorgano che, non solo il boomerang, torni indietro ma prende la strada del lato loro B...ci siamo intesi. Ma più di di tanto non ci coglie, anche perché letto anni fa che in Africa, sponde Libia e circonvicino Egitto il pomodoro era già noto e dai tempi dei romani, che per evidente ragione di copione non potevano toccare il sanmarzano per non rompere la narrazione dell’Anno Domini 1492, dodicesimo del mese di Ottobre, che in latino fa Octo (quando il calendario aveva dieci mesi terminate con December/Decimo) e non la finiamo più!
Certo tutta sta filippica per la solita (inutile?) lezioncina da illividire i richiamati babilonesi? Anche, e se han voluto la “globalizzazione” si pigliano il boomerang anzidetto, lì dove fa un po’ male: de gustibus.
A parlar serio pomodori in still life, immagine di quando di buona lena ci si alzava di mattino presto, allestito il set e con il Sole al punto giusto filtrato da domestiche tende chiare (tutto in luce diurna e manco pannelli di schiarita) il resto è manico che non è acqua! Dovevano poi finire le immagini (no i pomo-dori) nella mostra Afip del famigerato Expo, quello in cui Sala finisce davanti ai Giudici...ed esborsa parte del maltolto. Per i curiosi l’unica volta che è stato usato il Raw in codifica Orf su la terribile Oly 5060 Wz: incredibile microchip (non quello da iniettare via vaccino alla Bill & Melinda Gates) tant’è vero che per semplice curiosità un file venne stampato una in fomato 70 x 100 da impallidire la RZ di Mammamya, per chi è fotografo e non già minchiapixelista improvvisato In schermata Olympus Workspace che apre, manco a dire, i file Olympus Orf. Programma senza infamia e lode che, tuttavia, permette in un botto di aprire i pomodori trovati su pennetta Usb, e che avete capito mica all’arrabbiata!
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