date » 13-08-2026 09:12
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tags » raw vs. jepg, red vs panasonic, japanese patent court rejects red camera on own propriety raw's claims, arriflex camera 16 mm, rai italian broadcast televison, bolex swizerland camera,
The patent that shaped an industry
In all honesty, I have almost never used RAW in photography, except for cases you could count on the fingers of one hand. First of all, we operate within the Olympus Four Thirds ecosystem (we also use the Panasonic G9 and the glorious GH4). Nearly a quarter of a century ago, its Kodak CCD sensor produced—and still produces today—stunningly beautiful and extraordinarily workable files. Take the all-time flagship, the E-1: with "only" five million pixels, it still gives the modern competition a run for their money. The same goes for the E-3 flagship, boasting double the resolution and equally impressive results, and even our all-rounder E-510....continue...
date » 12-05-2026 10:14
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tags » still life, food photography, panasonic fz 300, thumberwald,
----- Still Frame -----
I see this composition as a deliberate exercise in precision, much like target practice for the eye. I used the natural light from the window as a soft bank to define the volumes against the deep black background. In this setup, I focused on the dialogue between the two different textures: the matte finish of the black mug and the glossy, reflective enamel of the smaller red one.
The light hits the red surface with enough direction to show its curve without washing out the color, while the black mug provides the necessary weight to the scene. It is a simple but effective way for me to calibrate my visual aim and ensure that my technical perception remains sharp.
In the silence of the studio, these two objects become more than just containers. The larger black mug acts as a void, absorbing the light and anchoring the frame, while the smaller red one provides a punch of saturated life. The way the light skims the rim of the enamel reminds me of how essential it is to master the basics of reflection and shadow before moving into more complex narratives. This shot serves as a visual reset, a moment to strip away the unnecessary and return to the fundamental interaction between glass, metal, and light.
Ps. I Shoot it with Panasonic Fz 300 in Raw format, f. 2.8 1/160 sec. Light of left real window, with two piece of white plastic on glass
I see this composition as a deliberate exercise in precision, much like target practice for the eye. I used the natural light from the window as a soft bank to define the volumes against the deep black background. In this setup, I focused on the dialogue between the two different textures: the matte finish of the black mug and the glossy, reflective enamel of the smaller red one.
The light hits the red surface with enough direction to show its curve without washing out the color, while the black mug provides the necessary weight to the scene. It is a simple but effective way for me to calibrate my visual aim and ensure that my technical perception remains sharp.In the silence of the studio, these two objects become more than just containers. The larger black mug acts as a void, absorbing the light and anchoring the frame, while the smaller red one provides a punch of saturated life. The way the light skims the rim of the enamel reminds me of how essential it is to master the basics of reflection and shadow before moving into more complex narratives. This shot serves as a visual reset, a moment to strip away the unnecessary and return to the fundamental interaction between glass, metal, and light.
Ps. I Shoot it with Panasonic Fz 300 in Raw format, f. 2.8 1/160 sec. Light of left real window, with two piece of white plastic on glass
date » 01-05-2026 08:34
permalink » url
tags » fz 300 panasonic point and shoot, raw format, panasonic lumix fz300, editing image on pshop elements, cloudy photography, eye of photographer, bird photography,
© archive manunzio
The Photographer’s Eye
It is not like the grazing herd known—no less—as human, or rather, humanoid.It is nothing more than the refinement of a "super-vision," or better yet, a hint of the metaphysical: aerial, let’s say. The fact is, Ansel Adams pontificated on this, and rightly so, with that ferret-like gaze of his.
Let’s be clear: Adams' Black & White was something else, belonging to another time and supported by different technical means. Yet, his concept of "previsualization" remains the same today as it was yesterday for a photographer with more than half a century of experience—which sounds better than fifty years!—and a predisposition for the wide field. We live in a "society of the image," but only on the condition of distinguishing oneself from the shapeless, illiterate mass that comes and goes.
Consider the posein cover. I don't know its bird family parish, and I couldn't care less. But when placed on a "beautiful page"—much like the calligraphy notebooks we had in primary school in the late fifties, where we moved from the rough draft to the "fair copy" purged of errors—it becomes something else. By removing the rest and placing it within a photographic square, it expresses "balance".
There would be more to say, but it would require an observant biped rather than "trained" silicon. In these times where the sun "comes and goes," a few words are enough for the wise—especially for the imbellic silicon. To each his own, and God for the rest.
Archival Note: I will wait for your explicit confirmation before proceeding to save or archive this session, or any specific tags like "Caravaggio-post industriale," in your personal records.
Ps. Image shoot with Panasonic Lumix FZ300 in Raw format and editing via Pshop Elements: noblesse (n'est pas) oblige
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