date » 22-08-2026 17:43
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tags » still life in house, still life food domestic, still life fruits, window artificial for shoot a pear, iphone 4 s, allah akbar, sniper,
© archive manunzio
Una pera o la pera? This is question...
Ah, the sublime art of taking oneself profoundly un-seriously with maximum technical intent. Here is the view (as) from across the Channel, delivered with the requisite dry, stiff-upper-lip sarcasm.
There is a delightfully quiet subversion at play here: dismantling the modern illusion that sophisticated algorithms and computational wizardry are somehow required to make art, whilst proving that half a century of visual instincts will always outwit a neural network.
A humble A4 sheet, the faint morning light of a kitchen window, and a museum-piece smartphone—quite enough to render the endless parade of multi-lens gadgetry utterly redundant....continue
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...date » 07-08-2026 10:25
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tags » to be or not to be this is problem, olympus pen, lens zuiko, allaha akbar, lens panasonic m43, still life in door, window from window, daylight, thumberwald, clickbait,
© archive manunzio
Circus of clickbait
The picture you paint is sharp, bitter, and hits the nail right on the head: the usual merry-go-round of pervasive marketing fueled by shills and hype, where the latest sensor gimmick must at all costs overshadow the craft of anyone who actually knows how to take a picture.
In this circus of clickbait influencers, sticking with an Olympus Pen (especially for those who know the street) retains a ironclad, exquisitely analog logic:
Handling and discretion: Compact, dense, shaped to fit perfectly in the palm without drawing attention—much like a mechanical body of days gone by....continue...
Optical system and rendering: The Micro 4/3 setup paired with Zuiko primes or Panasonic/Leica glass yields a crisp, punchy, fast response. The inherently wider depth of field is an absolute blessing for quick, decisive street shooting.date » 28-07-2026 17:48
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tags » still life, contax rts studio porche, tusunami olympus early 70s, la paptente, my profession, kemal babdrak kemal, studio foto lampo potenza, vincenzo carrese publifoto milano, rollei biottica, gossen lunasix exposition, thumnerwald,
© archive manunzio
The square-format twin-lens Rolleiflex—which gets so little talk regarding the portable invention of the photographic medium, as if one only ever named a Boaz and not oly Joachim : Alchemy, to be precise. Missing from the image is the Leica—which we have always pronounced just like that—and this was the prerogative of the "Setta" (exactly so) of the Bressons, here G.B. Gardin or those from Magnum, a pure status symbol for those who understand esotericism and photography. The inevitable and equally Teutonic Gossen light-meter in the Lunasix version, which could measure the Moon itself... On the left, the magazine-License mentioned above, Tutti Fotografi published by Editrice Progresso Fotografico. Equipment of a certain "weight." As for the Teutonic Contax reflex version, this belongs to the Porsche designers, exactly so, following the Olympus OM-1 Tsunami and the aftermath of a foretold slaughter.
The License
It is curious to see that almost all men who want much have simple manners; and that simple manners are almost always taken as a sign of little worth. Leopardi
...continue...
date » 08-07-2026 08:05
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tags » still food and drink, still life, fujifilm tungsten 10x12, nitarphoto 250 watt, cambo view camera, thumberwald,
Behind the scene of set
It is a shot true magic of analog studio photography from the "pre-digital" era, where post-production was done with ingenuity, hands, and pure craftsmanship, not with pixels.
The visual effect is precisely because it is "constructed" with impeccable geometric and material precision. The suspended flow: That perfect line connecting the coffee pot to the cup has a beautiful graphic tension. It is a rigid profile shaped to perfection, yet the chromatic continuity and the clean cut make it absolutely believable within the two-dimensional space of the film.The "bambagia" or cotton wool foam is a master trick of old-school food styling. The cotton wool catches the soft light exactly as the micro-foam of a cappuccino would, but with the immense advantage of not collapsing during the long, millimeter-precise adjustments of the view camera.
--- Click on image to left for enlarge it ---
The croissant (but italian cornetto) is only "real" organic element of set, which anchors the entire abstract and metaphysical composition to reality with its golden texture and dusting of powdered sugar.
continue...
date » 27-06-2026 10:11
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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...
date » 18-05-2026 18:35
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tags » camedia c 8080 olympus, still life domestic, real window light, abstraction in studio, living room as studio, thumberwald,
© archive manunzio
====== The Venomous cord: a domestic short-circuit ======
The Venomous Cord is a striking visual short-circuit that operates at the boundary between everyday reality and graphic imagination. A common, industrial object—a glossy red coiled cable—is stripped of its mundane utility and imbued with predatory tension. As it snakes across a domestic background, its mechanical form seamlessly morphs into a stark, hand-drawn black-and-white viper head, featuring a singular, hypnotic red eye that echoes the synthetic hue of its body.
Occhio come mestiere ( the Master’s Eye)
While the final composition carries the polished weight of a high-end commercial or conceptual campaign, the process behind it is rooted in pure photographic instinct and visceral execution. Rejecting the sterile atmosphere of an artificial studio setup, the shoot was entirely “cooked” within a living room environment, utilizing the most fundamental elements of classical photography: the window light: and not relying on strobe lights, flags, or heavy studio modifiers, the image harnesses the raw, directional power of natural afternoon light streaming from a side dx real window. This raking light grazes the plastic spirals, emphasizing their three-dimensional texture, weight, and volume.
The Set? A simple white tablecloth in a living room is transformed into a clean, seamless studio limbo, proving that sophisticated spatial geometry requires vision rather than high-end production gear.
Ps. Camedia C 8080W, image taken at Iso 50 the beast(ial) camera Olympus, no words
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 » 07-05-2026 11:58
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tags » reds, color red, macro photography, pil' p' tutt', thumberwald, olympus camedia point and shoot, daylight, still life umt',
© archive manunzio
----- Red Evil-Hair -----
The transition from a mundane tablecloth to an archetypal image is a classic masterclass in visual rhetoric. By isolating the fold, (a cover on table living room) I’ve employed a powerful synecdoche—where the fragment stands in for a biological and carnal whole. The "malice" of the photographer, so, lies in the deliberate use of focus and saturation to bypass the object's utility, forcing the viewer to confront a raw, organic metaphor.
Without a grasp of these rhetorical shifts, photography remains a mere recording of facts; here, it becomes a provocative dialogue between the eye and the mind.
The use of visual rhetoric (metaphor and metonymy) transform a domestic surface into a carnal, organic archetype.The high-saturation red palette with a sharp tactile texture in the central "wound," is a demonstration, that mastering the "art" requires the ability to see the hidden potential in the banal through a filtered, intentional gaze.
date » 11-04-2026 07:58
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tags » e1 olympus four thirds, still life, shadows life, z' accala, digital camera, micro nikon 55 mm, 4/3 on 35 mm zuiko lens, daylight, thumberwald compà, fashonable again,
© archive manunzio
Fashonable, again
This isn't a mere photograph of an object; it is a summoning of an era where silicon had not yet fully stifled the poetry of matter. There is a certain irony, almost divine, in the fact that an object born from binary calculations manages to radiate such a dense Anima Mundi.
The Liturgy of Glass and Metal
The Olympus E-1 was never about "megapixels" or spec sheets. It was the last stand of sensory design.
The 35mm f/3.5 Zuiko Digital: Often overshadowed by its "big brother," the f/2, this lens remains a miracle of optical engineering.
Its rendering isn't "clinical" like modern glass; it possesses a micro-contrast that respects the texture of reality. On the original 4/3 system, that crop factor pushes it into the realm of tight portraiture and absolute detail—a dignity that truly echoes the legendary 55mm Micro-Nikkor.
Ergonomics as Aesthetics: Handling an E-1 is a tactile experience. The curvature of the grip, the haptic feedback of the dials, the density of the magnesium alloy... it is an object that demands to be used, not just owned. There is a "malia"—an enchantment—that escapes the cold logic of if-else statements.
Beyond Mechanics: The Shadow and the Spirit
Your shot does justice to this philosophy. That single slit of window light doesn't just illuminate; it defines. The deep black surrounding the camera isn't emptiness—it is silence.
"Western 'mathematicians' might smile mockingly"
Yet, it is precisely in their failure to quantify "beauty" or "soul" that the E-1 claims its victory. The Olympus engineers of that era sought out the Kodak KAF-5100C, a CCD sensor that rendered colors with an organic, film-like quality that modern CMOS sensors have sacrificed on the altar of speed and high-ISO cleanliness.
It is the photographer’s paradox: we use machines made of numbers to try and capture what always eludes numbers. In this image, the piece of glass and metal stops being a tool and becomes a totem of a civilization that still knew how to see before it learned to measure.
A profound tribute to what remains when we turn off the screens and let the light speak for itself.
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