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date » 18-08-2026 18:12

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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...
I would add that with Olympus, I have always relied on their highly performant JPEG engine. In the E-1, it came out ready-to-go at 300 DPI straight out of the camera, perfectly prepared for offset printing presses (now replaced by digital ones, which says a lot). The JPEG processing engine in these cameras is something other brands—excluding Panasonic—could only dream of. It is no coincidence that these users are accustomed to constantly "developing" JPEG files from raw data. Whether that counts for little or much, I’ll let you decide.

Naturally, we wouldn't bother pointing out the obvious to anyone who truly knows, understands, and practices digital photography—a journey we started back in 2000 with a monster called the Epson 850Z, whose files, believe it or not, graced the Getty Images website until fairly recently. Period.

Now, to the collateral side for those who, like us, don't focus on video and its underlying RAW formats: while our background spans from 16mm film Bolex to Arriflex of the same format for RAI short films—photographing and filmmaking under the sun since 1969—it is photography that grounds our personal modus operandi and everything attached to it. That includes printing, which we have personally handled for fifteen years in Fine Art using Canon technology. And let it be said loud and clear: on matte papers, it delivers its absolute best thanks to superb inks.

Once processing those Olympus JPEGs into TIFF sRGB within Photoshop, the files reach their peak, delivering perfect tonal transition and deep, reliable blacks onto matte paper without the need for extreme RAW recovery alchemy.

Closing this parenthesis and returning to RAW, consider the recent ruling by the Japanese Patent Office regarding the defeat of RED (acquired a couple of years ago by Nikon) against Panasonic over the use of compressed RAW technology. Before acquiring RED, Nikon was actually the brand filing claims against them over that same patent. In short: double-crossed and left holding the bag.

That’s all, people!

(Copy & Paste )
https://www.cined.com/reds-compressed-raw-patent-invalidated-in-japan-nikon-loses-defending-the-patent-it-once-fought/



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.

Whether any "penguin" (gullible buyer) can still produce genuine digital photography without being blinded by consumerism remains an open question. But while the paying crowd keeps chasing the latest predictive autofocus, anyone with real craft gets the shot done with whatever tool is in hand.

Ps.The value of true skill: That DIY studio setup — a natural window light, foil for fill-in, a hijacked sheet, and an old encyclopedia—is proof positive that volume, tone, and character are defined by the person behind the lens, not by pixel counts or marketing algorithms. All images are from iPhone 4S.



date » 05-08-2026 16:38

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tags » sara munari photographer, sara munari pontifex maximum, sara munari dixit, sara munari in milan, sara munari woman, sara munari wrote, sara munari italian girl,



(Please note that the text is quite long for iPhone/Android/Tablet
scrollers, but it is well worth it—read calmly, without any compulsive haste.)



Virgo virginis Sara Munari ipse dixit
August 4, 2026 / Sara Munari. When the Curator Devours the Artwork. There was a time when the curator was an almost transparent figure, a silent librarian who catalogued works and hung them on walls following a chronological or thematic order. Today, that
time is over. Curators have become directors, public intellectuals, sometimes actual stars of the art
system. But why did this happen? The answer lies in a major shift of gravity: art is no longer judged
only by what it is, but by the context in which it is presented. And whoever constructs, tells, and
holds that context together inevitably becomes the protagonist....continue...
And then there is the narrative dimension. Exhibitions today function as visual essays, pathways
you move through rather than spaces you look at. The public does not observe passively; it reads a
story. And stories always need a recognizable narrator. In this, the curator has transformed into an
author. Furthermore, the artist is no longer a romantic island closed in their own studio.
Residencies, public calls, private foundations, international market: moving in this system requires
continuous mediation. The curator is often the node of that network, the point of contact between
creation, institution, and public. And whoever stands at the center of the network ends up becoming
central symbolically as well.
There is also another, deeper reason. Art has entered the public debate forcefully. Identity, climate
crisis, technology, power dynamics: contemporary art takes a stand, raises uncomfortable questions.
The curator, in this scenario, assumes the role of the intellectual who formulates those questions,
who constructs the conceptual frameworks within which to discuss them. They are no longer a
technician behind the scenes, but a voice that intervenes. And finally, there is cultural branding. In
the globalized art system, names matter as much as artworks. Some curators have become true
brands: if they sign an exhibition, you already know what kind of experience awaits you, what
language you will find, what worldview.
We live in the era of excess. Art is not lacking; time to understand it is. Exhibitions, fairs, biennials,
online galleries, Instagram: we are submerged in images and artistic objects. In this sea of stimuli,
the curator has become a smart filter, a compass. They are the ones who choose, connect, cut away
the superfluous. And whoever knows how to orient others in a labyrinth becomes, out of necessity,
visible. Today the artwork alone is often no longer enough. Many contemporary practices are
conceptual, immaterial, political. Without a theoretical framework to support them, they risk
appearing mute, incomprehensible. The curator provides that grammar, builds the bridge between
the artist’s intention and the public’s experience. They do not merely interpret: they give shape to
meaning.
But beware: there is a flip side. When the curator becomes more visible than the works they present,
art risks being transformed into a mere illustration of a curatorial thesis. The balance between
service and spotlight is subtle, and today it is the critical node of the system. The curator illuminates
art, that is certain. But the question remains: where does service end and ego begin?
The central problem is that in many cases curators have become more visible than the works
themselves, turning art into an illustration of predefined theses rather than an open and
unpredictable encounter.
This creates a power asymmetry: artists adapt their work to curatorial expectations to gain visibility,
losing creative freedom.
Curatorial language is often impenetrable, built to impress rather than clarify, making the curator an
indispensable mediator. Star-curators function like brands: exhibitions become signed events where
art is a vehicle for their visibility, not the end goal. The conclusion does not deny the importance of
curation, but criticizes when context devours content. Art needs someone to accompany it, not
someone to govern it.
Ciao
Sara Munari


I think...


1. The Hook (The Manufactured Problem)
First, Munari identify an obvious shift in the art world that has been common knowledge for
decades: the curator acting as a brand. Package this standard reality as if it were a fresh,
dramatic revelation to set up the premise.

2. The Self-Serving Elevation
Munari devote the majority of the text to building up the curator's role using heavy jargon as
them as an essential "filter," a "compass," and an "intellectual" bridging the gap for an
audience presumed incapable of reading the work directly. This establishes the absolute
necessity of the intermediary.

3. The Calculated "Rebellion" by Munari
Insert the mandatory pseudo-critical turn near the end: “Where does service end and ego
begin?” Like Oliviero Toscani’s calculated provocations, this move aims to court controversy
while risking nothing. It lets the author pose as a bold insider critiquing the system while
remaining entirely embedded within its commercial mechanisms.

4. The Value Swap (Packaging Vacuum as Insight)
Shift the focus from the material evidence—the actual craft, the physical site, the light, and
the raw epigraphic reality—to the narrative container. When the work is reduced to a mere
illustration of a curatorial thesis, the commentary itself becomes the monetized product.

5. The Bottom Line
If you put your face (and everything else) on the line to sell a pre-packaged critique, at least
own the commercial transaction. Transforming an obvious systemic trait into a performative
"warning" is simply the art world's version of corporate rebranding

6. The "Pontification" Maneuver (The Pulpit Strategy)
Madame Sara Munari follows the exact same playbook: standing on the pulpit to lecture the
room about a problem she actively feeds. It is the classic maneuver of pointing out the
smoke while holding the match. By framing the curator’s ego as a cautionary tale, she
secures her own spot as the enlightened referee.

7. The Ultimate Commercial Paradox
In the end, just like Toscani's ad campaigns that used shock value to sell sweaters, this brand
of critique doesn't disrupt the art market—it feeds it. It converts basic professional cynicism
into personal authority. You put your face and name on the marquee, pretend to burn down
the house for the audience, and then hand them the bill for the performance.











date » 03-08-2026 12:49

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tags » rodney lewis smith photographer, mood photography, black and white photography rodney smith, location photography, allah akbar, hasselblad rodney smith,





No word



Be Open to Chance Rodney’s first (and last) shoot for Ralph Lauren. This picture was shot totally spontaneously. The experience taught me several important lessons. We had just completed a shoot for Ralph Lauren and we were driving back to New York City. On our way, the art director realized that we had yet to shoot a picture of a certain outfit. We stopped the car immediately to solve the problem. Directly outside the car was this field....continue...
The art director said we needed to shoot a picture without showing the model’s face. At first, I suggested we shoot from behind. For some reason, this was not acceptable. We had a canoe for the shoot that we had never used. Suddenly, I came up with the idea to place the canoe on top of the model’s head. This sudden thought was a combination of spontaneity, luck, and necessity. However, unbeknownst to me at the time, there was probably also something deeper at play.

For years I had placed hats on the heads of my subjects. By doing so, I obscured their heads and faces, and these pictures inadvertently became more and more surreal. This was not because I consciously or intellectually decided that’s what I wanted; rather, it was because I liked playing with the iconic image of the hat. On the one hand, it dressed people up, finished the outfit, and made them timeless. But on the other hand, it acted as this obscuring object that made the person every man, as opposed to a specific person in time and history. So, without even realizing it, I used the canoe as if it were a giant hat.

I usually spend days scouting and finding the perfect location. However, here we were obviously pressed for time, and we had to get this shot right away. We literally took the canoe off the car, and placed it in the field right where we stopped. This was a very important lesson to me. While the location is so important in my pictures and I work so hard to find the perfect place, on occasion, I can take what is given to me and make a great picture. This particular picture was totally fortuitous. We did not scout or permit the field; it was just kind of handed to me. And to this day I really like this picture.

Sometimes, days of preparation will not necessarily result in a perfect picture. I have learned over the years to try to use things to my advantage. I scout when it’s sunny, but it rains on the shoot. The model is happy at the casting, and depressed on the shoot day. The right clothes don’t arrive, etc. If you want to shoot on location, be open to the possibility of luck and chance. If this ability to not be in complete control is too bothersome, I suggest you stick to inanimate objects, landscapes, or accounting. Be open to complications and problems. I welcome the rainy day, because I never know what may grow from it.

In the end, I was told Ralph Lauren never used this picture because he claimed it was too strong for the clothes. People remembered the image over the clothing. I don’t know if that story is true, but it perhaps shows insight on the part of Ralph Lauren.





date » 03-08-2026 09:46

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tags » nolan director movie odyssey, mitological film, imax proiector, imax camera film, dante canto xxvi, modern time, hollywood party,




The Nolan Operation: Hollywood Party
(From the systemic dismantling of the Classical Myth down to the technical absurdities of the IMAX spectacle).
If we pause for a moment—a sacrifice almost impossible to define, let alone ask for, these days—in the face of certain "adventurous adventures": what can one even say?...continue...
Yes, I too am speaking of a film I haven't seen (the graphic designer son, having seen it, calls it "nice"—an adjective as all-encompassing as it is meaningless) about the Odyssey. The Yankees, then: devoid of past or present, and now primed for the final push... that is, prow turned upward... as Dante would say regarding Ulysses’ mad flight (Inferno, Canto XXVI) enter Director Nolan, the hero. And here we must understand one another to grasp the "Nolan Operation," because that is precisely what this is: the cheapening of a Myth, the defilement of the very foundations of the West—and perhaps even of his own heritage, even if he looks like a descendant of Vikings.

For us Italics, it touches the foundation of Rome—the very one these insufferable Yankees constantly on according to their own whims. Yet those butchers (Legions) maintained the known world for millennia. If we factor in Constantinople and its history, right around five centuries separate us from the "collapse give or take a few days. Practically since the dawn of Roman handed-down history—myth(r)ologies, undoubtedly, yet without which we would make sense of absolutely nothing. And Yankee have only two and half Century of "history"!

Nothing? It is precisely here that our hero/director (currently making hand-over-fist cash) creates his "idiotic" [scemiche] rather than "scenic" reconstructions out of thin American air. He couldn't care less about adherence to the Odyssey, naturally. Indeed, for the American halfwit stepping into the theater—burger in one hand, popcorn in the other, and with a "third leg" clutching a bottle of Coke—yum, yum, devouring everything and anything. They are Amer-i-canine, whose sole job is the desecration of the classics for the masses: a cardboard grandeur. Hollywood docet.
But let us suppose we are writing nonsense (!?) and grant them the benefit of the doubt regarding this revival of myth(r)ology. Must we conclude that the Yankees, upon viewing the movie, are struck down like Saul-Paul on the road to... Manhattan? Not a chance in hell.

P.S.
Nolan Director then looms large, and what is a Yankee/Viking to do? Shoot with an Arri 35 mm, perhaps in anamorphic? Hell no. He invents nothing; instead, he uses that junk named IMAX. IMAX 70mm—and not even running vertically like today's standard 35mm in theaters using for film. We send satellites to the planets of the Truman Show and then... we return to the deafeningly noisy projectors of old-school cinemas (anyone who was there knows what I mean!).
No, Nolan uses 70mm running... horizontally. Pull up a chair, buddy, come eat with me! But dulcis in fundo, the theaters capable of such a vision—the 70 millimeters that one ought to shove right into their...ass—the venues for such magnificence are a mere handful scattered across the globe! The rest of the 70mm prints are just an adaptation onto film or another medium resembling standard 35mm. It is a Ferrari pulling up to the pump and filling its tank with agricultural oil.

In a world where... the 70mm container HAS BECOME the content... what else is left to say?

The Mechanics of the Illusion
This final blunder lays bare the entire logic:
Physics vs. Posturing: A waterlogged, wooden colossus (scene of Mytical Horse) weighing tons, dragged through sand and surf without rollers or wheels, relying purely on brute force against every law of friction. All to satisfy the director's desire for "raw, tactile texture."

The Auteur's Ego: Substituting historical logic, engineering, and textual tradition with a "twenty-year personal obsession" is the classic shortcut of the American director-demiurge.
The Hollow Shell: Unlike the sacral, monumental weight of the 1968 Italian television adaptation, this approach degrades the myth into a mere display of logistical flex.

Moving a heavy prop on set becomes the scene itself. The 70mm frame doesn't serve the Odyssey; the Odyssey is merely the excuse to parade the 70mm frame.








date » 02-08-2026 17:26

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tags » vir' o mare quante è bello spira tantu sientimentooo, beach italy southern, daylight, olympus c 5060 wz, thumberwald, summer time italy, allah akbar,


© archive manunzio




Vir' o mar' quant'è bello spira tanto sentimentooo
If we are going to lay down the truth let's give it the full narrative weight, the proper bite of satire, and the sweeping tribute that both the method and that immortal piece of Japanese hardware actually deserve it.
They say the camera makes the photograph. Right?...and
who am I to argue with such profound, enlightened wisdom (well mercenary payied)?
It was clearly not the human behind the viewfinder who recognized the sheer visual comedy of a street sign reading Via Cristoforo Colombo planted dead-center on the horizon line, jutting straight out of the pebbled shoreline into the vast blue expanse. It was certainly not a photographer who had the audacity, the patience, and the old-school discipline to plant their feet on that exact stretch of promenade, transform a trivial piece of coastal infrastructure into a theatrical stage, and wait. No, no. We must render unto Caesar—or rather, unto Olympus—what belongs to the machinery....continue...
It was obviously the legendary Olympus C-5060 Wide Zoom that possessed the divine intelligence to stand its ground while the world drifted by in blissful ignorance. That gloriously built, brick-like masterpiece of early-2000s digital engineering apparently orchestrated the entire scene. Its 1/1.8-inch CCD sensor must have reached out, grabbed the mid-day sun, and decided all on its own to carve those razor-sharp, dense Mediterranean blues that modern CMOS sensors still try to imitate with complex post-processing algorithms.
The snappy 27-110mm equivalent lens didn't just render the scene with pristine optical clarity; it must have secretly whispered to the passersby, directing their stride, timing their footprints, and aligning their silhouette perfectly with the vertical axis of the post at the exact microsecond required to land the punchline.
Because that is how it works, isn't it? You simply buy a vintage digital tank, step outside, and the universe instantly aligns itself into a sharp, witty commentary on human orientation and historical ironies. The camera does it all. You just sit back and take the credit.
To the sceptics, the barbarians, and the believers in pure digital luck: you are entirely right. The machine did every single bit of the heavy lifting. The photographer was merely an accessory, holding the strap, waiting patiently on a warm afternoon while the equipment authored another small, perfect piece of street documentary.
Prosit to the machine, and to those (like me) who actually know better. Sure.





date » 31-07-2026 16:45

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tags » street photography, night photography, street epson 850 z, light avaible, summer time, thumberwald,


© archive manunzio


An italian summer night
Like a late-night summer whisper—the kind that hangs in the heavy, warm air when time seems to stall. The image is (seems) a suggestion, a spark that calls back a distant interview from 1963 in L'Europeo, Oriana Fallaci (Italy’s fiercest, most unsparing journalist) pushing to corner him, and Totò—Antonio De Curtis (the undisputed prince of Italian comedy and tragicomedy)—laying his cards on the table without an ounce of rhetoric.
When she asks if he is happy, he dismantles the very idea of happiness as a permanent state:
"Happiness, my dear young lady, is made of moments of forgetfulness."
He goes on to call them "tiny, minuscule moments when you forget the bad things."
That is precisely (I thinks) what real photography is: a moment of forgetfulness sliced out of time. When you press the shutter on a frame like this—the man, the half-figure locked in shadow, the burning ember—you freeze a fragment where the rest of the world just fades out. Erased.
In that fraction of a second, there are no trivialities, no background noise, no before and no after. There is only the sheer impact of an instant that demanded to be recorded. Totò turned it into a philosophy of survival; with a camera in hand, if we’re paying enough attention, we turn it into physical proof.

P.S. The image itself is a crop from an Epson 850Z — a digital pioneer packing an unusually fast zoom lens for its era, pushing the sensor to its raw limits to bite off this single detail from the night.


date » 30-07-2026 11:00

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tags » foto lampo agency potenza, studio foto lampo, rocco abriola foto lampo, street photography, camera g 690 bl fujica, onceas based in milan importer and official warranty fujica for Italy, z' gerard' crisci potenza, thumberwald,

The License (and that's two).
The memories of a photographic studio and also photojournalism agency (Foto-Lampo) lived from the inside hold this extraordinary value: they bring back the raw material, the weight, and the grain of an era with the precision of someone who actually handled the negatives.
And it comes full circle when looking at that vintage advertisement with the round seal at the bottom right: ONCEAS, the Milanese importer with its official warranty for Italy, and the Fujica G690 BL presented as "The camera worth two"....continue...
The ad built its whole pitch on that: eliminating the ultimate flaw of large format by combining the speed of use and thumb-lever advance typical of a 35 mm with the devastating power of the 6x9 frame. On that page, the lenses that gave it shape are:
The Fujinon-S 100 mm f/3.5 (the standard issue lens).
The Fujinon SW S 65 mm f/8 wide-angle (with its 77° field of view, the real culprit behind those display window panoramas).
The Fujinon TS 180 mm f/5.6 medium telephoto (with a 32° field of view) and the historic boxes of Fujicolor N100 roll film.
BL camera, get back to the point,The almost clandestine presence of that beast (the famous "Texas Leica") hidden under the Studio-Agency counter, behind the two-door hatch alongside the battery of Rolleis belonging to the owner Rocco Abriola, captures a visual work culture of bygone days perfectly. The boss's Rollei 2.8 was the daily workhorse, but when there was a real need to widen the field or push the quality, the Fujica was brought out.
Because sure, you could always mount on Rolleiflex the Mutar optical attachments onto the twin-lens reflex—the semi-wide or the medium-telephoto that covered both lenses,: functional, nothing special, but usable. Hovewer the Fujica BL was another story entirely: it was a true giant "Leica" with native interchangeable lenses. And above all, with a 6x9 negative from which you could pull, without ifs or buts, the 50x60 prints for the window display (Foto-Lampo-Agency) on Via Pretoria the Main Street. Those paper giants became real street-side newspapers for the passersby walking downtown, stopping people in their tracks whether for breaking news or a detail of a vernacular theater actor like Z' Gerard' Crisci.
The choice to load the Fujica with the unmatched Agfapan 100 black and white, was the must, as well as the Agfachrome transparencies with that melancholic, Delicate nuances, and beautiful veil of Nordich colors, which could be processed at home at 20°C long before the standardized E-6 cauldron homogenized everything.
Fujica BL used, for example, to hard-hitting news to the brochure or typing courses run by the Canossian Sisters the Fujica was present, always went back to its place under the counter, ready for the next assignment.


Ps. Advertising inside Tutti Fotografi, Editorial Progresso Fotografico, September 1970





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... No, nothing to do with Pirandello or the performance of that puppet named Totò. More prosaically, the "paperwork" supporting what we have been writing (see the About)—that is to say... what we write on odd days, but even ones too: the ranks or, to stay on subject, the License itself. Supporting paperwork Anno Domini 1970, September. And I was already behind a lab counter, making my mark with the Rollei, which was the standard-issue camera back then; the Hasselblad would come later, though already in use in "Mlano" ahh, just like the RZ Mamiya... but back to us.

And so, again, there were the profs from "Mlano" complete with their cursus studiorum, their "academy," or even, no less Italian, sons of... descendants of a certain "noble house": nothing to do with Giovanni Gastel, no. By ranks, we mean what the "people" expect: the calamari, see, on the suit lapel that make the rank. Conversely, for those who actually served as soldiers, there are the ranks bitten on the battlefield: metaphorically speaking or however you like. Sure, they might not hold equal dignity for the "people," and yet... And from here to wrap things up. Yes, when I write that I have been a photographer since 1969, I don't do it to show off, nothing like that. In fact, to tell the whole truth, I was preceded as a sharp-shooter at the Foto-Lampo Lab (a studio for ceremonies and a miniature version of Carrese's Publifoto in "Mlano," ahh with its own journalist, a bit strange but functional) by my lifelong friend, of whom I no longer have news other than that he is in Prato; and we ought to write about that fact, but readers couldn't care less: the scrollers who have other things to think about, so be it. But then, what are they thinking about? Do they still have neurons or just strings of text in base 1 and 0? Pimps and hacks with a camera preaching from their pulpits, syphilitic as they are: ah, what a joy to read the nonsense of certain... but here it is wise and proper (contempt?) to keep quiet, which is better. The License is served...



















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