wandering angles of seeing

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“WANDERING” GATHERS AND CONVEYS THE WAY OF WALKING THROUGH IN APPROACHING TO PHOTOGRAPHY WHICH IS INTIMATELY INVOLVED WITH PEOPLE’S LIVES, AND IS CLEARLY EXPRESSING A SPIRITUAL DIMENSION. JUST ONE STEP BEYOND EVERYDAY LIFE; ... IT SOUNDS A BIT LIKE CARTOON CHARACTER PERFORMING IN A MOVIE TOGETHER WITH REAL ACTORS. I REALIZE THAT MANY WORTHWHILE SUBJECTS ARE EVEN IN MY IMMEDIATE VICINITY.

 
It’s to me the never boring travel in the life. I find out in this journey human being is various in cultures but basically the same in its nature. I like to propose topical issues, bearer of classic timeless significance, catching the epic in everyday life. Great to figure out that usual things usually change its name to look something else, those ones unusual don’t have to; they raise eyebrows without needing to be labeled. That’s to say in order to amuse, in a turnaround, having fun. I’d like to do that revealing the insignificant rather than criticize fundamentals. That’s to me contemporary and looking forward. I do that in a narrative tone having more of pictorial echo than reportage. This “sketchbook” is a quiet investigation driven by minimal mood; this is the disposition while wandering the world of vicinity, the imagination is being captured by its diminishing beauty. We spend life in a neverending coming and going from the basic instinct of being to a subtle desire of transcending. We do that through the most precious of our treasures: Time. In this dimension people and sceneries are seemingly lighten up by imagination, just be looking for open a special door. Any ethics matches with an aesthetics, any aesthetics deals with sensitivity, any perception of life finds its own means of expression. I choose to look at it this way:
 
 

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ransformation is particularly fascinating, it gives a great chance to understand beyond things, people, their relationships; unveiling the essence never single and always manifold. Aiming for telling in a shot, not to describe the sight but to forward the mood in taking the shot; that’s the matter I’m interested in. It’s something like more about transfiguration than description. My usual tools since I had been using to shoot: NIKON F4, F6, Ai-S 24/2.8, 35/1.4, AF-D 14/2.8, 24/2.8, 35/2, 50/1.8, 50/1.4, 85/1.8, 80-200/2.8, AF-S 24/1.8, 85/1.8 . LEICA M3, M2, M4P, M6TTL, MP, 21/2.8, 50/2, 90/2.8, 135/4 . ROLLEIFLEX TLR 3.5E, T2 and in digital SIGMA DP2M, SDQH, 24-105/4, 100-400/5-6.3 . CANON 5Dm3, 40/2.8, 400/5.6L . FUJIFILM X pro2, 35/2 , 90/2. Color or B&W, wide or tele lenses, composition, noise or resolution, defocusing, spanning, blurring, … a lot of expression means. Thinking wide if target is get relationship among subjects. Lenses of this kind are peculiar to express drama, movement, to report a story and being involved in the scene. Thinking tele to get an otherwordly effect indeed; rather than report picking more info, those ones let the photographer remove from the scene choosing elements to subtract, as like as in the sculpture procedure. It’s possible to get larger shapes, hatches of color in the frame, giving to the image a peculiar sense of harmony with less distraction of the observer from the story to be told. Elements appear like on a painting more than in 3d reality, so that’s something to do with poetry rather than prose. A magic way the ordinary things come from, through substantially pieces of glass. They stand still or being on the go, but to be taken on board and then shared with people with the feeling of the shot, they have to be framed in a portion of reality. This properly reflects the way to look at the world when you framing with a shot a part of it; you are able to pay attention where and when subjects are

becoming actors in your composition. The frame of mind in the shot is what makes personal the way, inserting a part of you in the whole somewhat messy in evidence, cause after all the way we see, our being we are. Then every picture tells at least two stories: the story of the way you see people, things and situations, and also discloses something about you, your disposition and how you are in the mood for what you’re seeing. Sure you know what a photographic memory is, an attitude whose keeps pictures in his mind more often found in young people and usually lost with age, people who remember landscapes, moods and faces for a very long time. I’m one of this people. The fact is that you cannot show the pictures in your mind to anyone, unless you write stories. A lenses-camera set is a tool for that, and have it unobtrusive, lightweight and never left your side when you need it: is the key-point. I don’t like a system that could do everything itself, I do like to be able to tell it how to see what it’s important to me. Then, directly setting on the ring of the lens which aperture, depth of field, with your hand on dials and your eye on viewfinder without too many scroll-down menus operations; setting on camera which iso values, shutter speed, exposure and autofocus reading. Moving to innovation preserving tradition. A system with optics ... like a window to let it kept open to the unforeseen, framed and mirrored through your “inner” system. With different kind of tools one tends to create the picture in the viewfinder rather than seeing the image and then create the setting for it. The less attention I have to pay to the equipment, the more I can concentrate to the composition, having to choose between framing a lot of parts in the whole, with a wide lens, or framing the part for the whole, with a tele lens. So, that being said, how to combine the frame of mind in the shot with such useful tech? ... funny enough, within pieces of glass. Fallen in love with Kodachrome when I took up photography in earnest, a one-of-a-kind reversal film, 25 and 64 especially; the 25 … its red color rendition was simply astonishing: warm, completely different from the bright but harsh look of other brands’ those ones; moreover the developed film surface was showing fine reliefs in correspondence of pictures edges so it looked like painted, with a hint of graphic effect engraved like in xylography, due to particular development process of that reversal film. Nowadays, in sensors scenario there is one reminding that film: Foveon X3. The substantial difference from the common other ones, the Bayer-like, and from CCD being that it is a direct image sensor. This technology directly converts light of all colors into useful signal information at every point in the captured image; no light absorbing filters are used to block out light, improving sharpness and immunity to color interpolation and artifacts.

One layer for the red, one for green and one for blue; actually, this is the film concept indeed. Outstanding image quality, almost comparable in many cases to that one of medium format (in sharpness and detail but in comparison it lacks in depth and richness by far). But you pay this in terms of responsitivity, high-iso performance, low battery life and camera handling: processing engine for this sensor requires a lot of power. This means that it does get fastly warm, this affects good results in low-light conditions due to noise generation at high-iso, means a larger battery, more surface area for the electronics to dissipate heat and the sensor more far away from the battery, affecting body compactness and ergonomics. I’m not a die-hard traditionalist nostalgic of film era, perhaps digital photography makes the idea very well indeed of the purest essence of photography, something impalpable growing through a linkage between mind and heart. Contemporary technologies such as low-pass filter less, axis shift stabilization, pixel shift resolution within higher dynamic range rendition, for a more accurately high/low key reading, and a custom dedicated designing of the lenses highly fit for the digital application purpose, can reach in almost all photography territories even the medium format film image quality. Not to mention what you can realize in post-production sessions, when you’re going to manage exposure, hue and saturation, tonal rendition and brightness contrast adjusting, color and white balancing correction, chrominance and luminance noise control. Photography evolution? “Evolutionary” is pertaining to development; “revolutionary” is related to outside or beyond; “involutional”, ... something about loop; “devolution” stands for a passage onward from stage to stage. You have a choice. Improvements, research & development studies and tests are by now prerogative of giants in digital industry that may afford large resources in that, with amazing results in art applications.