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. 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:
 
 

PICTORIAL

pictorial


 
 

T

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 used to shoot: NIKON F4, F6, 14/2.8 AF-D, 24/2.8 Ai-S, 24/1.8 AF-S, 24/2.8 AF-D, 35/2 AF-D, 50/1.8 AF-D, 85/1.8 AF-D, 80-200/2.8 AF-D . LEICA M3, M2, M4P, M6TTL, MP, 21/2.8, 50/2, 90/2.8, 135/4 paired with Kodachrome films . ROLLEIFLEX TLR 3.5E, T2 and in digital SIGMA DP2M, SDQH, 24-105/4 A, 100-400/5-6.3 C . CANON 5Dm3, 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. Fallen in love with Kodachrome when I took up photography in earnest in 1993, a one-of-a-kind reversal film, 25 and 200 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. 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. Nowadays technologies (Bayer system based sensors and particularly with the Foveon-like system) 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. 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.

 
 

LE NOTTI DI CABIRIA

Federico Fellini, 1957

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Federico Fellini, 1963

I VITELLONI

Federico Fellini, 1953

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Federico Fellini, 1963

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Federico Fellini, 1963