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"HIMMINI" show / conference in Reggio Calabria

Poster of the exhibition / conference "HIMMINI" Raffaele Mortelliti - © R. Mortelliti

On March 4, took the inauguration of the photographic exhibition "HIMMINI, Raffaele Mortelliti, photographer and journalist from Reggio Calabria which I learned by chance, thanks to the publicity of the event on Facebook and since that time I would have found its inauguration by the parties of the Provincial Government Building (venue) decided to take part, seriously intrigued by the official poster.

show / conference "HIMMINI" by R. Mortelliti - © Giancarlo Parisi

fact, it is apparent that this is a SHOW / CONFERENCE, sponsored by ' Department to equal opportunities in the province of Reggio Calabria and with the participation of some important figures in the landscape of Reggio Calabria, including p resident of the Court of Palms Mariagrazia Arena, the Councillor for Social Policies of Reggio Calabria, etc.. (Click on poster for larger view you can get detailed account of intervening). The reason why I decided to give an account of the exhibition at Imago Veritatis lies in its view that such events are rather "isolated" in the district of Reggio Calabria, usually limited to small little publicized exhibitions or public displays of images of which we discover the existence for If so, go to public places where they are carried out installations.

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Against Tourism: The Abomination LOCAL TAXES

Here it comes again. The abominable "tax" back to affect tourism, rather than enjoy advantages and benefits, as the first source of employment and work, is punished.

The Senate approves the House ... It's called "municipal federalism." Municipalities will be able to act, from 50 cents to 5 euro more per night. Not enough rates for lunar water and waste. Alemanno, Rome's mayor, he introduced it first. But it was early in his time, in the words of Cacciari, Mayor of Venice. Verona Tosi agrees. Moratti of Milan says no, and not apply. The small and spartan

Asslib is ready to raise their shields to participate in this new block of iniquity. Municipalities that apply for the tax, litigation and sieve made of their activities, past and present, the tourism information and promotion projects. Money, public, often thrown to the wind.

(From consultation / meeting Asslib February 25, Casagrande Hotel / Restaurant Palio-Feltre, published in the monthly News Asslib associated WHERE? March 2011)

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This year I dressed as "Uncle Michael!

Source: The Republic NAPOLI.it - \u200b\u200b© Richard Siano

The celebration of Carnival has very old roots, which also intersect with faith and Christianity and its most distinctive feature is the use of masking. All of us at least once in life, we had to wear a mask in the carnival: Arlecchino, Pulcinella, or a cartoon hero, or even a cartoon character ... Room for imagination then, for the sheer fun of putting aside our usual identity and assume the guise of someone else in a context that legitimizes this costume, in spite of what Pirandello says in his famous novel "One , no, a hundred thousand ". Like all festivals, the Carnival is increasingly affected by the germ of consumerism, and the World Trade strives ready to pack masks that represent the most popular characters, in an activity that has almost exclusively as a benchmark "TV Mama." I believe that very few television personalities have been free from seeing play in a form or a float, even the statues of the crib are the subject of artistic expression in the hands of Neapolitan artists, famous throughout the world. Would it not be a case, then, that in Naples has been brought forth yet another "found" for Carnival 2011: " dressed as Uncle Michael . The reference is evidently sadly Michele Misseri known, farmer

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To each his camera! - Entry into the world of photography

shopping center, 2010. © Giancarlo Parisi

Entering the world of photography today is advertised and distributed as a document easy. In fact it is so since 1888, when the first Kodak camera with roll sells preloaded with the slogan "You press the button, we do the rest", and although the slogan has generated a flurry of apathy whose aftermath still being felt today , had more rationality in those days, when it was little more than a Kodak box (the machine did not have a viewfinder, or you could adjust the distance, a manual for indicating how far and how high it is represented by the subject was supposed to ' unit, depending on whether it were a person, a dog, a horse, a building. A stick was used to advance the film. The operation was extremely simple), rather than today, was where everything would be easy, but it is not .

For the novice who decides, for one reason or another, we approach photography

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Tourism in the Dolomites 2010

a relatively disturbing, for some areas more than others and at the reassuring view of the current economic crisis, is the one painted by the final statistics on tourism Veneto Dolomites in 2010. The arrivals were 832,434, +7979 on 2009, with admissions down to 4,352,509, -84,972 in 2009.

The province of Belluno shows its strengths in Cortina with a tail in Borca di Cadore. Saves all the Ampezzo valley with 13,078 arrivals compared to 2009. Also increased attendance with a +31,600.

In positive trend for 2009, Falcade Pietore and Marmolada Rocca, Pieve di Cadore, Sapphire. The latter, against a slight drop in arrivals, -158, has increased its presence with the 2009 +4434. Forgiveness Alleghe tourism, Auronzo, Zoldo Alto, San Vito di Cadore, and Farra d'Tambre Alpago.

Belluno capital, despite the increase in arrivals for 2009 +2292, loses 13,559 admissions.

Feltre cities have negative signs, with -337 -9662 arrivals and presences 2009. Okay Feltre, with increases in content, but tend to be important, for Arsiè, Vas, Santa Giustina, San Gregorio nelle Alpi, Pedavena Fonzaso. In contrast, only Lamon, with -613 -2248 arrivals and presences 2009.

How Ossrvatorio Asslib Tourism, Two indicators of our newspapers, Internet blogs and visitors in Piazza Maggiore in Feltham, with both numbers growing, we infer that the provincial disparities are the result of deficiencies: information on land, policy and tourist promotion of the Dolomites as a whole.

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The limits of photography in the work of Elisa Rossi

© Elisa Rossi - www.elisarossi.it

I would like to dedicate this post to the work of this Venetian artist, where I came across randomly surfing the net and the whose work I was particularly impressed and concerned for his ties with the world of Photography.

A bond that can not be resolved in the precision of the stroke, in fidelity to the real light and shade, while faithfully reproducing every curve of the body, every fold of his garments, which look very natural and free fall ...

Indeed these elements I have initially misled, not perceive on what I had before, also because of the virtual nature of the images you see reproduced digitally reset the typical three-dimensionality of the brush strokes and color.

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footsteps of Pictorialism

Following the use of the volume of which I speak TASCHEN in this post I decided to start studies on the deconstruction of photographic detail. The aim is to achieve a different vision of photography and a different result from the advent of the printing plate which large digitization we have become accustomed. The
purpose of this post is to publicize and raise my own work (though to a certain extent this can be done in spite of myself), but rather to stimulate further debate on the issue of Pictorialism (where such works are clearly inspired), and perhaps a profitable exchange of ideas, themes, visual contributions (which may subject myself privately so that I can assess their publication on the blog).

Here are the first five images:
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Alfred Stieglitz and the "Fotosecessione"

Alfred Stieglitz in a portrait of AL Coburn (1908)

This episode of Imago Veritatis I want to dedicate it to Alfred Stieglitz and the American secessionist movement led by him, through which the movement Photography fight (and win) for having such a place among the fine arts. We are at the beginning of 1900 and until then, photography was largely seen as a mere technical means with remarkable camouflage, which had little or nothing to do with art is commonly understood. Indeed, in those years the efforts of photographers ( room workers) were mostly aimed at the creation of "reproductions" of works of art, nothing hinting that the same photo could be art itself.

The great personality of Alfred Stieglitz, her evolving taste, his ability to look ahead and the courage to advocate their own ideas in spite of ideological conflict and economic difficulties give it a place of honor in the entire history World of Photography.

It is impossible to speak of Stieglitz without speaking, at least briefly, to Camera Work (CW) , his most important work. Camera Work was a magazine of art and photography, conceived, directed, managed, edited, and largely financed by Stieglitz himself, published in 50 numbers "spread" between 1903 and 1917 at roughly quarterly intervals, characterized by a total print quality and rigor of content and form a crucial link to the publisher, which looked at each issue carefully before authorizing publication. But CW is not only a beautiful art and photography magazine, it has served as spokesman for the movement of 'American Photo-Secession , a real split in the world of American photography (division in Europe had already taken place with the birth Linked Ring group photo), created by a group of photographers who later took the name of pictorialists , and that together formed the Pictorialism.

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Sta "disappearing" even the photo disappears

" Fading Away "by Henry Peach Robinson (1858)

's been 153 years since Henry Peach Robinson published "Fading Away", the result of the print image on one sheet of 5 negative, producing what is, in effect, a photomontage of the first and best known of the history of photography. Fading Away image was also known for the extreme noise and the wave of criticism we deliver to Robinson, since it portrays a dying girl (probably tuberculosis).
But that was at least a "real" photo, and the surplus of critche that rained down on Robinson, unveiled in 1860 when the procedure of montage was at least built up something real! Today, however, it makes the process with an image that does not even exist! But first things first.

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the "product" in On Photography

Copyright Silvio Lucchini - www.silviolucchini.com

I continue my reflections on how lived photography, today, by many "players" in the industry. The impact of digital technology in our lives has changed the way of enjoyment of the meal for the senses of hearing and sight: audio and music, text, images (still and moving, and video) have literally been invaded by the "bit "which, in turn, has catapulted seen, inter alia, in the huge cauldron that the media is" Internet "network of networks, all with a few swallows and regurgitates all filters (which is all his glory as infamy, has not yet given to discern). In fact only these two senses have, so far , just the "scan"; taste, smell and touch have been free, at least for what concerns the general public. In fact there are studies and practical applications for the digitization of odors, especially for catalogers, using sophisticated tools, as well as being able to provide tactile sensation of some experimental drones, and perhaps even the taste, smell like, is undergoing the same fate without our knowledge some genial remote laboratory.

But these studies are quite primitive, not that still do not allow the production of objects that can reproduce the sensations of touch, smell or taste of other objects, and there is, in essence, at least for the general public, an object ontologically similar to an MP3 player or a frame lcd, which is able, for example, touching make us feel the tactile sensation of a soft toy, a bag of python skin, the smoothness of a steel bar or the roughness of the bark a Scots pine.

for your eyes and your ears But what happens, they are already the subject of "great scan, with enormous consequences for the field that I / we are interested in, what we see, with the knowledge of an essential incompleteness of investigation.

First I would like the concept of " process", as opposed to the " product in the world of Photography. As I explained in this post first photographing means to solve a problem, which is to determine the parameters of recovery more correct in order to achieve a correct exposure, which in turn represents the "recipe" for sensitive support to translate the reference ( the subject) so crisp and clear. In this sense, highly technical, the photographic process shall consist of operations necessary to fulfill the photo product, that is to say, what? What do we mean product in Photography?

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access to the old town of Feltre with the lifts.

From the walls of Campogiorgio Street, next to the Cathedral and near the stairway door Pusterla without records, there is access to two elevators that lead in the Municipality of Feltre, a short walk from Piazza Maggiore. Thirteen seats each, favor a visit to the monumental site and is expected also for the handicapped. The first inauguration was March 13, 2009. Work began in January 2008.

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"victims" in photography

image source: http://press.liacs.nl/medialab/bin/showpage.cgi?doc=146

are some days that the reorganization ideas for this post, now I am going to write conscious of his congenital incomplete. I apologize in advance for all readers because I was far from synthetic, but the topic is particularly dear to me and it is difficult to be treated fully in a place like this. I am grateful in advance to all those who have the patience to read through and even more so to those who are willing to give their contribution.

from a question that I have expressed in this post which, inter alia, contributed to the ideas chiaririmi: because photography has to suffer more than other events arts / communication / human pride of individuals?
not by much, at most one year, I started to think about this question, moved by different experiences and human relations, lectures and attendance at relevant environments photography. Surely these considerations also contributed to the type of path that I did in the photo, made a fundamental shift of interest for the study of technical interest in aspects of content, historical, aesthetic and communicative of Photography: in short, criticism.
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The (one) point on the photo image that it gives the magazines



I would like to start this post from the two images that carry a hand, representing respectively the number of pages 44 and 45 of 223 "The Photographer". Page 44 in particular is entirely dedicated to the reproduction of an epistle of a reader, while the second, more than the conclusion of the epistle contains the response of the Director of the magazine, Sandro Iovine. So far, nothing extraordinary, but reading the thoughts of this player, you can make your enlarge and read or download the jpeg, it stirred some considerations that lie dormant, already dwell in me a long time.

Before getting into discussion of these considerations, I should say a few words in explanation. Anyone reading this speech may in fact think that this is a manifestation of sycophancy free to their favorite magazine, as well as a stance in defense of the director, perhaps hoping to see returned the favor with a few publications. Well, I can not and will not hide the fact of being an avid reader of "The Photographer, "I want to hide, but I want to stress that I believe this magazine one of the best photography magazines currently available at newsstands, but this has nothing to do with the reasons for these lines, which pass to negotiate. The letter of Mr.

Caggese made me reflect, once again, the way in which photography is understood today, how it is experienced by most people, how is changed and the castle of assumptions on which it is built. In particular, it makes me especially the fact, widespread and therefore not directly related to the letter, which is deemed sufficient and a number of decades to "take pictures" to be considered equal, not to express personal considerations (that no one can be denied and should not be), but rather to criticize the editorial choices, made by a team of professionals who, easily could learn much more about us. Of course, it is not said that to happen, as evidenced by the proliferation of very questionable content from magazines, then go over and take this for much criticism.

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You can read a photograph?

Hello and good 2011.
This is the first post of this new year, and I decided to dedicate it to one of the books I read in the past 365 days: "Reading the Photograph - by Augusto Pieroni.
I do not entertain them in a tedious review of a text that has no need for celebration and should not be missing in the list of "books read" for anyone interested in real photography. I want to focus instead on the two pages (No. 70 and 71 in my edition) that carry over: A list of questions you can ask ourselves to an image.

course to fully understand the meaning of those pages, which are the author calls "case studies", I highly recommend reading the entire volume through explanation and analysis of internal and external contexts , illustration of the 5 operational factors ( retrieval, processing, purchasing, process, edition) and the hypothetical and general rating of content and thematic factors, offering amazing tools to read the "figurative prose" (pass me this neologism to indicate the text, understood as a narrative content, represented by images). However, even apart from this reading, and even to stimulate curiosity and desire to deal with it, you can reason about these two pages, with a disarming simplicity that make us see how many things you can ask before any photography.

A series of questions that are increasingly asking to surrender, preferring to be carried away by the "answers" to these questions provided by someone else and for different purposes!

What I mean is that having at least an awareness that an image (a photograph for what concerns us) can bring with it a whole series of concepts that go beyond the mere reference (the subject), there would put us in a receptive condition of the size of images definitely more aware.
Many of these concepts are linked to the knowledge from those who "read" the picture: I do not have a basic knowledge of photography I can hardly ask a question on the "formal style" of the image (ie, contrast, lighting, setup fire etc.).. Many others are released from the technical concepts and questions that relate instead to historical factors, social, economic, organizational, human, physical ... In short, concepts accessible to anyone with at least one gift that has allowed human beings, struggling for sure, to go into space: the curiosity!

An appeal in short, that the consumption of images is not reduced to a passive operation, which become the target of machinations of others. The power of images in conveying the mass media is very strong, not diventiamone helpless victims and, worse, unaware!