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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?

Continue reading ... "

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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.
Continue reading ... "

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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.

Continue reading ... "

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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!