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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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