While sailing the Norwegian shore on the coastal ship service from Bergen to the Russian border, I saw places totally unknown to myself, yet rich in a mood that movies made familiar to everybody. The same mood raising from the locations of Paris Texas, Wim Wenders’ masterwork.
This book, which springs from that visual experience, can be seen and -hopefully- bought here.
I have been constantly looking for an effective out-of-camera monochrome solution in the last few years. Sometimes the painstaking color-to-b&w post-processing job turns out to be a heavy and neverending task. But none of the cameras I recently used did hit the target for me. Until the release of the amazing Olympus Pen-F. As PhotoGraphia regulars probably recall, I have been a Micro 4/3 fan since its birth in 2008. So much so that I stated in this blog that it can be considered as the real Leica system of the digital era, and many Panasonic or Olympus cameras have been sitting in my closet or -more frequently- hanging from my neck since then.
Over the last fifteen years we had the opportunity to learn that digital sensors, like films, have their own character, behavior and personality. Well, the 20-megapixel sensor inside the Pen-F not only pushes the boundaries of Micro 4/3 color capture, but most of all delivers gorgeous jpg results when the camera front knob is switched to "Mono". It didn't take much time and effort from my part to fine-tune a color-filtering, curve and grain setup complying to my photographic taste and style. Shall I ditch my Leica Monochrom then? Hell no. But whenever I want to enjoy hassle-free black and white imaging with a lightweight, compact and stimulating kit, the awesome Olympus Pen-F and a prime Zuiko lens are definitely my choice.
Architettura Italiana has just published your humble's portfolio on the Foro Italico, one of the most important rationalist compounds in the world. Thank you for visiting.