BLACK & WHITE

 Santa Maria della Salute
Santa Maria della Salute
GOING METAPHYSICAL

You should get through a deep immersion in human visual perception studies before approaching the everlasting quarrel on B&W/color photography. Normal human eyes contain three kinds of color-detecting cells called cones, and by comparing the way these cones are each stimulated by incoming light, our brains distinguish red wavelengths from green and blue wavelengths from yellow. Thus, in a normal human being the world is color, that is to say there is a global sync between our brain sensors and the environment we live in. Our basic survival tools make large use of the messages the different wavelength frequencies of the light transmit through what we call colors. Mind the different nuances the solar light assumes through a single day, in the different seasons and latitudes. Say our sensors are calibrated to standard patterns which inform us when and where we are.
If you deprive our sensors of these fundamental messages, everything in our perception changes. That is to say you cut off a large part of our brain’s capabilities of decoding the messages within our perception.
We can deduce that color photography is real and B&W is unreal.
But some cultural issues arise. Our brain can resolve this quarrel through an innate abstraction capability which can explain –and meaning fulfil- a lacking perception as a symbolic item. A metaphysical object shifted from real to para-real. A validation that gives to our perception new meanings. This shift often traduces into something with more absolute messages: unbound from time, as an instance.
In philosophy we invented a definition for that: metaphysics.
This way we get closer to essential issues of visual communication. Straighter and stronger, in cases. And add –instead of subtract- more values and very different meaning nuances. In some cases, this essential vision adds way more effectiveness and artistic qualities in a photograph. At the point we can say some shots are B&W born images.

La Salute, wideangle distortion
La Salute, wideangle distortion
The statue of Carlo Goldoni
The statue of Carlo Goldoni
Rialto. Ponte delle tette (Tits Bridge)
Rialto. Ponte delle tette (Tits Bridge)
DARKROOM
Experimental standards in chemical development of films

Many years ago, when photography was not yet my job, I used to spend most of my free time in the darkroom. After reading everything I could on the development and printing techniques, I started experimenting. Primarily working with black and white negative.
As a professional, I passed from a standard procedure to a much more technical.
At that time, I used mainly Ilford 100 ASA films. This was an emulsion rather “tough” and difficult, which tended to perform too much contrast. I had adopted a development method at differentiated dilutions, typically in 3 stages, distilled water, development 30%, and development 50%. This allowed me to extend the time to get more control. For the test, during shooting, I worked with two cameras set differently on the same range of subjects, chosen for the various characteristics of light and shadows. Normally I obtained three rolls of film for each camera. Then, in the laboratory, I developed the rolls with slightly different times. Once finished, I passed them to the enlarger, recording the different values for each frame with a densitometer. At that point I transformed the results in a table, utilizing these values for the subsequent chemical processing. All this, today, fortunately, is no longer needed.

Campo dei Mori
Campo dei Mori, Leica Summicron 35 – 1971
THE BLACKS & WHITES GAMES
Sappada. Typical houses with barns
Sappada. Typical houses with barns
Exceptional ebb tide in the Doge's Palace courtyard
“Acqua alta” flood in the Doge’s Palace courtyard – Hasselblad SWC
THE LIGHTROOM

Once upon a time there was a sailor who bravely sailed the seven seas. He knew every rock, every stream, every cloud. North, South, East or West he was aware of dangers, so he could avoid them. And he knew the best places to go, since he had been there almost once. He loved to sail his small boat in the strong winds of south oceans, easy riding and surfing immense, fatal waves.to odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum.to odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum.to odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum.odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum.to odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum.to odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.
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Paola 1977
Paola 1977
PAOLA


Once upon a time there was a sailor who bravely sailed the seven seas. He knew every rock, every stream, every cloud. North, South, East or West he was aware of dangers, so he could avoid them. And he knew the best places to go, since he had been there almost once. He loved to sail his small boat in the strong winds of south oceans, easy riding and surfing immense, fatal waves.to odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option cum soluta nobis eleifend option .

Paola 1978

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