Claudio Castelli

I wonder, if  passed the 90s fascination about new economy, the wonders of tele- remote working, Web 2.0, the "virtual", it still makes sense to talk about digital artist and analogue artist (or better traditional).

According to a dated and canonical definition, the digital artist uses the computer (in a non-trivial way) as a creative tool, creating completely synthetic works, or manipulating the traditional media (see Wikipedia).

I personally could be partially agreed only when we talk about art generative or mathematics, such as fractal art:

note: I have to update the translation, this comes straight from bing translator, please be patient, no don’t go mad, there’s plenty to read on the internet!

Photography, like all techniques, has undergone countless innovations and changes over the years.

Usually, when it comes to innovation, we talk about advantages from the point of view of usability and quality.

With photography, the most obvious evolutionary advantages of the last 70-80 years have certainly been in terms of ergonomics, portability and ease of sharing of the visual material produced.

he results did not leave me fully satisfied in terms of quality. Photos developed, probably improperly, were extremely dense, and only decent for scanning.

Also, surely, because they are C41 rolls (color, expired) processed in a black and white chemistry (homecrafted).

With a bew black and white film, like foma , used in the medium-format "squared" examples, the results have drastically improved.

But the stench remains, and causes domestic conflicts.

These experiments  have anyway some charm, and it was definitely fun.

A little series taken with a Zeiss Ikon Taxona . A peculiarity of this camera is that it snaps square 24x24 mm pictures, resembling the proportions of the 60x60mm medium format film, so much loved by the fans of Hasselblad.