Stories in the Eyes: the Portrait and the Transformation of Our Gaze

The portrait, understood as a depiction of a real or imaginary person, represents one of the oldest and most fascinating artistic genres in human history. Ever since human beings began to leave traces of themselves, the desire to capture the essence of a face—that is, their identity—has taken on multiple forms and meanings. Over the centuries, the evolution of the portrait has been shaped not only by new pictorial techniques and by the tools invented or improved, but also by the political, social, philosophical and scientific transformations that have affected the different eras.

Antiquity and the Origins of the Portrait

The birth of the portrait as we understand it today is linked to ancient civilizations, such as Egyptian, Greek and Roman. In Egypt, for example, there was a custom of representing the face of the deceased in Portraits of Fayum (1st-2nd century AD), painted on wooden boards or on linen sheets applied to sarcophagi. These portraits were often done with the technique ofEncaustic (pigments mixed with hot wax) or of tempera. The purpose was not purely aesthetic: it was believed that the face of the deceased, portrayed with realistic precision, helped the spirit to recognize its body in the afterlife.

Even in the Greco-Roman context, the portrait often had a commemorative or commemorative function: think of sculptural busts of emperors and illustrious figures who populated squares and public places. The representation of the face responded both to propaganda needs (to show the emperor's authority and virtue) and to a search for verisimilitude. However, at the time, a strong interest in the psychological dimension of the subject was still lacking: the portrait was above all an emblem of power or an instrument to honor memory.

The Renaissance: Man at the Center and the Birth of Psychological Depth

With the advent of the Renaissance, which developed in Italy between the 14th and 16th centuries, a radical change took place in the conception of the human being and his place in the world. Humanism, in fact, moves the focus of philosophical and cultural interest from the divine order typical of the Middle Ages to the dignity and centrality of man. This change in perspective is also decisively reflected in the art of portraiture.

The great Italian courts, from Florence to Milan, from Mantua to Ferrara, become centers of culture where artists find support and patronage. The powerful of the time — lords, popes, merchants — commission portraits to affirm their status, but also to leave a mark on history.

The figure of Leonardo da Vinci (1452-1519) is a paradigm of this new sensitivity. Leonardo was not only a painter, but also a scientist, mathematician, engineer, anatomist: his vast knowledge of natural phenomena led him to explore painting with an almost “experimental” perspective.

Leonardo's portraits show the painstaking research of lighting effects and the birth of an unprecedented psychological depth. Emblematic is the technique of nuanced, which involves the gradual fading between light and shadow, without abrupt transitions. This makes it possible to obtain an effect of softness and three-dimensionality, visible in works such as “The Mona Lisa” and “The Lady with the Ermine”.

Leonardo was convinced that the Face—especially the eyes—were the mirror of the soul. In his anatomical studies, he investigated the structure of the skull, facial muscles and expressions to capture emotional nuances. The enigmatic smile of the Mona Lisa, in fact, is the result of this attention to psychological detail: the viewer is captured by a subtle ambiguity that leaves open the interpretation of the feeling felt by the woman portrayed.

In parallel with Leonardo, many artists of the fifteenth and sixteenth centuries, such as Masaccio, Botticelli, Raphael and Titian, try their hand at portraiture, enriching it with new features. The systematic use of linear perspective, codified by Brunelleschi and theorized by Leon Battista Alberti, not only allows us to give depth to space, but places the human figure at the center of a rational grid.

In the case of Raphael, for example, a delicacy is perceived that enhances the subject's inner serenity; with Tiziano, on the other hand, the color acquires depth, helping to make the portrait not only a visual description, but a vehicle of emotional power. In these centuries, psychological study has been supported by growing curiosity about the individual, anticipated by the dissemination of classical texts of philosophy and literature.

From Baroque to Enlightenment: The Drama of Light and the Rise of Reason

With the transition to the 17th century, Baroque infuses art with a taste for theatricality and drama. Michelangelo Merisi da Caravaggio (1571-1610), a pioneer of this style, uses the Chiaroburo in a revolutionary way: the light, often lateral and intense, enhances faces and bodies, immersing the rest of the scene in darkness.

Caravaggio draws models from the street, portraying beggars, farmers, ordinary people. In his paintings, human truth—including defects, wrinkles, signs of fatigue—is brought to the fore, breaking with traditional idealized decorum. This truth is particularly evident in portraits of saints, martyrs and religious scenes, where human emotion prevails over formal composition. The Caravaggio light is almost a divine beam that invests the protagonists, highlighting their spiritual intensity.

In this context, the presence of Artemisia Gentileschi (1593-1656) represents a fundamental contribution, both for its artistic quality and for its symbolic value. Daughter of the painter Orazio Gentileschi, Artemisia undergoes a trial for rape at a young age and manages to transpose all her inner strength to the canvas.

The Caravaggio technique of strong contrast between light and shadow lends itself well to Dramatic dimension of his subjects, often heroic female figures such as Giuditta or Susanna. In the painting “Judith Beheading Holofernes”, the artist depicts a violent action with cruelty and expressive power, without indulging in aesthetic compromises. It is a collective portrait of female suffering and rebellion: a manifesto of courage at a time when women were generally excluded from the great artistic circuits.

Continuing into the 17th century, European monarchies support art to legitimate their power. Diego Velázquez (1599-1660), court painter to King Philip IV, combines formal rigor with psychological investigation. In “Las Meninas”, he represents himself intent on painting the royal family, playing with mirrors and reflections.

Velázquez goes beyond official and stereotypical portraiture, attributing to every subject, whether a nobleman or a court jester, a rare human dignity. The painter's empathy emerges from the chromatic variations and the free brushstroke, which anticipates, to a certain extent, impressionist research. Velázquez demonstrates how the social and cultural context (the Spanish court of the Golden Age) can coexist with a profoundly human conception of the portrait.

In the United Provinces, which flourished economically after independence from Spain, the figure of Rembrandt van Rijn (1606-1669). He experiences the “Rembrandt light”, a side illuminating source that shapes faces creating a small triangle of light on the shaded cheek, making subjects highly dramatic.

Rembrandt is famous for the quantity and quality of his Self-portraits, painted throughout their lives. In them, the artist does not hide aging, melancholy, economic and family challenges. It is as if, even before the birth of modern psychological theories, Rembrandt had grasped the idea that art can become an instrument of introspection. It is no longer just a matter of representing a face, but of 'telling' an existence through painting.

In the same Dutch environment, Johannes Vermeer (1632-1675) stands out for the skilful use of natural light, often coming from a side window, as in 'The Girl with a Pearl Earring'. Vermeer's canvases capture moments of domestic quiet and elevate everyday life to a dimension of grace and intimacy.

Here the pictorial interest is aimed at the meticulous representation of fabrics, ceramics, reflections, but also at glance of the subjects, who often turn to the observer with a slight sense of suspension. The use of darkroom, then known as a study tool for perspective and light relationships, once again testifies to the link between scientific research and pictorial innovation.

During the 18th century, Europe underwent profound political, social and intellectual transformations that also significantly influenced the art world. The Enlightenment, with its ideals of rationality, freedom and progress, gave a new face to culture, encouraging reflections on issues such as human dignity, justice and the role of the individual. At the same time, growing scientific discoveries and technological innovations—such as advances in pigment chemistry and in the construction of optical tools—affected the way we paint.

At the turn of this century, a movement began to emerge in stark contrast with Baroque and Rococo: the Neoclassicism, which recovered the aesthetics of Greco-Roman art to celebrate values of order, sobriety and civic virtue. Soon, political contradictions and revolutionary ferments entered into symbiosis with painting, paving the way for new forms of portraiture, capable of reflecting the transition from an era dominated by kings and aristocracies to a new social sensibility.

Neoclassicism and the French Revolution

Emblematic figure of Neoclassicism, Jacques-Louis David (1748-1825) translated into painting the ideals of the Enlightenment and, later, those of the French Revolution. In his works, the composure of classical forms merges with a strong ethical and political message. Painted like The Oath of the Horatii and The Death of Marat they are real posters of republican heroism: solemn attitudes, austerity of poses and attention to anatomical details are linked to ancient canons, but the historical context is that of the fight against absolutism.

On a technical level, David exalted the sharp drawing, the precision of the contours and the centrality of the subject, often placed in the foreground with calibrated lighting to enhance its plastic relief. His portraits of revolutionary figures and, later, of Napoleon Bonaparte, where attributes of power and greatness emerge, profoundly influenced commemorative painting and official portraiture throughout the 19th century. Through his paintings, one can perceive the ambition of a new ruling class that uses art as a tool of legitimation and propaganda.

Enlightenment ideas spread thanks to publications, encyclopedias and cultural salons, fomenting a climate of discussion and debate. In this atmosphere, art often assumed an 'educational' and 'pedagogical' role: the portrait no longer served only to show the power of an aristocrat, but became a means of conveying the values of a society in transformation.

At the same time, the discovery of ancient vestices—such as the excavations of Herculaneum and Pompei—reawakened interest in classical culture, providing models for clothing, hairstyles, and architecture. All this influenced the representation of the human body in the portraits, which appeared “cleaner”, almost statuary, in contrast to the redundant sensuality of Rococo.

The Impact of the Industrial Revolution and the First Technological Changes

Parallel to political events, the Industrial Revolution, which began in England between the end of the 18th century and the beginning of the 19th century, changed the productive structure and the daily lives of millions of people. The growing attention to chemistry and metallurgy led to the development of new pigments (such as Prussian blue, synthetic ultramarine blue, cadmium yellow), which expanded the painters' palette. In addition, the more efficient production of oils, thinners and paints made painting materials more accessible and of more consistent quality.

The innovations did not stop there: the Darkrooms began to perfect themselves, anticipating the birth of photography. In fact, many artists had already sensed the possibility of using optical instruments to study perspective or anatomical details with greater accuracy. Although photography as such was still far from coming, that technological substrate was being created that would allow it to explode in the following decades.

The Industrial Revolution also accelerated urbanization: cities expanded, factories and new mercantile classes modified the social structure. The bourgeoisie, enriched by commerce and industry, became an important client, gradually replacing the patronage of the courts. It was a moment of great vitality for portraiture, which also began to address a wider audience, no longer limited to the aristocracy.

In this scenario, the need to portray the “new reality” was affirmed: ordinary, but influential people, in bourgeois clothes, perhaps surrounded by the objects that told of their social rise. In a certain sense, portraiture also began to reflect economic and identity aspects: profession, morality, family.

From Romanticism to Impressionism: The Portrait as a Tale of the Self

Romanticism (late 18th - mid-19th century) marked a further passage: from the celebration of reason, we returned to the exaltation of feeling, of individual passion, of nature seen as a mirror of the soul. In the romantic portrait, the artist tried to communicate not only the social status, but also the emotional interior of the subject, his disturbances, his ideals.

In this phase, painting was enriched with dramatic contrasts of color, melancholic, sometimes even gothic atmospheres. The interest in the “sublime” —that mixed emotion of amazement and terror in the face of the grandeur of nature—led some portrait artists to insert subjects in suggestive scenarios (for example, cliffs, dark woods, stormy clouds), underlining the fusion between the human being and the surrounding environment.

Towards the middle of the 19th century, European society was undergoing further changes: railways, the telegraph, universal exhibitions. Discoveries in the physics of light (such as James Clerk Maxwell's studies on electromagnetism) also indirectly influenced art. Some artists started painting En plein air, that is, in the open air, to immediately grasp atmospheric changes. This passage prepared the ground for Impressionism.

There was a need to capture theinstant: the changing light, the chromatic vibrations, the movement of a tree canopy shaken by the wind. The artist was no longer a 'copyist' of reality, but an interpreter of visual impressions in real time. It was in this climate that Monet, Degas, Pissarro, Renoir and others laid the foundations of a painting in which the hue And the Brushstroke—rapid and fragmented—became central.

Within the Impressionist group, Auguste Renoir (1841-1919) was among those most interested in portraying people in everyday situations, often in convivial settings or in the midst of nature. Very famous are works such as The Ball at the Moulin de la Galette, where light filters through the trees and caresses the faces of the young people celebrating.

Renoir abandoned strict academic conventions: his soft and liquid brushwork, combined with warm and vibrant tones, restored the liveliness of an unrepeatable instant. In his portraits, the subjects appear enveloped in an atmosphere of joy and harmony, as if the boundaries between figure and background were dissolving in a dance of color. On a technical level, this required a remarkable speed of execution and the ability to grasp the instantaneous change in light on the surfaces, ahead of the photo shoot (which was still being refined).

Straddling the mature phase of Impressionism and the evolution towards new formal research, the figure of Georges Seurat (1859-1891), French painter considered the founder of Neo-Impressionism. His technique of Pointillisme—pointilinism—derived from the scientific study of light and color, applying small dots of pure color to the canvas that, seen from a certain distance, merge optically.

In the portraits of Seurat, as in Young man seated Or in Portrait of Aman-Jean, the attention to light structure and the chromatic gradation is combined with a rigorous design system, influenced by theories of visual perception (for example, the research of Michel-Eugène Chevreul and Charles Blanc). From an emotional point of view, Seurat prefers an almost statuary composure, which contrasts with the “moving” brushstrokes of traditional Impressionism. In this way, the portrait takes on a more meditative and scientific dimension, paving the way for subsequent Post-Impressionist sensibility.

Between Modernity and Belle Époque: Dynamism and Portrait Psychology

In the Paris of Belle Époque, the capital of art and fashion, Giovanni Boldini (1842-1931) developed a particularly dynamic style. Known as the “Master of the Line”, Boldini was famous for his portraits of Parisian high society—nobles, actresses, women of the aristocracy—which he interpreted with a virtuoso technique: quick and decisive brushstrokes, capable of infusing subjects with a sense of movement and elegance.

Boldini's women seem to dance on canvas, wrapped in floating clothes, in which the exaltation of fabrics—often silks and precious velvets—required a remarkable mastery of long, darting brushstroke. The Belle Époque, with its lounges and concert cafés, was a period of great artistic and cultural ferment, a prelude to those linguistic and technological revolutions that would characterize the twentieth century. In particular, photography was already penetrating the sphere of fashion and costume, borrowing from Boldini and other painters a taste for the fleeting instant and for the “unconventional” pose.

Almost in contrast to Boldini's festive elegance, the work of Vincent Van Gogh (1853-1890) is marked by a profound emotional and spiritual tension. Van Gogh, marked by inner discomfort and a difficult existence, used color and brushstroke to express intense moods. His many Self-portraits they show it with a heartfelt, penetrating look: every furrow in the skin and every chromatic vibration contribute to revealing existential suffering and, at the same time, an extraordinary poetic force.

From a technical point of view, Van Gogh experimented with Thick doughs and strong colors, often discordant, anticipating Expressionism. The use of pure primary colors (yellow, red, blue) and complementary colors with clear contrasts (orange and blue, red and green) created a tension that went far beyond realism. For him, the portrait was a way of 'speaking to himself' and to the world, trying to make visible the pain of the soul but also the ability to wonder at nature and life.

Meanwhile, late-century Vienna—the cradle of Freud's nascent psychoanalysis—became the setting for Vienna Secession, a movement that combined symbolism, decoration and new research on the meaning of art. Gustav Klimt (1862-1918), the leading painter of this movement, introduced in his portraits the extensive use of ornamental motifs and gold leaves, in a fusion of figurative and abstract.

In works such as The Kiss or Portrait of Adele Bloch-Bauer I, the faces—although depicted with a certain verisimility—are immersed in a dreamlike universe of spiral shapes, arabesques, golden mosaics. One has the feeling that the physiognomy of the subject and his “inner world” coincide with the surrounding decorative apparatus. Technically, Klimt experimented with overlapping layers of paint, tempera mixed with gold leaf, referring to the Byzantine icon and the medieval miniature. The result is a portrait that is not just a face, but a symbol of archetypal forces such as love, femininity, death and eros.

The Avant-garde of the Early Twentieth Century: Between Fragmentation and Dynamism

At the dawn of the twentieth century, new revolutionary forces swept over Europe: scientific discoveries (relativity, quantum mechanics), the spread of psychoanalysis, political upheavals announced a world in crisis and movement. Le artistic avant-garde—Fauvism, Cubism, Futurism, Dadaism, Surrealism—gave voice to this restlessness and to the desire to break with tradition.

Francis Picabia (1879-1953), initially close to Impressionism, he became one of the protagonists of Dadaism, a movement that rejected any convention and considered art an act of provocation. In his 'mechanical portraits', abstract shapes and industrial gears are mixed with anthropomorphic elements, in an irony that criticizes machine civilization and modern approval. The human subject is shattered, loses centrality and is confused with the technological context, anticipating contemporary reflection on man-machine fusion.

Contemporary with Picabia, but on a different side, Pablo Picasso (1881-1973) revolutionized the representation of the face with the Cubism, founded together with Georges Braque. Here, the subject is no longer captured from a single perspective, but represented in a visual polyphony: overlapping planes, different angles, broken lines. The idea that reality could be seen simultaneously from multiple points of view corresponds to a new cultural sensitivity, in which Einstein's physics, psychoanalysis and theories of perception questioned every unified vision of reality.

In works such as Les Demoiselles d'Avignon, Picasso rejects classical canons of beauty, disintegrating female bodies into angular geometries. Even the portrait—like the series of portraits of Dora Maar or Marie-Thérèse Walter—undergoes a process of deformation that aims to express the essence of the subject rather than a realistic representation of it. From a technical point of view, Picasso introduces different materials (collages, assemblages), freeing painting from traditional constraints.

In Italy, the Futurism (about 1909-1920) proclaimed the exaltation of speed, technical progress and the break with the past. Umberto Boccioni (1882-1916), leading painter and sculptor of the movement, tried to translate the dynamism of urban life in broken forms and lines of force, as in sculpture Unique forms of continuity in space.

Although not portrayed in the strict sense, his human figures seem to be projected forward, invested by an energy that flows into the surrounding floors and spaces. The basic idea is that modernity—made up of trains, cars, industrial machines—has transformed the perception of time and space, and therefore the human face and body can no longer be represented in a static way. This anticipates the next reflection on bodies photographed in motion and on the use of sequences to capture the phases of the gesture (think of the chronophotography by Étienne-Jules Marey or the nudes of Eadweard Muybridge).

With the beginning of the 19th century, the thirst for new knowledge and the technological drive revolutionized Western society. If until then portraits were made only with traditional techniques—oil on canvas, watercolor, engraving—, around the middle of the century, an invention burst onto the scene that will change the perception of the image forever: the photography. Since its origins, this new medium has catalyzed the interest of scientists, artists, travelers and experimenters of all kinds, triggering a continuous (and sometimes controversial) dialogue with painting. Below we will explore how the great interpreters of the photographic portrait have interpreted and shaped the visual identity of the contemporary age.

The Early Stages of Photography: Documenting the Real

Photography was officially born with the collaboration and research of Nicéphore Niépce (1765-1833) and Louis Daguerre (1787-1851). If Niépce obtained one of the first stable images on sensitized pewter (the famous View from the window at Le Gras, 1826-1827), Daguerre perfected the process by patenting, in 1839, the Daguerreotype. This technique allowed an image to be fixed on a silver-plated copper plate made photosensitive, producing a unique positive, highly detailed but difficult to reproduce in multiple copies.

The first photographic portraits required long poses (even several minutes), so much so that the subjects were supported by special easels. Despite these technical difficulties, the daguerreotype was a great success, especially among the middle classes who wanted to own their own “real” portrait at more affordable costs than those of painting. The demand for portraits grew dramatically, fueling photographic studios around the world and laying the foundations for a new form of visual communication.

Within a few decades, photography freed itself from the initial idea of a 'posing portrait' to also assume a function of documentation of reality. Felice Beato (1832-1909), a pioneer of travel and war photography, traveled to Asia—especially India, China and Japan—to capture historical events and distant cultures. His shots combined ethnographic and anthropological interest with a desire to share the wonders of the world with Europe.

Soon, it was realized that photography could be a formidable means to inform and arouse emotions: the first forms of photojournalism, in which the chronicle of social and political events passed through the lens. In this sense, the portrait became ever closer to concrete reality, showing faces marked by fatigue, traditions and cultural differences.

The Social Portrait and Photography as a Reporting Tool

In the 20th century United States, the Farm Security Administration (FSA) sponsored photographic campaigns to document the condition of agricultural workers and the poorest classes. Dorothea Lange (1895-1965) was one of the protagonists of this project, creating images that would become icons of photojournalism and social portraiture. His most famous shot, Migrant Mother (1936), represents a migrant mother with her children, whose face is marked by anxiety and concern for the future.

From a technical point of view, Lange favoured an approach naturalistic, without the use of artificial lights or elaborate poses, instead seeking an empathetic contact with the people portrayed. The portrait thus became an instrument of awareness: showing the Face of poverty, photography exerted pressure on public opinion and institutions, contributing—at least in part—to change welfare policies.

If Lange used photography with a view to social complaint, André Kertész (1894-1985) chose instead to recount everyday life with a poetic and subjective view. Hungarian by birth, he moved first to Paris and then to the United States. Kertész loved looking for urban views, reflections, shadows, unexpected fragments of life, often using natural light and unusual perspectives.

In his portraits, even if they were of unknown people crossed in the street, a discreet and profound intimacy emerged. Far from the daguerreotype approach, Kertész's photography was characterized by faster shutter speeds (thanks to more advanced cameras) and the opportunity to capture the decisive moment, almost like a very modern “street photographer”. His style influenced generations of photojournalists, including Henri Cartier-Bresson, who recognized his humanistic and lyrical imprint.

The Photographic Avant-garde: Experimentation and Surrealism

With the spread of avant-garde movements, photography became the territory of continuous experimentations. Man Ray (1890-1976), associated with Dadaism and Surrealism, transformed his images into real “art objects” capable of challenging visual conventions. His are famous Rayograph (or 'rayograms'): images obtained without a camera, by placing objects directly on the photosensitive paper and exposing them to light.

Man Ray also used the solarization, a chemical process that partially inverted tones, creating surreal halos and contours around the subjects. In his portraits, the dreamlike dimension of photography was often intertwined with the models' theatrical pose: a mix of provocation, play and charm. At a time when Freud's psychoanalysis and Dalí's Surrealism theorized the importance of dreams and the unconscious, Man Ray translated these concepts into a photographic language that opened up new potential for artistic expression.

On the German side, the school of Bauhaus (1919-1933) promoted the integration of art, craftsmanship, technology and design, starting from the idea that form should respond to function in an essential way. László Moholy-Nagy (1895-1946) was one of the main Bauhaus theorists and experimenters, going beyond pictorial boundaries to explore the photography, the frames (similar to Man Ray's rayograms), the projections of light and the assembly of different materials.

Moholy-Nagy believed in the power of photography to reveal new perspectives and to entice the eye to new perceptual experiences. Working at unusual angles—such as aerial views Oh I plongée/contre-plongée—or with pure abstractions, he redefined the role of light in photography. It was not just a matter of immortalizing a face, but of understanding how shapes, shadows and lines could be components of an autonomous language, a prelude to the minimalist and conceptual trends of the late twentieth century.

Fashion Photography: From Classical Aesthetics to Post-War Revolutions

With the growth of magazines dedicated to style (such as Vogue, founded as early as 1892, but which assumed increasing importance between the two world wars), the fashion photography it became a genre in its own right. Horst P. Horst (1906-1999) was one of the pioneers of a refined language, suspended between classical composure and the influence of Surrealism.

Celebrated for his mastery in the use of Light and shadow, Horst created iconic shots such as Mainbocher Corset (1939), in which a shoulder model wears a corset, highlighted by a clever play of chiarouro. Technically, Horst was very attentive to the composition, took care of every detail of the setting and precisely selected the sensitive materials (low sensitivity films and high-quality photographic papers) to obtain soft, almost pictorial images. Fashion photography, from a pure illustration of clothes, became like this synthesis of elegance, subtle eroticism and evocative power.

Contemporary by Horst, Irving Penn (1917-2009) carried forward an idea of a clean, minimalist, almost sculptural portrait. Famous for his stripped-down sets (neutral backgrounds, natural light or few reflectors), Penn portrayed celebrities, artists, and ordinary people with a sharpness that enhanced their personal character.

An emblematic example is the series “Small Trades” (Small Crafts), in which Penn immortalized artisans, workers, fishmongers, flourishing the simple dignity of their professions. From a technical point of view, Penn often used the size 8x10 inches (optical bench), which allowed him to obtain very fine details and great precision in selective focus. His artistic philosophy was based on the idea that “less is more”: removing all tinsel to let the essence of the subject emerge.

Even more revolutionary was Richard Avedon (1923-2004), which broke the rules of fashion photography in the 1950s and 1960s. While his predecessors sought composure and solemn pose, Avedon introduced the spontaneity And the movement: models that jump, dance, interact with unexpected elements such as animals or urban scenery. Famous is the shot of Dovima with the elephants (1955), emblem of an aesthetic poised between dream and reality.

Technically speaking, Avedon loved flat lights, white backdrops, and also used relatively short shutter speeds to freeze the action. In personal portraits (such as those made for In the American West), instead chose to isolate the subject in a neutral white, bringing to the fore every wrinkle, every imperfection, almost an anthropological investigation into common and marginal faces.

During the 1960s, youth culture exploded in cities like London, where music, fashion and costume merged in a spirit of freedom and rebellion. David Bailey, Brian Duffy and Jeanloup Sieff were among the protagonists of this season: Bailey, in particular, gave a clean cut to rigid poses, preferring the directness and charisma of musicians, models and celebrities, often caught in black and white with a sharp and provocative aesthetic.

Duffy made fashion photography more 'democratic', reflecting the tensions and social news of the time, while Jeanloup Sieff was characterized by a taste for artistic nudity, intense contrasts and daring perspectives. In his portraits, there is always a touch of sensuality and mystery, an invitation to contemplate the beauty of the body in an almost sculptural key.

On the Italian front, Gian Paolo Barbieri (1938-2024) brought an additional dose of 'theatricality' to the fashion portrait, mixing classical inspirations and exotic scenarios. Often, his editorials—created for major fashion houses and published in international magazines—staged real stories, with carefully choreographed costumes, accessories and settings. From a technical point of view, Barbieri treated the Direction of light, using flashes, reflective panels and backdrops that enhance the fabrics and the stage presence of the models.

Contemporary Photography: Identity, Conceptuality and New Technologies

In the 70s and 80s, with the birth ofconceptual art, photography is increasingly becoming a medium for reflect on gender issues, stereotypes, self-representation. Cindy Sherman (1954-) best embodies this trend: using herself as a model, she transforms into a myriad of characters, from Hollywood cinema to pop news, interpreting and deconstructing female clichés.

Technically, Sherman sets up small sets in which she is at the same time a photographer, model, makeup artist and costume designer, studying lights and shots to evoke atmospheres that recall imaginary films or scenes from everyday life. The result is a portrait in which theidentity proves to be fluid and fragmented, raising questions about how much society shapes our image.

More oriented to portraying celebrities is Annie Leibovitz (1949-), who began as a photographer for Rolling Stone, immortalizing rock and movie stars. Very famous is the portrait of John Lennon naked, embraced by Yoko Ono dressed: taken a few hours before the musician's death, it became a symbol of fragility and emotional intensity.

Leibovitz loves to direct his subjects with care, building often elaborate and narrative sets, strongly characterized by scenographic elements. Technically speaking, it uses theatrical lights—plus flashes and reflectors—in addition to digital processing to refine the final result. His work combines realism and invention, sometimes moving towards portrait-reconstruction, in which the subject becomes almost a character in a film or a fairytale.

Specialized in celebrity portraits, Greg Gorman (1949-) favors the plastic force of black and white, where dramatic lighting (often from the side or from below) sculpts faces, enhancing contrasts and skin textures. Compared to Avedon or Penn, Gorman is more prone to a sensual atmosphere, sometimes bordering on the erotic, investigating the physical nature of the subject in an intense and direct way.

From a technical point of view, Gorman uses a skilful use of light control in the studio, experimenting with different schemes (Rembrandt lighting, split lighting, loop lighting) and using dark backgrounds to isolate the subject and focus the viewer's gaze on the expressiveness of the face and body.

With the advent of digital, photography is transformed into a hybrid process, in which post-production and manipulation become central elements. Nick Knight (1958-), founder of the ShowStudio platform, represents a forerunner of this turning point: his fashion and portrait images embrace photo editing software, virtual reality, video art, going into experimental and futuristic territories.

Knight often works with multimedia installations and with the collaboration of designers, musicians and performers, making the photographic act a collective “happening”. From a technical point of view, in addition to the use of high-end digital equipment, Knight integrates projections, graphic interventions and layer overlays, redefining the boundaries between photography, digital painting and artistic performance.

Another example of explosive language is David LaChapelle (1963-), which mixes saturated colors, pop scenarios, religious references and social satire. Known for his portraits of famous people (from Michael Jackson to Lady Gaga) in surreal or kitsch settings, LaChapelle often focuses on excess and provocation to highlight the mechanisms of consumerism and idolatry.

His' staging 'requires weeks of design, the construction of colossal sets and a kaleidoscopic use of artificial light. Digital post-production intervenes massively, accentuating the feeling of being in a parallel world, suspended between dreams and cultural criticism.

The opposite discourse is that of Martin Schoeller (1968-), famous for his portraits in Very first floor, fronts, evenly illuminated on a neutral background. Celebrities and ordinary people are put on the same level: macro-observation of the face reveals pores, wrinkles, glows in the iris, in an operation that “strips” the subject of any artifice.

On a technical level, Schoeller uses lenses that allow for a wide depth of field, keeping every last detail in focus. The front lighting eliminates shadows and dramatic connotations, returning an almost clinical sense, from scientific “cataloguing”, and at the same time an extraordinary intimacy with the subject.

In the field of the most recent photographic portraiture, the work of Platon Antoniou, better known as Platon. Born in Greece and raised between London and New York, Platon has become famous for his portraits of great personalities of our time—heads of state, activists, artists, celebrities—often published in magazines such as Time, The New Yorker and Esquire.

The distinctive feature of Platon is the search for an immediate iconicity: his subjects are almost always in foreground, often in black and white, with lighting that enhances every detail of the face. Unlike Martin Schoeller, who tends to have uniform front lighting, Platon prefers simple but incisive light patterns, which focus attention on expression and on the look.

From a technical point of view, it often uses a medium-short focal length which forces a slight perspective distortion, emphasizing frontality and psychological impact. Its purpose is to capture the essential personality of the subject, be he a political leader (the famous portrait of Vladimir Putin for Time in 2007) or a civil rights activist. This stylistic choice gives an effect of “closeness” and, at the same time, of communicative power, transforming the portrait into an almost instantaneous visual icon.

It symbolically closes this path Tim Walker (1970-), British fashion photographer who plays with the fairytale element. His photo shoots look like something out of a fairytale book: huge hand-built sets, surreal costumes, references to myths and legends.

Walker prefers natural light or illuminated sets in order to create a Dream effect, in which the line between reality and fantasy is deliberately blurred. Often, in digital post-production, it accentuates pastel colors or contrasts, giving a “magical” tone to the final image. With him, the portrait no longer becomes just a description of a face, but Staging a short story where the subject plays a role that goes beyond his daily identity.

Conclusions: The Portrait as Language in Perpetual Motion

Throughout history, the portrayal has always reflected the vision of the human being that each era cultivated of itself, and the visual language with which it was made, it enhanced its cultural, psychological and technical values. In this continuous transformation, The light—or the way to “illuminate” the subject—has played a fundamental role, varying from era to era and helping to establish canons and styles.

In Renaissance painting, the introduction of linear perspective and the targeted use of natural lights and shadows made it possible to give three-dimensionality to faces. The lighting, generally diffused and subdued, respected an environmental likelihood that recalled daylight filtered through a window. The artists, attentive to the anatomy and the gradual fading of color ( nuanced Leonardesco), gave centrality to the harmony of forms, constructing balanced and “rational” portraits.

With the Baroque, drama came to the fore: Caravaggio, for example, introduced a use of Chiaroburo so marked as to transform the light into a theatrical cut, coming from a single side source, capable of sculpting the face and leaving the rest in the dark background. This' window 'of light, exalting expressions and emotions, became a pictorial canon and profoundly influenced subsequent developments: the 'Rembrandt light' testifies to this, in which that characteristic luminous triangle is created on the shaded cheek.

With Impressionism, light lost its symbolic value to become a variable optical phenomenon: artists portrayed faces immersed in flickering and iridescent glows, often outside, reproducing the brightness of the moment. The quick brushstroke and the 'clean' color made the language of the portrait more 'immediate' and free from strict academic canons.

The advent of photography he then shifted his attention to the technical control of the light source. From the dawn of the daguerreotype, with very long poses and improvised stabilizations, we gradually moved to increasingly codified light patterns, thanks to the possibility of using flashes, continuous lamps, and then specific accessories (diffusers, softboxes, umbrellas). Photographic portraiture inherited pictorial inspiration—think of Rembrandt's light revived in the studio—but experimented with new canons, such as Butterfly light (from the top of the front), the Loop light (slightly lateral) and the Split light (half a face in the shade). This language has made it possible to emphasize character traits, moods or to give a heroic/ideal aura to the subject.

In the Twentieth Century, fashion photographs—from Richard Avedon to Irving Penn—introduce minimal patterns and flat lights to eliminate distractions, while glamorous portraits often adopt soft, diffused lighting to emphasize the smoothness of the skin. At the same time, “social” and conceptual photographers (think of Dorothea Lange or, in a modern key, Martin Schoeller) have transformed light into an instrument of documentary truth or exasperation of details, offering crude or hyper-close portraits in which every sign and every wrinkle acquires narrative significance.

Oggi, thanks to digital technologies, portrait lighting is further expanded: ring light to emphasize the eyes, LED lights with color temperature control, post-production manipulations to chisel shadows and reflections. The result is a range of possibilities in which the light pattern becomes an element of “direction” as much as the composition or expression of the subject.

In this way, the light—from a simple technical device to a real symbolic “language” —continues to redefine Canons of portraiture, offering infinite readings of human identity and becoming a tool to bring the observer closer or further away from the “face” represented, in a game of revelations and mysteries that, centuries later, remains the beating heart of this artistic genre.

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Throughout history, every great technological innovation has brought with it not only enthusiasm, but also deep fears, especially among those who feared for their role in the world. It happened in the 19th century with the birth of photography, it happened in the 20th century with the introduction of compact cameras and the first automatisms, and it's happening today with the advent of Artificial Intelligence (AI). But, looking back, these fears have always been transformed into new opportunities to evolve and enrich the visual language. Let's see how.

When the invention of the daguerreotype was announced in 1839, many painters felt betrayed by technology. Until then, only painting could immortalize faces, historical scenes or landscapes. The idea that a 'magic machine' could replace the artist terrified figures like Jean-Auguste-Dominique Ingres, while the poet Charles Baudelaire dismissed photography as a soulless mechanical process.

And yet, this fear proved to be unfounded. Painting not only survived, but it freed itself from the need for realism, paving the way for revolutionary movements such as Impressionism and Cubism. Photography did not destroy painting; on the contrary, it gave it the opportunity to reinvent itself and reach new expressive heights.

At the beginning of the 20th century, the first compact cameras, such as the Leica, caused a stir among traditional photographers, who were used to working with bulky optical benches. “Too small, too simple, too unprofessional,” they said. The resistance was understandable: the transition from complex equipment to a portable tool radically changed the way we work.

And yet, the Leica not only democratized photography, but allowed photographers to tell the world in a more immediate way, giving birth to modern photojournalism. Let's think of Henri Cartier-Bresson, who, thanks to a Leica, captured “the decisive moment”, forever revolutionizing the very concept of photography.

In the 70s and 80s, the introduction of autofocus was met with skepticism. For many, entrusting the focus to an automatic system was a sacrilege. “Where is art if the machine does everything by itself?” they were wondering.

However, even this innovation proved to be a step forward. The autofocus freed photographers from the need to focus on technical details, allowing them to dedicate themselves to composition and visual storytelling. Today, autofocus is considered an indispensable tool for capturing dynamic and fleeting scenes.

In the 90s, the transition from film to digital was another ideological battle. Many professionals rejected digital, arguing that it could never match the quality and 'magic' of film. The same attitude was repeated with the advent of mirrorless cameras, criticized for being 'toys' compared to traditional SLRs.

And yet, digital technology has transformed the world of photography, making it more accessible, versatile and sustainable. Mirrorless cameras, with their light weight and technological innovation, have taken photography to previously unthinkable places, opening up new creative possibilities.

In recent years, smartphones have further shaken the world of photography. Professional photographers have often expressed disdain for the 'ease' with which anyone can take high-quality photos. However, these devices have democratized visual art, allowing millions of people to express themselves and share stories through images.

Far from destroying traditional photography, smartphones have enriched the global visual language, making every person a potential storyteller.

Today, the fear has shifted to AI. Tools like DALL-E, MidJourney, and Stable Diffusion can generate extraordinary images from simple textual descriptions. Many photographers wonder: “If a camera can create incredible images in seconds, what will happen to us?”

But, as in the past, AI should not be seen as a threat, but as a tool. Just as photography didn't destroy painting, AI won't eliminate human photography. On the contrary, it can become a powerful ally for expanding the boundaries of creativity, allowing photographers to explore new ideas and languages.

Looking back, history teaches us that every technological innovation has led to a moment of fear, followed by a phase of extraordinary progress. Painters have embraced the freedom offered by photography, photographers have taken advantage of compacts, digital technology and even smartphones to expand their visual vocabulary.

Today, AI places us at a crossroads: we can fear it or use it to reinvent photography. The choice is in the hands of the creatives. And if there's one lesson that history teaches us, it's this: art never dies. It changes, evolves and becomes more powerful. The photograph of the future, with AI as an ally, could surprise us more than we imagine.

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Bibliography:

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Baudelaire, C. (1859). The modern public and photography. In Salon of 1859. Editions Honoré Champion - ISBN-13: 978-2745313355
Baudelaire discusses his criticism of photography, arguing that, although it is a fascinating technology, it does not represent real art, being devoid of the creative imagination that characterizes painting.

Gombrich, E.H. (1972). The Story of Art. Phaidon Press. - ISBN-13: 9780714832470
A fundamental text that explores the history of art and how the introduction of photography has influenced the evolution of painting, stimulating movements such as Impressionism and Cubism.

Adams, R. (1996). Why People Photograph: Selected Essays and Reviews. Openings. - ISBN-13: 9780893816032
In this essay, Adams explores the evolution of photography and how it has become an art capable of coexisting and collaborating with other traditional art forms.

Manovich, L. (2018). AI Aesthetics. Strelka Press. - ISBN-13: 9781916297303
Manovich analyzes the impact of artificial intelligence in the field of visual arts, discussing whether and how AI can be considered a creative tool or a threat to traditional artistic production.

Shanken, E.A. (2009). Art and Electronic Media. Phaidon. - ISBN-13: 9780714847825
An extensive review on the integration of technology in the arts, from the development of photography to artificial intelligence and digital media, showing how these tools have always coexisted with human creativity.

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Color: Beyond Simplified Definitions

When we talk about 'red', our mind immediately turns to specific shades, such as the vibrant color of a Ferrari or the burning flame of a fire. However, behind this simple label hides a universe of nuances, technical variations and cultural meanings that we often overlook. Our inclination to simplify language leads us to reduce the entire complexity of color to a generic definition. In reality, each color, including red, embraces a wide spectrum of meanings, both technical and cultural.

Color is not an intrinsic property of objects, but the result of an interaction between light, surface and human perception. As Josef Albers points out in Interaction of Color (1963), color depends not only on the physical characteristics of an object, but also on environmental conditions and on our visual interpretation.

Lighting conditions have a significant impact on our perception of colors. The temperature of the light, which varies from warm to cold, affects the appearance of red. For example, Traffic Red may appear particularly vibrant in natural light, while it may appear darker and less intense under cold artificial lighting. This phenomenon, known as chromatic adaptation, reflects our brain's ability to adjust color perception based on the light source (Schanda, 2007).

Display technology also plays a crucial role. While digital monitors use the RGB (Red, Green, Blue) system, which is based on the emission of light to create colors, printing uses the CMYK system (Cyan, Magenta, Yellow, Black), based on the reflection of light. These technical differences mean that a color like Tomato Red may appear less vivid on paper than it does on a monitor (Hunt, 2004; Fairchild, 2013).

Subjective Color Perception

The perception of color is a profoundly subjective experience. As Margaret Livingstone explains in her book Vision and Art: The Biology of Seeing (2008), the physiology of the human eye plays a crucial role in the ability to distinguish different shades. Changes in eye photoreceptors may allow some people to perceive subtle shades between similar hues, such as Blood Red and Grenade Red, while others may not notice the differences at all.

Tools such as the Farnsworth-Munsell 100 Hue Test have been developed to measure a person's ability to perceive and distinguish subtle variations in color. This test reveals how biology and personal experience influence color perception, helping to identify any difficulties, such as color blindness or reduced sensitivity to colors (Birren, 1961). However, most people are not aware of the complexity of these perceptual differences and how they affect color interpretation.

In addition to biology, culture significantly affects our perception of color. Riccardo Falcinelli, in Cromorama (2017), points out that red is commonly associated with intense emotions such as passion and love in Western cultures, while in many Asian cultures it symbolizes prosperity and good luck. These cultural differences not only shape the interpretation of colors, but they also affect the terminology we use to name and catalog them.

Color naming can be confusing. Colors with similar names can appear considerably different when analyzed technically. For example, RAL 3000 (Fire Red) and RAL 3020 (Traffic Red), although both defined as “red”, have significant differences in saturation and brightness. This highlights the importance of using precise terminology to avoid misunderstandings and ensure visual and technical consistency (Itten, 1970).

The Case of 'Ferrari Rosso' and Linguistic Simplification

“Ferrari Red” is an excellent example of how common language simplifies the concept of color. Often we immediately associate this shade with the iconic car team, without considering the numerous variations that 'Ferrari Rosso' has undergone over time. From the Rosso Barchetta shade of the 1950s to the modern Rosso Scuderia, designed to stand out better on television, each version has precise technical differences.

However, in our minds, all of these variants are simply labeled “Ferrari Red” because they are on the red spectrum and cover a Ferrari. We ignore the differences between the technical values of RGB, CMYK, Pantone or RAL, reducing an entire range of shades to a single mental label. This phenomenon reflects how our brain simplifies visual complexity, neglecting details that, technically, distinguish one shade from another.

To better understand this dynamic, let's consider a larger group of reds, such as Cinnabar Red, Crimson Red, Bordeaux Red and Pompeian Red. Although all these colors are commonly referred to as' red ', from a technical point of view they have significant differences. For example, Cinnabar Red (Pantone 1795 C) has an RGB composition of 218-41-28, creating a particularly saturated and vibrant color. In comparison, Crimson Red (Pantone 200 C) has an RGB value of 196-30-58, resulting in a deeper, darker tone.

In everyday language, these shades tend to be simplified into a single category: 'red'. However, each shade has its own story and a very specific technical meaning. Cinnabar Red, for example, has been used as a pigment since ancient times, symbolizing wealth and power thanks to its unique brilliance. In the same way, Crimson Red has a long tradition, being associated with medieval and Renaissance nobility.

The Cases of Carmine Red - Crimson Red and Scarlet Red - Fire Red - Cadmium Red and the simplification of technical language

An interesting example of this simplification is the comparison between Carmine Red, Crimson Red, Scarlet Red, Fire Red and Cadmium Red. Although all of these colors are commonly referred to as' red ', each of them has its own well-defined technical identity. For example, Carmine Red (Pantone 200 C) and Crimson Red (also Pantone 200 C) share the same code, but may be perceived differently depending on the surfaces on which they are applied and the lighting conditions. Scarlet Red (Pantone 485 C), Fire Red (Pantone 485 C) and Cadmium Red (Pantone 485 C) are also similar in RGB and CMYK values, but their distinct names connect each of them to specific contexts and to different applications in design, fashion and graphics.

These examples demonstrate that apparently similar colors can have very different connotations and applications. Linguistic simplification often leads us to ignore these distinctions, which can instead have a significant impact in professional fields such as design and art, where even the smallest chromatic variations can influence the final perception of a work or product.

Carmine Red and Crimson Red offer an interesting example of how apparently similar colors can have distinct identities depending on the color classification system. Both share the Pantone 200 C code and have RGB values of 196, 30, 58, but they differ in RAL and TCX systems:

• Carmine Red is identified in the RAL system as RAL 3002, while the Crimson Red is designated as RAL 3003. This shows that, despite having the same Pantone code, the industry clearly distinguishes them.

• In the TCX system, Carmine Red is called Crimson, while Crimson Red is known as Scarlet Sage. This slight variation in names suggests differences in interpretation in the fashion and design sectors.

Another emblematic example concerns the colors Scarlet Red, Fire Red and Cadmium Red. Even though they belong to the same color family, the differences in their codes highlight the complexity of color management:

• Scarlet Red is encoded as Pantone 485 C and has RGB values of 237, 27, 36. It is frequently used in advertising settings due to its liveliness.

• Fire Red, while sharing the Pantone code with Scarlet Red, is perceived as brighter, with RGB values of 255, 0, 0, making it suitable for contexts that require immediate attention.

• Cadmium red, finally, it presents a Pantone 485 C with RGB values of 255, 3, 62, showing deeper shades than the other two, while maintaining its identity as “pure red”.

Technical Differences and Implications

These examples highlight how the perception and use of colors that appear similar can be determined by subtle technical differences. Scarlet Red and Fire Red, despite having very close RGB values, are distinguished based on small details that only measuring instruments such as colorimeters can detect. Even a slight deviation in CMYK values can cause visual variations, especially under different lighting conditions or on different materials.

The different names in the TCX and RAL systems not only reflect these technical variations, but also highlight how the fashion and industrial design industries can categorize and use color in very different ways. A color called Poppy Red in the TCX system can take on a completely different meaning than Cadmium Red, depending on the practical application.

The distinction between digital visualization and printing, however, represents one of the most significant challenges for those who work in the field of design and visual communication. Digital visualization is based on the RGB (Red, Green, Blue) system, which uses the light emitted by pixels to create colors. On the contrary, printing uses the CMYK system (Cyan, Magenta, Yellow, Black), based on the subtraction of light, using inks on physical surfaces to reproduce colors. These differences in display and reproduction methods can lead to significant variations in color perception: a vibrant red seen on a screen may appear less saturated or different on paper.

To ensure consistency across these different media, Pantone tables play a crucial role. Pantone offers a standardized reference system that allows designers and manufacturers to accurately predict how colors will appear on different materials, from monitors to prints. The use of Pantone to communicate colors between designers, printers and manufacturers is essential to avoid discrepancies and misunderstandings in the production process (Grimley & Love, 2007).

Standardized references are not only useful for ensuring consistency between digital and physical, but also for preserving the visual identity of a brand or product. Pantone tables, together with tools such as colorimeters and the Delta E measurement system, provide measurable and precise parameters to ensure that the colors chosen meet expectations.

The Delta E measures the differences between two perceived colors, allowing professionals to accurately determine if a color variation is acceptable. This technology is crucial for maintaining color recognition across different platforms and materials. For a brand, ensuring that its color is exactly the same on a website, in a brochure or in a packaging is essential for the consistency of visual communication (Balzani, 2011).

Impact on Design and Production

In the world of design and production, where chromatic consistency is fundamental, understanding these technical differences becomes essential. Imagine a brand that has built its visual identity around a particular shade of red. If this color is not accurately standardized on various supports - such as on digital screens, printed paper or painted surfaces - it can be inconsistent, altering the overall image of the brand.

The complexity of color standardization is particularly evident in sectors such as fashion, advertising and the automotive industry. Even a small mistake in choosing the Pantone or RAL code can lead to visually unsatisfactory results, with tangible consequences on the aesthetics and perception of a product. Therefore, the ability to distinguish between colors such as Scarlet Red, Fire Red and Cadmium Red is not only a technical issue, but a crucial factor for maintaining chromatic consistency and ensuring the final quality of the design or product.

These examples help us understand how language and simplified definitions of color can mask a technical complexity that plays a crucial role in many sectors. The way in which we perceive and interpret color, and how it is managed at an industrial level, is an integral part of precise and consistent visual communication.

In-depth study: The Historical and Cultural Meanings of the Color Red

Red is a crucial element in artistic expression, used to evoke intense emotions. Artists like Caravaggio and Rubens have used red to emphasize moments of dramatic tension, creating powerful atmospheres. In literature, red plays a significant role. Works like Red and black by Stendhal use color to symbolize ambition and inner conflicts, reflecting the passions and tensions of the characters. This shows that red not only has a visual impact, but also an important emotional and narrative weight, intensifying the involvement of the reader or viewer (Itten, 1970).

Throughout history, red has taken on profoundly different meanings depending on the cultural and temporal context. An emblematic example is the Pompeian Red, used in the frescoes of ancient Pompeii, a symbol of elegance and beauty and representative of the refinement of Roman patrician homes. The accessibility of synthetic pigments has expanded the use of red in multiple applications, from art to fashion, influencing our perceptions (Grimley & Love, 2007).

For the Romans, this color represented much more than just a shade. It symbolized prestige and wealth, associated with the homes of the patrician elites and the magnificence of the frescoes that decorated their homes. Today, this wealth of cultural nuances is often ignored in everyday communication, where we simplify our understanding of color, reducing Pompeian Red to a generic definition of 'red'.

This color, with RGB values of 163-43-43, is more earthy and darker than other bright shades of red, such as Fire Red or Hibiscus Red. Despite these distinctions, in common language we tend to refer to all these colors simply as' red ', neglecting their deep roots in the art and beauty of Roman antiquity.

In the religious sphere, red has strong symbolic connotations. In Christianity, it represents the sacrifice and martyrdom of Christ, while in Hinduism it symbolizes prosperity and fertility, as evidenced by the brides' clothing during wedding ceremonies. The cultural perception of color is a crucial aspect, since it can vary enormously from one region of the world to another. In the West, red is therefore commonly associated with passion, love and danger. However, in many Asian cultures, red has completely different meanings: it is considered the color of luck, prosperity and joy, often used in major celebrations, such as weddings and the Chinese New Year. For example, Tomato Red (Pantone 2035 C), with RGB values of 255-99-71, can evoke freshness and appetite in the West, especially thanks to its association with food, while in Asia it could assume an auspicious meaning. These examples demonstrate how a color can vary in symbolic meaning, influenced by cultural beliefs and traditions (Balzani, 2011).

This diversity of cultural perception underlines how color is not only a technical issue, linked to formulas and codes, but also a phenomenon deeply rooted in the traditions and collective experiences of a community. The language used to describe colors is not, therefore, a mere simplification of physical reality, but represents shared cultural and social experiences.

The Perception of the Color Red

The color red isn't just a visual choice; it also has significant effects on mental health and human behavior. Various researches have shown that the perception of red can cause physiological reactions, such as increased heart rate and blood pressure, associated with a sense of energy and excitement. For this reason, red is often used in situations that require immediate attention or a quick response, such as warning and danger signals. Red naturally attracts attention and is considered the color of urgency. A study by Elliot & Niesta (2008) highlighted how red is associated with psychological arousal, making it a dominant color in settings that require an immediate response.

In the world of advertising and marketing, red is used for the same reasons: its ability to attract attention and evoke quick reactions makes it a powerful color for promoting immediate messages. Iconic brands such as Coca-Cola and Target use red in their logos to evoke strong emotions and remain etched in the consumer's mind. Red is frequently associated with dynamism, excitement and vitality, characteristics that make products more desirable. The use of red in commercial promotions, according to numerous studies, has been shown to increase public interest and to push people to make decisions faster than more neutral colors (Hunt, 2004). This reflects its stimulating and engaging nature.

Even the world of fashion and design has benefited from the expressive power of red. Over the years, some specific shades of red have become cultural symbols. An example is Rosso Valentino (Pantone 200 C), a sophisticated shade that evokes luxury and elegance, thanks also to its association with the well-known Italian designer. This red, characterized by an RGB of 204-0-0, transmits passion and class, creating a combination between the world of design and visual emotion.

In the same way, Ferrari Red is another example of how a specific shade has become a cultural icon. The red color of Ferrari cars represents speed, prestige and performance. These examples demonstrate how, regardless of small technical variations in shades, common language tends to simplify, leading to a perception of color that, although rich in meanings, does not always reflect its chromatic complexity.

Conclusion

We used the Color Red, but we could have used Blue, Green, Yellow or any other color. The visual language is extremely complex and behind every single nuance hides a journey made of history, science, biology, habit and language. The color is not unique both technically and linguistically it is a mistake, in glitch. There is no parameter to define it absolutely, it is a convention but most of the time it turns out to be an abstraction.

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Bibliography:

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• Albers, J. (1963). Interaction of Color. Yale University Press. ISBN: 978-0300179354

• Balzani, M. (2011). The color project. Operational handbook for the chromatic management of architectural surfaces. Maggioli Editore. ISBN: 978-8838768928

• Birren, F. (1984). Color and Human Response: Aspects of Light and Color Bearing on the Reactions of Living Things and the Welfare of Human Beings. Van Nostrand Reinhold. ISBN: 978-0442209612

• Elliot, A.J., & Niesta, D. (2008). Romantic red: Red enhances men's attraction to women. Journal of Personality and Social Psychology, 95(5), 1150-1164.

• Fairchild, M.D. (2013). Color Appearance Models (3rd ed.). Wiley-IS&T Series in Imaging Science and Technology. ISBN: 978-1118653100

• Falcinelli, R. (2017). Cromorama: How color has changed our way of looking. Einaudi. ISBN: 978-8806234656

• Grimley, C., & Love, M. (2007). Color in Context: A Cross-Platform Guide to Color Systems. Princeton Architectural Press. ISBN: 978-1568987058

• Hunt, R.W.G. (2004). The Reproduction of Colour (6th ed.). Wiley-IS&T. ISBN: 978-0470024260

• Itten, J. (1970). The Art of Color. Van Nostrand Reinhold. ISBN: 978-0471289286

• Livingstone, M. (2008). Vision and Art: The Biology of Seeing. Harry N. Abrams. ISBN: 978-0810995543

• Schanda, J. (2007). Colorimetry: Understanding the CIE System. Wiley. ISBN: 978-0470049041

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Intro

Have you ever thought that photography and your evening bath might have something in common? No? Well, get ready to dive into a world where shutter speeds, diaphragm and ISO become taps, tanks and pressure regulators. In this ironic and irreverent journey, we will explore in depth and technically accurate the key concepts of photographic exposure, using the analogy of a bathtub to be filled to perfection. In this way, you will discover new perspectives and, perhaps, you will laugh a bit along the way.

The Light (LV)

Light is the essence of photography; without it, there would be no images. The Light Value (LV) represents the amount of light present in a scene. Imagine having to fill a bathtub: the amount of water available corresponds to the amount needed to fill it properly. In photography, it corresponds to the light of the scene that must be transmitted entirely on film or sensor.

What is Light Value (LV)?

In photography, the Light Value is a measure that quantifies the brightness of the scene, ranging from very low values (dark scenes) to very high values (bright scenes) . • High LV (lots of light): A sunny day in the park, where the sun shines high in the sky. Your pool is surrounded by flooded rivers; there's certainly no shortage of water.

• Low LV (low light): A candlelit dinner or a starry night. That is, you are trying to fill the tub with one glass of water at a time; it takes patience.

How the Value of Light Influences Your Choices

Knowing how much light you have available is critical to deciding how to set up your camera. If there is plenty of light, you can afford to close the diaphragm a bit or use shorter shutter speeds. If the light is scarce, you will have to open the diaphragm, extend the shooting time or increase the ISO, but we will see this step by step, for now let's focus on some important aspects:

• High LV scenario: You're taking pictures on the beach at noon. The light is bright, almost blinding. It's like having an infinite water tank ready to fill your tub in a flash. You have to be careful not to let it spill over.

• Low LV scenario: You are in a room with soft lighting. The light is dim, almost non-existent. It's like trying to fill the tub with a few drops of water. You'll need to optimize each resource to get a well-exposed photo.

Technical and Emotional Considerations

• Techniques: Under low LV conditions, you risk underexposure. You'll have to adjust the settings to capture more light, otherwise you'll get images that are too dark.

• Emotional: Photographing in poor light conditions can be a challenge, but also an opportunity to create intimate and suggestive atmospheres. You can take advantage of shadows and weak lights to give your photos an artistic touch.

The Diaphragm

Welcome to the second chapter of our journey through photography and bathtubs! After exploring the amount of light available in the scene (Value of Light or LV), it's time to dive into one of the most fascinating elements of photography: diaphragm. In our analogy, the diaphragm corresponds toTurn on the faucet.

What is the Diaphragm?

In photography, the diaphragm It is a component of the lens that controls the amount of light that enters the camera. It works like the iris of the human eye, dilating or narrowing to regulate the entry of light onto the retina.

The diaphragm consists of a series of superimposed blades that can open or close, modifying the width of the opening through which light passes. This opening is measured in F-number or F-stop, such as f/1.8, f/4, f/11, etc.

No, no, no, don't be scared! It is only the result of a ratio between the focal length of your lens and the diameter of the hole through which the light passes. It's practically just a number divided by another number, don't pay attention to it!

Opening the Faucet in the Bathtub

Imagine the diaphragm like the faucet in your bathtub: • Faucet open to maximum (large diaphragm, low f-number): The water flows abundantly, filling the tub faster. • Tap just opened (narrow diaphragm, high f-number): The water flows out in a trickle, and it takes longer to fill the tub.

In the world of photography, a low f-number (e.g. f/1.8) indicates a very open diaphragm, which allows a lot of light to enter. A high f-number (e.g. f/16) indicates a more closed diaphragm, which lets in less light.

As I told you, it's just a number divided by another number, in practice it's simple, read the focal length on your lens, it's that thing expressed in millimeters. For convenience, we refer to the normal lens which is 50mm.

Let's assume that your lens has f/2.0 written on it, it means that the maximum aperture, or the size of the maximum hole through which light passes, is given by this formula: 50mm/2.0 or 25mm

If it had been f/4.0 we would have had the 50mm/4.0 formula or 12.5mm, so smaller.

How the Diaphragm Works

The diaphragm not only controls the amount of light that reaches the sensor, but it also affects the depth of field, that is, the portion of the image that appears sharp. • Large opening (low f-number): Shallow depth of field. Only the subject in the foreground is in focus, while the background is pleasantly blurry. • Narrow opening (high f-number): Extended depth of field. Both the foreground and background are in focus, capturing every detail of the scene.

Effects of Diaphragm on Photography

Let's imagine applying these concepts to our bathtub: • Do you want to fill the tub quickly because the hot water is about to run out? Turn on the faucet to the maximum (large diaphragm). The water flows plentifully, but you have to be careful not to flood the bathroom! In the same way, a very open diaphragm allows a lot of light to enter, but you risk overexposing the photo if not properly balanced. • Do you have time and want to enjoy the relaxing sound of flowing water? Turn on the faucet just a little (tight diaphragm). The tub fills up slowly, preventing you from unwanted splashing. In photography, a more closed diaphragm lets in less light, ideal in bright conditions to prevent overexposure.

Creative Diaphragm Effects

The diaphragm is a powerful creative tool:

• Isolation of the subject: With a very open diaphragm (e.g. f/1.4), you can isolate the subject from the background, ideal for portraits where you want to highlight a person or a detail.

• Extended depth of field: With a closed diaphragm (e.g. f/16), you can ensure that every element of the scene is in focus, perfect for landscapes or architectural photographs.

• Special lighting effects: Using narrow openings, point light sources can take on a starry shape, adding a magical touch to your night photos.

Practical Tips

• Portraits:

• Recommended setting: Large diaphragm (f/1.8 - f/2.8).

• Desired effect: Background blur (bokeh) to highlight the subject.

• Landscapes:

• Recommended setting: Narrow diaphragm (f/11 - f/16).

• Desired effect: Everything in focus, from the first floor to the horizon.

• Attention to sharpness:

• Each lens has an optimal aperture for maximum sharpness (usually between f/5.6 and f/8). Experiment to find your target's 'sweet spot'.

• Avoid diffraction:

• Using extremely narrow apertures (e.g. f/22) may cause a loss of sharpness due to light diffraction.

Technical and Emotional Considerations

• Technical consequences:

• Depth of field: Controlling the diaphragm allows you to decide how much of the scene will be in focus.

• Exposure: The diaphragm affects the amount of light that reaches the sensor, affecting the overall exposure.

• Emotional consequences:

• Focus of attention: A shallow depth of field can direct the observer's eye to the main subject, creating a stronger emotional bond.

• Atmosphere: The blurry background can add a sense of intimacy or isolation, while an extended depth of field can convey vastness and complexity.

A Dive into Numbers: Understanding F-numbers

To help you master the diaphragm, here's a quick guide on f-numbers:

• f/1.4 - f/2:

• Very large opening.

• Use: Poor lighting, extremely shallow depth of field.

• Effect: Ideal for portraits with a heavily blurred background.

• f/2.8 - f/4:

• Large opening.

• Use: Good for isolating the subject, still manageable in terms of depth of field.

• Effect: Noticeable but less extreme background blur.

• f/5.6 - f/8:

• Medium opening.

• Use: Balance between depth of field and amount of light.

• Effect: Sharp details on the subject with a slightly blurry background.

• f/11 - f/16:

• Narrow opening.

• Use: Landscapes, architectural photography.

• Effect: Maximum depth of field, everything is in focus.

• f/22 and above:

• Very narrow opening.

• Use: When an extremely large depth of field is needed, but with attention to diffraction.

• Effect: Possible loss of sharpness, but maximum extension of the area in focus.

The diaphragm, or the opening of the faucet in our analogy, is an essential tool for controlling both the technical and creative aspect of your photographs. Its management allows you to decide how much light enters the camera and how the depth of field is rendered in your image. Remember that every choice has its consequences: just as a faucet that is too open can flood the bathroom, a diaphragm that is too open can compromise exposure or depth of field. Conversely, a freshly opened faucet could make you wait hours to fill the tub, just as a diaphragm that is too closed could force you to use high ISO or long shutter speeds, increasing noise or the risk of movement. The key is to find the right balance based on the scene you want to capture and the effect you want to achieve. Experiment, have fun and don't be afraid to turn those 'knobs': after all, photography is as much an art as it is a science.

The Shutter Time

Welcome to the third chapter of our compelling journey through photography and bathtubs! After exploring the amount of light available in the scene (Value of Light or LV) and the opening of the faucet (the diaphragm), it's time to dive into shutter speed, which in our analogy corresponds to duration of water flow.

What is Shutter Time?

The shutter speed is the period during which the camera's shutter remains open, allowing light to reach the sensor. It is measured in fractions of a second (for example, 1/1000 of a second) for short times, or in whole seconds for long times. Essentially, it controls how long the light is' collected 'by the camera.

The Bathtub Analogy: The Duration of Water Flow

Imagine the shutter speed as the time you leave the faucet on for:

• Tap on for a short time (short shutter speed): The water flows for an instant, filling the tub only partially. Useful when the pressure is high and you don't want to flood the bathroom.

• Faucet open for a long time (long shutter speed): The water flows for an extended period, filling the tub slowly but completely. Necessary when the water comes with low pressure.

How Shutter Time Works

The shutter speed affects both the amount of light that reaches the sensor and how the movement is recorded in the photo:

• Short shutter speed:

• Technical effect: Less light reaches the sensor.

• Effect on the photo: Freeze the movement. Ideal for shooting fast-moving subjects without blurring.

• Long shutter speed:

• Technical effect: More light reaches the sensor.

• Effect on the photo: Capture the movement. The moving objects appear blurry, creating artistic and suggestive effects.

Practical Examples

• Short shutter speed (1/1000 of a second):

• Situation: Do you want to photograph a running athlete or a flying bird. The light is abundant (high LV).

• Result in the photo: The movement is frozen; the subject appears sharp and detailed.

• Long shutter speed (1 second or more):

• Situation: Do you want to capture the light trails of cars on a street at night or create a silk effect on a waterfall. The light is poor (low LV) or you have controlled the amount of light by other means (such as ND filters).

• Result in the photo: The movement appears creatively fluid and blurry; the static elements remain sharp.

Balancing Shutter Time with Other Elements

Changing the shutter speed requires compensating with the aperture and ISO to maintain the correct exposure:

• If you extend the shutter speed (tap open longer):

• Effect: More light reaches the sensor, risking overexposure.

• Compensation:

• Close the diaphragm (reduce the opening of the faucet): Limit the amount of light that enters per unit of time.

• Lower the ISO (reduce water pressure): By decreasing the sensitivity of the sensor, you avoid overexposure.

• If you shorten the shutter speed (tap open for less time):

• Effect: Less light reaches the sensor, risking underexposure.

• Compensation:

• Open the diaphragm (increase the opening of the tap): Let more light in in less time.

• Increase ISO (increase water pressure): By making the sensor more sensitive, you capture more light in the short range.

Creative Shutter Time Effects

The shutter speed control not only serves to manage exposure, but also to create artistic effects:

• Freeze the action:

• Use: Sports, wildlife, fast events.

• Emotional effect: Capture otherwise invisible details, creating dynamic and engaging images.

• Show the movement:

• Use: Waterways, urban traffic, moving clouds.

• Emotional effect: Convey the flow of time, adding a sense of dynamism and atmosphere to the image.

Practical Tips

• Using the tripod:

• When is it needed: With long shutter speeds, to avoid movement caused by hand shake.

• Benefits: It keeps the camera stable, ensuring sharpness in static elements.

• Reciprocal rule:

• Principle: The shutter speed should be at least the inverse of the lens's focal length to avoid freehand motion.

• Example: With a 50mm lens, use a shutter speed of at least 1/50 of a second.

• Image stabilization:

• Technology: Many modern lenses and cameras have systems that reduce blur.

• Limits: They cannot compensate for subject movement; ideal for static subjects with moderately long shutter speeds.

A Dive into Numbers: Understanding Shutter Times

• 1/4000 — 1/1000 of a second:

• Use: Freeze very fast actions (e.g. extreme sports, wildlife).

• Effect: Completely frozen movement, razor-sharp details.

• 1/500 — 1/125 of a second:

• Use: Generic photography, people in normal motion.

• Effect: Suitable for freehand shots without obvious movement.

• 1/60 — 1/15 of a second:

• Use: Low-light shooting, static subjects.

• Effect: Risk of movement; use of a tripod or stabilization is recommended.

• 1/8 of a second and more:

• Use: Creative effects, such as intentional blurs, light trails.

• Effect: Clear movement, creation of dreamlike atmospheres.

Technical and Emotional Considerations

• Technical consequences:

• Unwanted move: A shutter speed that is too long can cause blurring if the camera or subject moves.

• Exposure: The shutter speed directly affects the amount of light that reaches the sensor.

• Emotional consequences:

• Motion transmission: You can communicate energy and dynamism through the blurriness of movement.

• Suspension of time: Freezing a moment can reveal surprising details and create a sense of wonder.

Application in the Analogy of the Tub

• Are you in a hurry to fill the tub but the water comes with low pressure?

• Action: Leave the faucet running longer (long shutter speed) to collect enough water. You may have to wait, but you will get the desired result.

• The water pressure is very high and you don't want to flood the bathroom?

• Action: Open the faucet for a very short time (short shutter speed) to prevent the tub from overflowing. It will be enough to fill the tub without causing disasters.

The shutter speed, or the duration of the water flow in our analogy, is a key element for controlling exposure and for expressing your creativity in photography. Understanding how to manipulate it allows you to freeze action or emphasize movement, adding depth and visual interest to your images. Remember that every choice involves compromises: a long shooting time may require the use of a tripod and may not be suitable for fast-moving subjects, while a short time requires sufficient light or wider apertures of the diaphragm. Experiment with different shutter speeds and see how they affect the final result. Just as adjusting the time you leave the faucet on changes your bathroom experience, so the shutter speed can completely transform your photograph.

THE ISO

Welcome to the fourth chapter of our absurd journey through photography and bathtubs! After exploring the amount of light available (Value of Light or LV), the opening of the faucet (diaphragm) and the duration of the water flow (shutter speed), it's time to talk aboutISO, which in our analogy represents the pressure regulator some water.

What is ISO?

In photography, theISO indicates how sensitive the camera's sensor is to light. A lower ISO value means that the sensor is less sensitive to light, requiring more light for proper exposure but ensuring higher image quality. A higher ISO value increases the sensitivity of the sensor, allowing you to shoot in low light conditions but potentially introducing more Digital noise (graininess in the image).

The Bathtub Analogy: The Pressure Regulator

Imagine the ISO as the pressure regulator of water in your plumbing system:

• Low ISO (low pressure): The water comes out of the tap with little pressure. It takes longer to fill the tub, but the flow is stable and controlled.

• High ISO (high blood pressure): The water comes out with a lot of pressure. The bathtub fills up faster, but there are risks of splashes and turbulence that can dirty the bathroom (introduction of noise in the image).

How the ISO Works

The ISO allows you to control the sensitivity of the sensor to the available light, influencing the amount of light necessary for a correct exposure:

• Low ISO (e.g. ISO 100):

• Technical effect: Low light sensitivity; higher quality images with less noise.

• Ideal situation: Good lighting conditions, where there is enough light to expose properly without increasing sensitivity.

• High ISO (e.g. ISO 3200):

• Technical effect: High sensitivity to light; ability to shoot in low light, but with increased noise.

• Ideal situation: Low-light environments, where it is necessary to increase the ISO to avoid shooting times that are too long or diaphragms that are too open.

Practical Examples

• Low ISO (low pressure): Imagine having all the time in the world to fill the tub and you don't mind waiting. Adjust the water pressure to a minimum to avoid splashing and save water. In photography, choose a low ISO for the best possible image quality, at the cost of having to use longer shutter speeds or wider apertures.

• High ISO (high blood pressure): You need to take a bath on the fly before an important appointment. Increase the water pressure to fill the tub more quickly, accepting the risk of a few splashes. In photography, increase the ISO so you can shoot with shorter shutter speeds or smaller apertures, even if this can introduce noise into the image.

Balancing the ISO with the Other Elements

ISO is the third element of exposure triangle, together with aperture and shutter speed. Adjusting the ISO has direct effects on other settings:

• If you increase the ISO:

• Effect: You can use shorter shutter speeds and/or smaller apertures in low light.

• Risk: Introduction of digital noise, which can degrade image quality.

• Compensation: Try not to go overboard with the ISO; use only the value necessary to get the correct exposure.

• If you lower the ISO:

• Effect: Get higher-quality images with less noise.

• Risk: You may need to use longer shutter speeds (risk of motion) or wider apertures (shallow depth of field).

• Compensation: Use a tripod to stabilize the camera or consider whether you can open the diaphragm wider.

ISO Creative Effects

Although ISO is often seen only as a technical parameter, it can have creative implications:

• Digital noise as an artistic effect:

• In some cases, noise can add an interesting texture to the image, giving it a vintage or gritty look.

• Atmosphere control:

• A high ISO can be used intentionally to create a “rougher” image, suitable for urban or night scenes.

Practical Tips

• Use the lowest possible ISO:

• This guarantees the best image quality in terms of sharpness and color fidelity.

• Increase the ISO only when necessary:

• In low light, consider whether you can compensate with aperture and shutter speed before increasing the ISO.

• Know the limitations of your camera:

• Each camera handles noise differently. Experiment to understand how far you can go with ISO without compromising quality.

A Dive into Numbers: Understanding ISO Values

• ISO 100 — 200:

• Ideal situation: Bright outdoor days, photo studio with controlled lighting.

• Effect: Clean images, with sharp details and accurate colors.

• ISO 400 — 800:

• Ideal situation: Well-lit interiors, cloudy days.

• Effect: Slight increase in noise, but generally acceptable.

• ISO 1600 — 3200 and above:

• Ideal situation: Low light, night photography without a tripod.

• Effect: Significant increase in noise; requires attention in post-production.

Avoid Common Mistakes

• Use high ISO when not necessary:

• Problem: Introduce unnecessary noise into your images.

• Solution: Always check if you can use a lower ISO by compensating with the aperture or shutter speed.

• Don't increase the ISO when necessary:

• Problem: Underexposed or blurry images due to shooting times that are too long.

• Solution: Don't be afraid to increase the ISO if the situation requires it; a slightly noisy photo is better than a blurry or too dark one.

Application in the Analogy of the Tub

• Situation with low blood pressure (low ISO): You want to fill the tub slowly, enjoying the relaxing sound of the water. The pressure is low, but you have time. In photography, you're using a low ISO, getting high-quality images but having to compensate with longer shutter speeds or wider apertures.

• Situation with high blood pressure (high ISO): You are in a hurry and need to fill the tub quickly. Increase the pressure, accepting the risk of a few splashes. In photography, you increase the ISO to be able to use shorter shutter speeds, but you may introduce noise into the image.

Technical and Emotional Considerations

• Technical consequences:

• Digital Noise: Increasing the ISO can degrade the quality of the image, making it less sharp and detailed.

• Flexibility: A high ISO allows you to shoot in otherwise prohibitive conditions, expanding your creative possibilities.

• Emotional consequences:

• Atmosphere: Noise can add character to the image, creating a sense of drama or nostalgia.

• Stress from choice: Deciding whether to increase the ISO can be a source of indecision; knowing the implications helps you make more informed choices.

Imagine being at a concert in a dimly lit venue. You want to capture the energy of the moment, but light is scarce. Like the pressure regulator, increase the ISO to allow 'water' (light) to flow more quickly through the system, filling your 'tub' (sensor) despite adverse conditions. Accept that the water can be a bit rowdy (introduction of noise) because the important thing is to capture the emotion of the moment.

The ISO, or the pressure regulator in our analogy, is a crucial element for managing exposure in varying light conditions. Understanding how and when to adjust the ISO allows you to maintain control over the quality of your images, balancing the need for light sensitivity with the desire for sharpness and detail. Remember that every choice involves compromises: increasing the ISO may introduce noise, while keeping it low may require longer shutter speeds or more open diaphragms. The key is to find the right balance for the specific situation, just as you would adjust the water pressure to fill the tub as efficiently and comfortably as possible. Experiment with different ISO values and see how they affect your images. Over time, you'll develop an intuition that will allow you to make the best choices in every situation, ensuring that your 'photo bath' is always filled to perfection.

The Correct Exposure

Welcome to the fifth chapter of our journey! After exploring the Light Value (LV), the diaphragm (opening the faucet), the shutter speed (duration of water flow) and theISO (pressure regulator), the time has come to put all these elements together to achieveCorrect exposure, that is, fill the tub to perfection.

What is Correct Exposure?

In photography, theCorrect exposure It is the result of the balance between the amount of light that reaches the sensor and the sensitivity of the sensor itself. It is the point where the photo is neither too dark (underexposed) nor too bright (overexposed), but it shows details both in the shadows and in the lights.

In our analogy, the correct exposure is equivalent to having the tub filled at the right level: not too full to cause a flood, nor too empty to leave you sitting on the cold floor.

The Balance Challenge

Achieving the correct exposure requires carefully balancing the three elements of the exposure triangle:

• Diaphragm (tap opening)

• Shutter time (duration of water flow)

• ISO (pressure regulator)

All this in relation to the amount of light present in the scene (Value of Light).

The Bathtub Analogy

Imagine that you want to take a perfect bath. You need to consider:

• How much water to let in at a time (turn on the faucet)

• How long to let the water flow (shutter speed)

• Water pressure (ISO)

• The amount of water available or the size of the tank (Light Value)

If you manage these elements well, you'll have a relaxing bath. If you make a mistake, you could end up with a water disaster or with a damped and uninviting tub.

Overexposure and Underexposure

• Overexposure (overflowing tub):

• Technical effect: Too much light reaches the sensor, the details in the highlights are lost, the image appears faded.

• Emotional consequences: The image may appear flat and devoid of depth, not conveying the desired atmosphere.

• Underexposure (almost empty tub):

• Technical effect: Too little light reaches the sensor, the details in the shadows are lost, the image appears dark.

• Emotional consequences: The image may be dark or sad, unless it is an intended effect.

How to Achieve the Correct Exposure

1. Evaluate the Scene

First of all, look at the lighting conditions:

• Bright light (high LV): Sunny days, snow, beach.

• Moderate light (average LV): Cloudy days, well-lit interiors.

• Low light (low LV): Poorly lit interiors, night scenes.

2. Adjust the Diaphragm (Open or Close the Faucet)

• Bright light: Close the diaphragm (high f-number) to limit the amount of light that enters.

• Low light: Open the diaphragm (low f-number) to let in more light.

3. Set the Shutter Time (Decide the Flow Duration)

• Bright light: Use a short shutter speed to prevent too much light from entering.

• Low light: Extend the shutter speed to allow more light to reach the sensor.

4. Adjust the ISO (Adjust the Pressure)

• Bright light: Keep the ISO low to avoid making the sensor too sensitive.

• Low light: Increase the ISO to increase the sensitivity of the sensor.

5. Balance the Elements (Find the Perfect Balance)

• If you increase one, you may have to compensate by decreasing another.

• Example: If you open the aperture a lot, you may need to shorten the shutter speed or lower the ISO.

Practical Examples

• Photographing a Landscape on a Sunny Day:

• Situation: Bright light (high LV), risk of overexposure.

• Recommended settings:

• Diaphragm: f/16 (faucet almost closed).

• Shutter time: 1/100 of a second (short flow).

• ISO: 100 (low blood pressure).

• Result: Sharp image with details both in the sky and in the ground, tub filled to perfection without overflow.

• Photographing in a Dimly Illuminated Room:

• Situation: Low light (low LV), risk of underexposure.

• Recommended settings:

• Diaphragm: f/2.8 (faucet open at maximum).

• Shutter time: 1/30 of a second (longest flow).

• ISO: 800 (increased pressure).

• Result: Well exposed image with visible details, accepting a bit of noise. The tank fills up despite the low pressure and amount of water.

Exposure Control Tools

• Integrated light meter:

• Most cameras have a light meter that indicates if the image will be properly exposed.

• It's like having an indicator of the water level in the tub, to know when to stop.

• Histogram:

• A graph that shows the distribution of tones in the image, from shadows to lights.

• It helps you understand if there are overexposed or underexposed areas, allowing you to adjust settings.

Technical and Emotional Consequences of Correct Exposure

• Techniques:

• Optimal Details: Good exposure preserves details in both shadows and lights.

• Image Quality: It reduces the need for post-production corrections, while maintaining the original quality.

• Emotional:

• Desired Atmosphere: A correct exposure transmits the emotion and atmosphere that you intend to communicate.

• Observer Involvement: Well-exposed images attract attention and keep interest.

Common Mistakes and How to Avoid Them

• Blindly Trust Automatism:

• Problem: Cameras in automatic mode can be deceived by scenes with strong contrast.

• Solution: Use manual mode or exposure compensation for more control.

• Don't Check the Histogram:

• Problem: Relying only on the screen preview can be misleading.

• Solution: Consult the histogram for a more accurate assessment of exposure.

• Ignore High ISO Noise:

• Problem: Raising the ISO too much to compensate can degrade the image.

• Solution: Try to balance the ISO with aperture and shutter speed, and consider using a tripod.

The Creative Exhibition

Sometimes, breaking the rules can lead to interesting artistic results:

• Intentional Underexposure:

• Creates darker, more dramatic images, emphasizing shadows.

• Intentional Overexposure:

• It produces ethereal and bright photos, with a dreamy look.

Remember, the important thing is that it is a conscious choice and not the result of a mistake.

The correct exposure is the result of the harmony between diaphragm, shutter speed, ISO and Light Value. It's like filling your bathtub to perfection, enjoying a relaxing bath without worries. Understanding how these elements interact allows you to have total control over your photography, allowing you to best express your creative vision. Don't be afraid to experiment and make mistakes: every shot is an opportunity to learn and improve. After all, photography is a balance between technique and art, just as the pleasure of a perfect bath is a balance between water, temperature and atmosphere.

Balancing Time and Quantity

After understanding how the diaphragm, the shutter speed And theISO They influence theexposure of our image, the time has come to deepen the art of balancing these elements. This balance is essential to get the photo exposed to perfection.

The Importance of Balancing

In photography, every shooting situation is unique and requires a specific approach. Balancing the diaphragm, shutter speed and ISO correctly is like being a master plumber who knows exactly how to adjust the water flow to fill the tank at the right height, without waste or disaster.

The Exposure Triangle

The exposure triangle represents the relationship between the three fundamental elements:

1. Diaphragm (tap opening)

2. Shutter Time (duration of water flow)

3. ISO (pressure regulator)

These elements are interdependent: modifying one will necessarily affect the other two. The key is to find the right balance based on the lighting conditions and the desired creative effect.

Balancing Strategies

1. In Bright Light Conditions (High LV)

Situation: Sunny day, beach, snow. The amount of light is abundant, and the risk is that of overexposing the image (tub overflowing).

Action:

• Close the Diaphragm (faucet almost closed): Use a high f-number (e.g. f/16 or f/22) to limit the amount of light that enters the sensor.

• Shorten the Shutter Time (short flow): Fast shutter speeds (e.g. 1/500 or 1/1000 of a second) reduce the time the sensor is exposed to light.

• Lower the ISO (reduce pressure): A low ISO (e.g. ISO 100 or 200) keeps the sensitivity of the sensor minimal, avoiding overexposure.

Practical Example:

You are photographing a beach volleyball game under the midday sun. To freeze the action and prevent overexposure:

• Diaphragm: f/16

• Shutter Time: 1/1000 of a second

• ISO: 100

This way, you capture the energy of the game without risking the image being too clear.

2. In Low Light (Low LV)

Situation: Poorly lit interiors, sunsets, night scenes. The light is limited, and the risk is to underexpose the image (the tub is almost empty).

Action:

• Open the Diaphragm (tap open to the maximum): Use a low f-number (e.g. f/1.8 or f/2.8) to let in as much light as possible.

• Extend the Shutter Time (extended flow): Longer shutter speeds (e.g. 1/30 of a second or more) allow the sensor to collect more light.

• Increase ISO (increase pressure): A higher ISO (e.g. ISO 800 or 1600) makes the sensor more sensitive, but beware of digital noise.

Practical Example:

Do you want to capture the romantic atmosphere of a candlelit dinner:

• Diaphragm: f/1.8

• Shutter Time: 1/60 of a second

• ISO: 1600

By accepting a bit of noise, you get a bright and suggestive image, without losing important details.

3. Special Situations

Fast Action in Low Light:

• Problem: Freeze a moving subject when the light is low.

• Solution:

• Maximum Diaphragm Aperture: f/1.4 or f/1.8

• High ISO: ISO 3200 or higher

• Short Shutter Time: 1/250 of a second or faster

• Compromise: Increased noise and shallow depth of field.

Extended Depth of Field in Low Light:

• Problem: Have everything in focus in low light.

• Solution:

• Closed Diaphragm: f/11 or f/16

• Very Long Shutter Time: Seconds or minutes (requires a tripod)

• Moderate ISO: ISO 400 or 800

• Compromise: Risk of movement if there are moving elements in the scene.

Tips for Effective Balancing

• Know Your Equipment:

• Each camera has its own peculiarities. Experiment to understand how far you can push the ISO before the noise becomes unacceptable.

• Familiarize yourself with the apertures available on your lens and with the image quality at different f-numbers.

• Creative Priority:

• Decide what is the most important element for your photo:

• Movement: If you want to freeze or highlight movement, focus your choices on the shutter speed.

• Depth of Field: If sharpness on multiple planes is critical, focus on the diaphragm.

• Image Quality: If noise is an issue, try to keep the ISO as low as possible.

• Use Accessories if Necessary:

• Tripod: Essential for long shooting times.

• ND (Neutral Density) filters: By reducing the amount of light that enters, they allow longer shutter speeds or more open diaphragms to be used in bright lighting conditions.

• Be Flexible:

• There is no fixed rule. Every situation requires a different approach. Don't be afraid to experiment with unusual combinations.

Technical and Emotional Consequences of Balancing

• Techniques:

• Optimal Exposure: Balancing the three elements correctly allows you to get the desired exposure without compromising image quality.

• Reduction of Errors: Avoid problems such as unwanted move, overexposure, or underexposure.

• Emotional:

• Creative Expression: The balance gives you the freedom to express your artistic vision, capturing the atmosphere and emotion of the moment.

• Personal Satisfaction: There is great satisfaction in seeing a photo that reflects exactly what you had in mind.

Common Mistakes and How to Avoid Them

• Inadequate compensations:

• Problem: Increase the ISO without considering the effect on noise, or open the diaphragm too wide without evaluating the depth of field.

• Solution: Always evaluate the consequences of each change and seek a balance between the three elements.

• Neglecting Light Conditions:

• Problem: Don't adjust settings to changes in light in the scene.

• Solution: Constantly monitor the lighting conditions and adjust your parameters accordingly.

• Fixing on a Parameter:

• Problem: Insist on keeping a fixed parameter (e.g. ISO 100) even when conditions do not allow it.

• Solution: Be flexible and adapt to the situation, remembering that all three parameters are tools at your service.

Balancing time, diaphragm and ISO is an art that requires practice, sensitivity and technical understanding. It is the heart of photography and the key to transforming a scene into a photo that tells a story, evokes emotions and captures the essence of the moment. As in a well-orchestrated symphony, each element must be in harmony with the others.

Exposure Value (EV) — The Final Result of Your Plumbing Work

After exploring the Light Value (LV), the diaphragm, the shutter speed And theISO, it's time to talk aboutExposure Value (EV). In our analogy, the EV represents the final result of your plumbing work, that is, the perfect combination of all the elements to fill the tub to perfection.

What is Exposure Value (EV)?

THEExposure Value (EV) It is a number that represents a specific combination of aperture and shutter speed that, together, give a certain exposure for a scene with a certain Light Value (LV). In other words, the EV is a measure of the overall exposure of a photograph, regardless of the ISO.

In simple terms:

• High EV: Indicate a bright scene or settings that let in less light.

• Low EV: Indicate a dark scene or settings that let in more light.

In essence, the EV represents the success of your combined effort in managing the opening of the tap (diaphragm), the duration of the flow (shutter speed) and the water pressure (ISO) in relation to the amount of water available (LV).

How the EV Works in Photography

The EV is useful because it allows photographers to think in terms of exposure without having to continuously consider individual diaphragm and shutter speed settings. Two different combinations of these parameters can lead to the same EV, and therefore to the same exposure.

Practical example:

• First combination:

• Diaphragm: f/4

• Shutter time: 1/250 of a second

• EVE: About 12

• Second combination:

• Diaphragm: f/8

• Shutter time: 1/60 of a second

• EVE: About 12

Despite the different settings, the EV is the same, meaning that the overall exposure is equivalent.

Balancing the EV with the Other Elements

The EV does not take the ISO into account, but in practice, to get the correct exposure, you must also consider the sensitivity of the sensor. By adjusting the ISO, you can adapt the EV to the lighting conditions and your creative needs.

How to balance the EV:

• In bright light (high LV):

• Increase EV: Use smaller apertures and shorter shutter speeds.

• Effect: Reduce the amount of light that reaches the sensor, avoiding overexposure.

• ISO: Keep a low value to avoid increasing sensitivity unnecessarily.

• In low light (low LV):

• Lower the EV: Use wider apertures and longer shutter speeds.

• Effect: Allow more light to reach the sensor, preventing underexposure.

• ISO: Increase the value to increase the sensitivity of the sensor.

Creative example:

You want to take a portrait with a blurry background on a cloudy day. To maintain the correct EV:

• Open the diaphragm (f/1.8): Blur the background.

• Compensate with a shorter shutter speed or lower ISO: Avoid overexposure.

• Result: Get the desired effect without compromising exposure.

Practical Tips

• Use Exposure Compensation:

• If your camera tends to overexpose or underexpose, use the compensation function to adjust the EV.

• Experiment with Combinations:

• Try different pairs of diaphragm and shutter speed that lead to the same EV to see how the results change.

Technical and Emotional Considerations

• Techniques:

• Exposure Accuracy: Knowing the EV helps you get accurate exposures without relying completely on camera automation.

• Operational Efficiency: You can quickly set up the camera for known light conditions, saving time.

• Emotional:

• Creative Confidence: Understanding the EV gives you greater control and confidence in your photography skills.

• Personal Expression: You can manipulate the exposure to better express your artistic vision, creating images that emotionally resonate with the observer.

Avoid Common Mistakes

• Ignore the ISO in the Equation:

• Problem: Think that the EV is sufficient for a correct exposure without considering the ISO.

• Solution: Remember that the ISO affects the sensitivity of the sensor and must be balanced with the EV for optimal results.

• Blindly Trust Default Values:

• Problem: Apply the same EV values to all situations without adjusting.

• Solution: Always evaluate the specific conditions of the scene and adjust accordingly.

Understanding and knowing how to manipulate the EV allows you to precisely control the exposure of your images, adapting to any situation and fully realizing your creative vision. Just like an experienced plumber knows exactly how to adjust the water flow to fill the tub to perfection, you, as a photographer, can use the EV to ensure that your photos are properly exposed, reflecting the atmosphere and emotions you want to communicate.

Remember, mastering EV isn't just about technique, but also about the art of balancing all the elements to create images that not only capture the light, but also the soul of the moment.

The Consequences of Your Choices — Between Technical and Emotional Results

After exploring the technical foundations of the exhibition, it is time to reflect on consequences of your choices. Every decision you make when setting up the camera is like turning a knob or a faucet in your bathroom: it can have a significant impact on both technical results What on thrills transmitted by your image.

The Duality of Photographic Choices

In photography, each technical parameter has a direct effect on the final aspect of the image and on its ability to communicate emotions. It's like deciding the temperature of the water for your bathroom: too hot could burn you, too cold could make you shiver, but the right temperature will make you relax and enjoy the experience.

1. Diaphragm and Depth of Field — Isolation vs. Contextualization

Technical effect:

• Large Aperture (low f-number): Shallow depth of field, blurry background.

• Narrow Aperture (high f-number): Wide depth of field, all in focus.

Emotional consequences:

• Isolation of the subject: An open diaphragm can create a sense of intimacy, focusing attention on the main element and blurring out distractions. It's like plunging into a warm, fragrant bath, isolated from the rest of the world.

• Inclusion of the environment: A closed diaphragm allows the entire scene to be shown in detail, giving a sense of vastness or complexity. It's like taking a bath outside, enjoying the surrounding landscape.

Example:

• Portrait with blurred background: It communicates emotionality, highlights the expressions and details of the face.

• Clear landscape: It transmits the beauty of nature, the breadth of spaces and the interconnection of the elements.

2. Shutter Time — Motion vs. Immobility

Technical effect:

• Short shutter speed: Freeze the movement.

• Long shutter speed: Capture movement, creating trails or blurry effects.

Emotional consequences:

• Freeze the action: It transmits energy, dynamism, captures the decisive moment. Like taking a sudden dive into the tub, full of vitality.

• Show the movement: It evokes fluidity, the passage of time, it can create dreamlike atmospheres. Similar to relaxing in water as bubbles slowly rise to the surface.

Example:

• Sportsman in action frozen in the jump: It expresses power, control, excitement.

• Waterfall with silk effect: It evokes tranquility, harmony with nature, a sense of peace.

3. ISO — Purity vs. Granulosity

Technical effect:

• Low ISO: Clean images, less noise.

• High ISO: Increased digital noise, graininess.

Emotional consequences:

• Image purity: A low ISO provides clarity and sharpness, ideal for bright and vibrant images. How to take a bath in crystal clear water.

• Grainy effect: The high ISO can add a particular texture, evoking nostalgia or dramatic atmosphere. Similar to taking a bath in an old enameled tub, with a retro charm.

Example:

• Night shooting with controlled noise: It maintains details and colors, creating a vivid atmosphere.

• Black and white photos with accentuated noise: It adds character, recalls old photographic films, transmits intense emotions.

4. Balancing and Compromises — The Art of Balance

Every choice involves compromises. Opening the diaphragm too wide could reduce the depth of field more than desired; lengthening the shutter speed could introduce unwanted motion.

Technical consequences:

• Overexposure or underexposure: Balancing errors can lead to images that are too bright or too dark.

• Loss of details: An ISO that is too high can hide details in shadows or lights.

Emotional consequences:

• Frustration or satisfaction: Technical errors can cause disappointment, while a successful image increases self-confidence.

• Effective or ineffective communication: The inability to convey the desired emotion can make the image less impactful.

5. Conscious Choices vs. Unconscious Errors

Conscious choice:

• Intentional underexposure: To create a mysterious or dramatic atmosphere.

• Intentional overexposure: To achieve an ethereal or minimalist effect.

Unconscious error:

• Image underexposed due to inattention: You risk losing important details.

• Mistakenly overexposed image: It may be flat and free of contrast.

6. The Importance of Artistic Intention

The technique must be at the service of artistic expression. Knowing the consequences of your choices allows you to use photographic tools creatively and intentionally.

Example:

• Using the creative move: A long shutter speed can transform city lights into light trails, adding dynamism to the scene.

• Shallow depth of field to emphasize a detail: It focuses the observer's attention on a specific element, telling a more intense story.

7. Feedback and Personal Growth

Reflecting on the consequences of your choices helps you grow as a photographer.

Technical consequences:

• Improving skills: Analyzing mistakes and successes refines your technical skills.

Emotional consequences:

• Development of your artistic vision: Understanding what works for you allows you to develop a personal style.

The choices you make as a photographer are much more than just technical settings; they are decisions that profoundly influence the visual and emotional impact of your images. Every adjustment of the diaphragm, shutter speed or ISO is a piece that helps to build the story you want to tell. As in the daily ritual of bathing, where the combination of water, temperature, time and environment creates a unique experience, in photography, the harmony between technical elements and your artistic intentions gives life to images that can inspire, thrill and communicate profoundly. Remember, mastering the technique gives you the freedom to express yourself without limitations. Experiment, dare, but most importantly, be aware of the consequences of your choices. Only in this way can you fill your “photographic tub” not only with light, but also with the soul and passion that make every shot a work of art.

Conclusion

We have come to the end of this unusual but illuminating journey through photographic exposure, guided by the metaphor of the bathtub. Who would have thought that water, faucets and relaxing baths could teach us so much about the art of photography?

Summarizing Our Journey

We explored how to:

• The Value of Light (LV) represent the amount of water available in the scene, influencing our choices such as the size of the tub to be filled.

• The Diaphragm both the opening of the tap, controlling how much water (light) we let in at a time and affecting the depth of field, just as the flow of water can create waves or a quiet flow.

• The Shutter Time both the duration for which we leave the faucet open, determining how much total water enters the tub and how the movement is captured in our photo.

• THE ISO functions such as the pressure regulator, increasing or decreasing the sensitivity of the sensor to light, just as increasing the water pressure can fill the tank faster but with the risk of unwanted splashes.

• The Exposure Value (EV) be the final result of our careful balancing, the equivalent of the perfect level of water in the tank.

The Art of Balance

Photography is an art of balance. It's not just about setting numbers and parameters, but about deeply understanding how these elements interact with each other to create something greater than the sum of its parts.

Every shot is an opportunity to tell a story, to capture a unique moment and to convey emotions. And just like a perfect bath can relax us after a long day, a successful photograph can touch the heart of the viewer.

An Invitation to Awareness and Creativity

The next time you pick up your camera, remember this journey. Be aware of your choices:

• Open the diaphragm intentionally, knowing that it will affect not only the amount of light, but also the depth of field and the isolation of the subject.

• Decide how long to leave the shutter open, considering how the movement will be captured and what atmosphere you want to create.

• Adjust the ISO value wisely, balancing the need for light sensitivity with image quality.

• Balance all the elements, creating a properly exposed image that reflects your artistic vision.

And most importantly, Experiment. Don't be afraid to turn those knobs, try unusual combinations, or break the rules when needed. After all, some of the most memorable bathrooms are those where we added a little too much bubble bath or lit a scented candle to create a special atmosphere. Remember that photography is a personal journey. There's no right or wrong way to shoot, just the one that works for you and what you want to express. Use the knowledge you've gained as tools in your creative toolbox, but don't let them limit your imagination. In conclusion, we hope that this analogy has given you a new and fun perspective on photographic exposure. Whether you're filling a tub or composing an image, the important thing is to find the perfect balance that suits you. So, grab your camera, go out into the world, and start experimenting. Play with light, with shadows, with movements and with emotions. And who knows, maybe the next time you walk into the bathroom, you'll see the faucet in a whole new light.

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The theory:

With the launch (in beta version) of Adobe adaptive profile In Camera Raw, Adobe continues to innovate the world of photo editing. This new profile uses artificial intelligence to automatically adjust tones and colors based on the content of each image. Designed to optimize light, shadow and color adjustments, it offers a solution that reduces user manual work and improves the editing experience, both for amateur and professional photographers.

‍What are Adobe's adaptive profiles?

Unlike traditional color profiles, which apply static adjustments, Adobe's adaptive profiles use an AI model to dynamically adapt the appearance of a photo based on its unique characteristics. After training on a wide range of images, the AI can make informed decisions to adjust tones, colors, and contrast.

The correction through PGTM (Pre-Tone Curve Matrix) and RGBT (RGB Tone Curve) in Adobe's adaptive profiles is a process that manages the transformation of the color and tones of the image in a targeted and adaptive way.

1. PGTM: It acts before the tonal curve is applied, affecting the saturation and hue of the base colors to optimize color balance. This matrix transforms the camera's raw colors to prepare them for subsequent adjustments.

2. RGBT: Defines the tonal curve for each color channel (red, green and blue), adjusting contrast, light and shadow. The application of the RGB curve makes it possible to optimize image rendering based on its unique characteristics, increasing tonal depth and preserving details in light and dark areas.

Together, these two tools ensure precise adjustment of tones and colors, ensuring that the adaptive profile can improve the image in an intelligent and dynamic way, adapting to the content and characteristics of the image.

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Key Features and Benefits

1. Automatic adjustments with AI: Adobe's AI allows the profile to “learn” from the data collected, adapting to various shooting scenarios: portraits, landscapes, action, and still life. Each image is automatically optimized without the need for manual intervention.

2. Streamlining the workflow: Adaptive profiles apply at the beginning of the editing process, offering immediate improvement. This eliminates most of the manual adjustments needed to balance contrast and color accuracy.

3. Maintaining artistic intent: Although based on machine learning, the adaptive profile allows photographers to maintain creative control. The automatic adjustments act as a basis on which users can intervene to further customize the image.

4. Device compatibility: Adaptive profiles are optimized for both SDR and HDR displays, ensuring consistent color rendering regardless of the device on which the image is displayed. This is crucial for professionals who need to ensure visual consistency across multiple supports.

5. Wide compatibility with photographic genres: Whether it's high-contrast scenes, delicate skin tones in portraits, or complex lighting in commercial shots, the adaptive profile automatically adapts to the photographer's needs.

In practice:

Despite the potential benefits, Adobe's adaptive profiles are not without limitations. While the profile works well in some settings, it doesn't always meet the needs of precise color grading or complex tonal corrections. Furthermore, its effectiveness is limited in applications, such as the reproduction of works of art or technical studio photography, where compliance with specific color standards (such as FADGI or Metamorphoze) is essential.

Inconsistencies have also been found when working with images that require extreme dynamic range adjustments or fine color details. While AI-guided automatic adjustments offer a significant advantage in terms of saving time, the manual control that traditional methods provide is still preferable.

Considerations on results and issues

The concept of adaptive profiles is certainly promising, but the current results show various complexities. The profile tends to flatten the images, depriving them of depth and structure, making it unsuitable for high-key, low-key, still life product images, or portraits in studios and locations where volumes and three-dimensionality are essential. The lack of depth mapping limits correction capabilities, with errors evident in images with complex lighting such as snowy landscapes or portraits in pastel tones.

Another major limitation is the impossibility of selecting a 3D LUT within the profile, thus reducing color correction flexibility. In addition, the fact that the profile is based only on Adobe Standard color profile involves incomplete color management, especially in reds and blues.

The future of adaptive profiles

With the continuous development of artificial intelligence and machine learning technologies, Adobe's adaptive profiles have the potential to become an indispensable tool for photographers who want to speed up their workflow without compromising quality. However, to meet the needs of professionals, it is necessary to offer greater customization and precision.

In the future, it would be useful for Adobe to introduce a feature that allows photographers to train AI on their files, in order to obtain more personalized and relevant results. In addition, the integration of customized 3D LUTs and the ability to maintain specific deviations in color grading would make adaptive profiles a more valid option for those who work with advanced color needs.

In conclusion, Adobe's adaptive profiles represent an important evolution, but currently, in their beta form, they are more suitable for an amateur audience or for less complex uses. With further developments and customizations, they could become a fundamental tool even for professional photographers, while ensuring efficiency and quality.

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Who is Roberto Moiola and how did you approach landscape photography?

I was born in 1978 in Valtellina, in the Alps, an environment that shaped my sensitivity to nature. When I was younger, I began to spend time exploring mountains, lakes and valleys, and this connection with the landscape inspired me to want to capture that beauty. I started with a film reflex, but with the advent of digital, I had the opportunity to deepen the technical and creative side of photography. In 2010, photography became a job, transforming what was a passion into a sort of freelance career that allows me to tell the world through images.

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ClickAlps has become a reference point in Italy for landscape photography. What inspired you to found this agency?

ClickAlps is an agency born from the desire to create a community of photographers who share the same passion for landscape and nature reportage. We wanted to offer a platform capable of promoting the work of those who, like us, are dedicated to immortalizing the beauty of lesser-known places. Today, we represent many good photographers, allowing everyone to tell their own visual stories. Landscape photography requires a constant commitment and ClickAlps aims to enhance this work through international publications.

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How do you manage to reconcile your career as a photographer with family life, considering the many trips you take?

It's not always easy, it's essential to find a balance. I still live in Valtellina with my wife and two children, and I try to take my family with me whenever possible (or maybe they are the ones who bring me!!). My photography adventures are often challenging, but sharing some of these experiences with my loved ones makes the journey more meaningful. Being there for my family, without sacrificing my passion for photography, is a challenge, but also one of the greatest satisfactions.

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‍Your photographs are often taken in remote and cold places. What are your favorite destinations and what attracts you to these landscapes?

I deeply love cold and untouched regions such as Norway, Finland and the Faroe Islands. There is something unique about the isolation of these places: some of these places are far from tourist routes and offer a tranquility that is hard to find elsewhere. Here I can completely immerse myself in nature and capture the purity of the landscapes. The cold and extreme conditions make these experiences even more intense and fascinating. The silence and vastness of these landscapes make me feel alive, and that's why I keep returning to these places, even accompanying my customers.

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How would you describe your approach to landscape photography? What drives you to explore the world and capture it through the lens?

My approach to landscape photography is guided by a deep respect for nature. I try to tell stories through images that capture the authenticity of the places I visit. I am attracted to the most remote and lesser-known regions, those that often escape the common eye, because I think they hide an even more precious beauty. Each photo is a visual journey, a discovery that goes beyond simple aesthetics. Exploring the world, discovering new horizons and experimenting with light and composition are what fuel my passion.‍

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You have collaborated with many high-profile brands and your images have appeared in numerous international publications. Which collaborations have marked you the most?

I have been fortunate to work with some of the most prestigious brands in the world, including National Geographic, Apple, Lonely Planet, Count Nast, Samsung... Each collaboration represented a growth in my career, allowing me to expand my vision and reach an international audience. Every new publication nourishes this great passion, in many years I have never felt tired of exploring nature and of telling the world through a shot.

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‍In addition to being a photographer, you are also a travel guide and pass on your knowledge through workshops. What motivates you to share your knowledge with others?

Accompanying, sharing and teaching give me enormous satisfaction. Sharing my knowledge is not only a technical matter, but also a way to transmit respect and love for nature. In my workshops I try to guide participants not only in photographic technique, but also in understanding the environment in which they find themselves. The importance of planning, the observation of light conditions, respect for the landscape: these are the pillars that I try to convey. Watching the participants grow and develop their style is one of the most rewarding aspects of my work. One of the things that most gratify me is seeing customers come back.

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‍What's the essential equipment for a landscape photographer like you?

My main equipment today consists of a Sony A7R V, which I use for its versatility and image quality. For landscapes I use a couple of wide angles, normally I don't go below 14-15mm, a distance we say perfect for capturing wide views with precise details. A good tripod is essential to ensure stability, especially in windy conditions or extreme cold. But equally important is technical clothing: working in cold environments requires specific equipment to ensure comfort and safety, allowing me to stay in the field as long as necessary to capture the perfect scene. I must thank all the brands that have accompanied my growth over time by continuously providing me with new materials.

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In your landscape photography, how crucial is the development of the RAW file?

The development of the RAW file is absolutely essential. RAW preserves all the information of the captured scene, then allowing us to optimize every aspect of the image: from white balance to the management of shadows and lights. In difficult light conditions, such as sunrises or sunsets, RAW allows me to achieve a rich tonal range and accurate colors, while maintaining the naturalness of the landscape. I work a lot on the color profiles to ensure that the shades faithfully reflect what I saw in the field and then with the luminosity masks to better refine the final result.

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Working in extreme conditions, you need accurate color control and rapid development. How has TheSpack affected your workflow?

‍TheSpack has revolutionized my workflow, especially when I am in extreme conditions, such as in Arctic or Alpine regions. Thanks to the customized color profiles and LUT dosable, I can obtain high quality results very quickly. This is essential when I have to deliver images to international agencies with tight deadlines. TheSpack allows me to maintain complete control over colors and saturation, optimizing every step of the process, without compromising quality.

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People often see amazing photos online, but then they don't find the same beauty live. Is it only the result of post-production or is it the result of being in the right place at the right time?

It's a combination of factors, but the most important thing is definitely to be in the right place at the right time. Often the beauty of a landscape is not immediately revealed, and it requires patience, planning and effort to find the ideal light and atmosphere conditions. Post-production serves to perfect what has already been captured, but to obtain unique shots you have to wake up at dawn, stay until sunset or face difficult weather conditions. These perfect moments only last a few minutes, and that's where the real challenge lies.

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Can we say that TheSpack, together with technical equipment and experience, helps to create the images you want after so much effort and sacrifice?

Absolutely. TheSpack is a crucial tool in my post-production process, and is part of a set of elements that include photographic equipment, technical clothing and, of course, the experience gained in the field. Let's also try our luck!
Landscape photography requires much more than a simple shot: it is the result of long hours of waiting, sacrifice and the search for perfect conditions. TheSpack allows me to translate that beauty experienced in the field into a final image that maintains fidelity to the colors and details that I perceived. These color profiles help me to control the development of the image without distorting it, making the most of what nature offers, after whole days spent in often difficult conditions.‍

‍Which RAW development software to choose?

Let's start immediately by saying that this article is not for everyone, we take basic skills for granted and therefore it will be more of a focused and no-frills speech.

Let's start with the excluded software: ON1 Photo RAW, Luminar Neo, Affinity Photo, Corel AfterShot Pro, Silkypix, Photo Ninja, Dcraw, GIMP, ACDSee Photo Studio, Zoner Photo Studio, FastStrawViewer, Libraw, Photoscape X, Photivo, Mylio, FastStone, LightZone.

They're not shoddy, I don't dislike them, and they're not necessarily for beginners. All software has strengths and weaknesses, but here I have considered a small part of them, excluding those that, while developing RAW files, emerged less than others due to technical gaps, support, compatibility, functionality, diffusion, stability or other..

Who did I choose to evaluate? Simple: Capture One, Adobe Lightroom, Iridient Developer, Darktable, RawTherapee, DxO PhotoLab.

Let's start at the beginning and in a hasty way: Do you need tethering? Do you shoot in the studio? Do you have an art director who follows the work? Do you have a customer on set who wants to see the images on a second monitor in real time? Do you share files for immediate evaluation/selection? Do you have to show the product to the model to show the correct poses? Do you need to check the set as best as possible for still-life complexes? Do you work with inserting images on 3D bases or in AI? Do you need a tissue layout to insert for the shot?

Speech already closed, choose Capture One and go, there are no alternatives, it's the best existing tool to work under these conditions. Let's also add that working for Cultural Heritage or for art reproductions he has a special version and we close the speech. Other software provides the ability to connect a camera but are very limited and in some cases unstable.

Let's move on to point two: Nerd Time! Do you need to better optimize the development of a file under complex conditions? Do you need to check all the parameters of the software to be able to get the most out of every situation? Do you need maximum control over your development flow?

We also close this discussion immediately with RawTherapee, there are not many competitors in this case, in extreme situations and for the development of individual files optimized in every detail it is extremely flexible but also complex and certainly slow to use. The one that comes closest is Darktable but does not reach the level of corrections possible with RawTherapee. A note of merit also for Iridient Developer, if we removed the nerd factor and left the high-end factor, he would certainly be the number one candidate. But RawTherapee allows you to set parameters such as demosaication algorithm, the DCP illuminant, choose the working color space, optimize the image with Lab corrections and much more, so it becomes a real rescue software, unique in its kind.

Point three: the one designed very well!

‍Certainly the most modern software in terms of operating logic is DxO PhotoLab, an exceptional product that works very well despite some functional limitations. It is built with professional logic but intended for everyone. It has serious structural limitations but it is really very very very beautiful and powerful. It is certainly not the first in everything and it is not the best ever, there is not one that stands out above the others, but among the software for developing RAW files it can earn its niche.

Point four: the tractor! Do you need software that works well and has a lot of potential? You don't use tethering because even if they tell you that it works isn't always the case? Do you need to integrate into a complex and articulated flow and do you want speed and stability?

Let's close it here, we're obviously talking about Adobe Lightroom Classic (the CC version is more for fun in many ways)

With these premises, let's go into more detail: we don't always have two or three screens available to work on, sometimes we are on the laptop or with only one screen and here the going gets tough. The software that transmits the most immediate in these situations is undoubtedly Adobe Lightroom Classic, there are no stories, it has all the functions of managing the catalog optimally articulated, the switch between the panels is immediate and the customization is optimal for a single screen, but... There is always a but somewhere. If we work in a more articulated way and move between multiple screens on a noteworthy workstation, I can say that Capture One emerges brilliantly. Let's not talk about the others, only DxO PhotoLab may in some way have a certain interest, but the static nature of Darktable, Iridient Developer and RawTherapee are known to be painful. Adobe wins in most cases, Capture One proves to be more aimed at an audience with an appropriate structure behind it.

Managing color corrections. Wow! A nice one to forget, it would be great for everyone, but we can't be so drastic. Who are we going to get out of the pile? I would say RawTherapee, unfortunately color management was not designed for those who work in color grading but for a more technical audience, it is very articulated and complex but precisely because of these prerogatives it also becomes difficult to manage and not immediate. Certainly it would be convenient for everyone to integrate panels for professional grading, in the photography sector I would say a bit like 3D LUT Creator or even more simply like the good old Color Quartet did twenty years ago, but we all know that these software are more appearance than anything else. So if I do something technical I do it for nerds so the less experienced don't get their hands on it and if I do something for everyone I make it simple so the less experienced don't get their hands on it anyway. Philosophy that rewards but does not solve the problem, the color output and the high-end optimization must always be done separately.

Input Color Profile! And here comes the cleaver! Let's leave Capture One aside or fry it immediately, it has excellent prerogatives in many areas but in this case NCS. Darktable immolates itself thanks to the love for ICC profiles and less talented than Capture One, the others resist, but... There's always this but what do we care! Iridient Developer allows you to manage DCP profiles with a decent ability to intervene, DxO PhotoLab overcomes it because it allows you to manage even a separate LUT .cube beyond the curve, RawTherapee even allows you to establish which demosaiczation algorithm to use, Adobe allows the use of DCP and XMP profiles with the implementation of the LUT and the related dimmer. Here, however, we must be very honest, the input profile must be simple to use, we cannot go crazy after millions of possible settings and above all we cannot think of doing the calibration work again for each individual image. RawTherapee falls brutally because it's too complex, it's not immediate. In the logic of use, Adobe Lightroom remains in first place for the simplicity with which it manages the workflow, DxO gives up positions for the gamut used and I am sincerely very sorry and Iridient does not manage the LUTs so poor thing falls into the abyss.

Since we had saved Capture One with a bonus taken in the first round, Stay in the running with Adobe Lightroom Classic.

Why did these two software emerge? First of all, they are designed for photographers and professionals, but they are clearly intended for different uses. Capture One is the one dressed as an engineer while Adobe Lightroom Classic is the one dressed as a bricklayer, whether or not they are, this is another matter. Capture One takes care of the appearance, functions, and needs of an audience that works in the fields of advertising, fashion, design, architecture and so on. It is intended for those who must make use of articulated systems shared with the team and the client, it has a solid development base within a limited and limited workflow. The advantage of Capture One is that it has an excellent internal structure that works on the development of color profiles and tries to optimize the rendering and mood of the cameras also thanks to the development of combined .costyle. So far so good, Capture One is the cool one... On paper! Of course he has a degree awarded to him by those who work in a certain field and undoubtedly he has excellent prerogatives that make him unique, but this does not count in substance. If I were to consider the camera an instrument within a larger system I would undoubtedly consider it, on the contrary, since it sees the camera as a product for acquisition like a scanner it would be excellent. Photographs for cultural heritage must be taken with calibrated systems, possibly medium format cameras, certified lights and stable colors, as required by the FADGI and Metamorfoze specifications. And look at random Capture One has a Heritage version dedicated to precisely these workflows. It considers only one illuminant, uses ICC profiles that limit color space and interventions on the image, it has excellent tethering...

When it comes to direct reproduction, there are no competitors, the system works best precisely in those activities where limitations allow full control of the work, where the space is large and well organized.
But we don't always work like this, in fact, in all other cases, we need someone who gets their hands dirty.

And when it's time to get your hands dirty nobody beats Adobe Lightroom Classic. Could it do more? Sure! Could he do it better? Sure! Could anyone else do it? Hell no!

If you work for an agency or do a large number of images, you may be required to save the files in DNG format, Capture One does not (forget what you read, they do not comply with the DNG standard), you must use external software, Lightroom does it internally and keeps track of all the changes to the file itself. In addition to this, a not irrelevant point, is the management of the input profile and the resulting workflow. Lightroom uses DCP profiles that consider the digital camera a tool suitable for shooting in multiple lighting conditions, it allows you to combine the DCP profile with a LUT in .cube format to correct the style of the image or implement advanced features. Let's forget the technical difference, let's get down to the concrete, if I use the camera outside the studio with Lightroom I can operate without any limits and in full respect of the color. I can easily adapt my style to all conditions of use and synchronize images with each other quickly and functionally knowing that the profile will respect the different shooting conditions between different cameras... If done right! The profile I mean, if done well it works well and improves performance, the standard Adobe profiles are made with a short arm to avoid leaving too much freedom for the photographer but above all to reduce their development times and cover a greater number of cameras with different gamuts.

Neither of these two software has a good color grading system or the possibility of controlling neutrality or color mapping, they both have rudimentary tools and do not require the control of the black generation curve or the saturation, they are certainly limitations that could be overcome and create problems in many cases, but if it is easy for Lightroom to combine a specific LUT generated with an advanced color grading software, with Capture One, depending on the fact that ICC profiles are used, this situation is simple in study but very complex in the field. By managing only one illuminant, the ICC profile is extremely limiting and does not allow full control of all shooting situations. If we then talk about masks and AI, both companies are working to renew and improve themselves, but what may seem to be a limiting logic of Lightroom, namely having all the panels in a window, has now become an advantage also because, having to do things in a narrow way, they have tried to optimize everything. Capture One, on the other hand, is more opulent, you can configure the smallest detail but in the end you have to preform presets or costyles otherwise it becomes difficult to remember all the parameters.

Another point that logically hangs in favor of Lightroom is the use of masks that now work well. It was a sore point but at Adobe they have worked well on it and now we can work properly. In practice, it seems like a more logical implementation, a bit like working with Dicomed Imaginator instead of the Photoshop bag of that time. But Capture One undoubtedly has its advantages and is highly appreciated for its layered system that allows multiple mergers, something that with Lightroom, due to the type of software, is not possible.

Ultimately, although all software has their own prerogatives and qualities, only two stand out and are ideal for different conditions of use. The rest are currently optimal exercises for niches or specific needs, but they do not meet the needs of a wider range of users. If the image is static and structured for a work mainly in the studio, Capture One is the best solution, while if the image is dynamic and structured for outdoor work, Adobe Lightroom Classic is the indomitable collaborator in the field. There is no software that contains all the strengths and weaknesses, which is why in a professional workflow, more software is used depending on the work situation and is sometimes combined not only with Photoshop but with advanced color grading programs that allow full control of every parameter of contrast, tint, color and saturation. The reality of the facts, however, is that for video, advanced work tools are created for professionals, while in photography, a little antiquated and old logic is pushed based on preconceptions that existed twenty years ago. There is ample room for improvement, but at the moment the situation is still in the starting blocks and there is no champion in the field, only personal points of view or work needs.

The sublime art of explaining the obvious: when photographs are no longer enough

In the vast universe of communication, there is an increasingly widespread and unlogical tendency: to provide detailed explanations to photographs that, by their very nature, should speak for themselves. At a time when the image has become one of the main tools of narration, we are faced with a paradox: photographs, which should communicate visually, are often accompanied by verbose, almost paternalistic texts that seem to want to guide the viewer in the complex operation of “understanding” an image. This practice is not limited to titles such as “Impossible Love” under a photograph of two hands touching each other. No, today we are witnessing the tendency to add real articles that accompany the image, giving an obvious weight to the correlation between text and image, as if photography alone could not tell a story.

It is no longer just a caption: the text becomes a necessary extension, an element that attempts to give the image meanings that it, on its own, is unable to express. Thus, we witness the use of photographs as the “central moment” of a larger narrative, a single shot that suggests a story that, often, does not exist at all in the photograph itself. The photo thus becomes a pretext for the text, a device that justifies the creation of an elaborate verbal narrative.

An opposite example is that of an image entitled “Grandma Sofia” that portrays a bed with a bedside table next to it and on it the photograph of a framed portrait of a woman. In this case, the image does not require articulated textual references, but it can stimulate natural questions in the viewer: who is Nonna Sofia? What is his story? These questions could be explored through other images that tell the story of Grandma Sofia's life, in a field to harvest wheat or in the kitchen to prepare food. This visual narrative allows the viewer to immerse themselves in the subject's life without the need to superimpose a verbal narrative that explains what the image already tells.

The Legacy of Eugene W. Smith: Pure Photographic Storytelling

A masterful example of how a photograph can tell a story without the need for words can be found in the work of Eugene W. Smith, one of the masters of 20th century photography. Smith has raised photographic storytelling to an extraordinary level, as demonstrated by his famous essays Country Doctor (1948), Nurse Midwife (1951) and, above all, Minamata (1971-1973).

Minamata is particularly relevant for understanding how an image can tell a powerful story without the need for explanations. The most famous photo in this series, “Tomoko Uemura in Her Bath”, portrays Tomoko's mother bathing her daughter suffering from a malformation caused by mercury poisoning. The image is poignant: it transmits not only the pain of illness, but also a deep sense of love and care. The visual power is such that any further explanation would only diminish its impact.

Despite its strength, the image was withdrawn from circulation many years after its publication, in 1997, out of respect for Tomoko's memory at the request of the Uemura family. This gesture demonstrates how a photograph can contain such an intense and visceral narrative that it becomes unbearable for those involved. It is the very essence of the power of photography: to tell deep and complex stories that go beyond the need for words.

Visual Immortality: Dorothea Lange and Alfred Eisenstaedt

Dorothea Lange and Alfred Eisenstaedt, two of the most iconic photographers of the 20th century, have demonstrated with their images how a single photograph can contain historical and universal moments, able to speak directly to the viewer without the need for further explanation. Their photographs not only capture the essence of the moment, but they crystallize its emotion, making it accessible to subsequent generations.

In the case of Dorothea Lange, his most famous image, Migrant Mother (1936), taken during the Great Depression, has become a symbol of the suffering and resilience of an entire generation. The hollowed-out face of the mother, surrounded by her children, expresses desperation, but also a silent tenacity in the face of the economic and social injustice of the time. Lange captures in a single shot not only a mother's individual difficulties, but the collective condition of thousands of families displaced by poverty and hunger. It is an image that does not need to be explained because its emotional and narrative force is immediate. Photography transcends the individual subject and becomes the representation of a historical moment, in which humanity itself is put to the test.

Similarly, Alfred Eisenstaedt, with its iconic image V-J Day in Times Square (1945), captured a moment of collective euphoria: the kiss between a sailor and a nurse in Times Square to celebrate the end of World War II. This photograph has become one of the most powerful symbols of the end of the conflict, an image that represents the joy and relief of a world recovering from the devastation of war. Without the need for explanation, the spontaneity of the gesture between two strangers transmits a sense of victory, of renewed hope and of a brighter future. The audience immediately recognized themselves in that scene, and the same shot ended up embodying the entire spirit of an era.

Both images, while rooted in very specific historical moments, have a universal power that still resonates today. Lange and Eisenstaedt did not try to add a false meaning or to explain their images in words, because these photographs already contain everything needed to convey the message. They are a perfect example of how a visually powerful image doesn't need to be accompanied by lengthy explanations or explanatory texts. Their strength lies in the fact that they speak directly to the viewer's heart and mind, inviting them to experience the emotion of the moment without filters.

The reportage image: a visual construction

Reportage photography is not limited to capturing isolated moments, but aims to build a complex visual narrative, where each image adds depth and meaning. Photographers like Abbas and Jean Gaumy they have been able to masterfully use shapes, geometries and visual contrasts to engage the viewer and tell stories that do not require long explanatory texts.

Abbas, a member of the famous Magnum agency, was a visual chronicler of cultural and religious dynamics, able to use lines and plans to express the complexity of historical contexts. A significant example of his work is found in the documentation of the Islamic Revolution in Iran, where he captured not only the most crucial moments of the conflict, but also the apparently minor details that defined its essence. In those images, the wise use of the contrast between light and shadow, between movement and static, creates compositions that transmit the energy and tension of the historical moment. Among his works, Iran Diary 1971—2002 represents an important collection to understand his ability to visually narrate events of great historical importance.

Similarly, Jean Gaumy, known for his reportages in fishing communities and prisons, uses unusual perspectives and rigorous geometries to create images that are striking for their narrative power. His work on board fishing boats, documented in projects such as Men at Sea (L'Homme en mer), represents a perfect example of how the use of visual contrast can convey the emotional and physical intensity of an environment. The vast marine areas are the background to human frailty, with the subjects placed in positions that enhance the immensity of the ocean and the smallness of man.

In both cases, Abbas and Gaumy demonstrate that the power of photography lies in its ability to construct images that stimulate the viewer's imagination and interpretation, without the need for lengthy explanations. Their deep knowledge of the subjects and contexts they photograph is reflected in the wise use of forms and visual contrasts. Each image is a piece of a larger narrative, which leaves room for reflection and intuitive understanding by the viewer, without the need for texts or articles to justify their existence.

The challenges of amateur photography and the illusion of visual complexity

Today there is a tendency, both among amateurs and professionals, to explain images excessively, a sign of an inability to communicate through visual language alone. This phenomenon, originally typical of amateur photography, has also expanded into the professional world, where hermetic and complex images are used as a vehicle for abstract concepts that cannot be understood without an explanatory text. Visually weak photographic projects are reinforced by an artificial continuity of images accompanied by texts that justify their meaning, creating a hybrid in which images, on their own, do not hold up.

Even some contemporary professionals pursue apparent complexity, trying to ennoble cryptic images with textual explanations. As noted by scholars such as John Berger and Susan Sontag, the strength of an image should lie in its ability to speak directly to the viewer, without the need for translations or explanations. Ways of Seeing di Berger emphasizes how an image can 'reveal' or 'obscure' reality: when the visual construction is weak, words become a refuge to fill this gap, depriving the viewer of the opportunity to interpret the image personally.

Susan Sontag, in On Photography, denounces the overlap between image and word, underlining how the growing tendency to accompany images with explanatory texts derives from a culture that has lost faith in the power of images themselves. This approach, according to Sontag, not only limits the impact of the image, but reduces it to a mere illustration of a concept that is imposed from outside, instead of letting it speak for itself.

Visual construction and the language of images

Photography has its own grammar and visual syntax that should not be replaced by words. How does it support Vilém Flusser into Towards a Philosophy of Photography, the power of images lies in their ability to synthesize a complex idea or reality in an immediate and accessible visual form. When images become accessories to a verbal discourse, they lose their original value and become simple 'visual quotes' to illustrate a textual narrative.

This drift leads to a saturation of photographic projects in which complexity is artificially constructed: instead of letting the image be the starting point for independent reflection, a predefined reading is imposed on the viewer, reducing freedom of interpretation.

The Psychology of Visual Perception: The Autonomy of Images between Arnheim and Barthes

The psychology of visual perception and communication, as evidenced by studies by authors such as Rudolf Arnheim and Roland Barthes, has provided a solid theoretical basis for understanding why images should be able to speak for themselves, arousing curiosity and stimulating the viewer's autonomous interpretation. These scholars have analyzed how visual perception and communication through images involve complex and profound cognitive processes that do not necessarily require the aid of additional words or explanations.

Rudolf Arnheim, in his work Visual Thinking, argues that visual perception is closely linked to conceptual thinking. According to Arnheim, the visual process is not passive, but active: our brain does not just receive visual information, but processes it, trying to interpret shapes, colors, perspectives and contrasts. In this process, the image becomes an instrument of thought, capable of stimulating reasoning without the need to be translated into a verbal code. Arnheim emphasizes that the strength of a good image lies precisely in its ability to engage the viewer and induce him to reflect through the cognitive mechanisms proper to vision. When an image is powerful, it activates the viewer's critical thinking, allowing them to discover and create connections independently, without the need for explanations or captions.

On the other hand, Roland Barthes, in his essay The clear room (Glossy Room, 1980), explores the idea that the power of a photograph lies not only in its ability to represent reality, but also in the way in which it evokes deep emotions and ideas without verbal mediation. Barthes introduces the concepts of Studium and Punctum: the Studium represents the cultural and informational elements that a photograph immediately communicates, while the Punctum it is that detail, often unexpected, that affects the observer on an emotional and personal level. This detail can evoke a profound meaning that transcends immediate visual representation. According to Barthes, the Punctum is what makes a photograph memorable, capable of arousing a personal and intimate reflection. The power of the image, therefore, lies in its direct and spontaneous impact, which overrides the need for explanations. In this way, Barthes demonstrates that photography has a subjective dimension that words cannot fully capture: each observer is touched differently, depending on their experience and emotions.

Both Arnheim and Barthes highlight a key point: the image is a self-sufficient means of communication, which stimulates thought and emotions through vision itself. Words, in this context, can become redundant or even reductive, since they limit the spectator's individual experience. When an image is over-explained, the viewer's freedom to explore its meaning in a personal way is taken away.

These studies emphasize that the act of accompanying images with long explanatory texts, typical of amateur photography, is a simplification that goes against the very nature of visual perception. As highlighted by Arnheim, the image should stimulate critical thinking, while Barthes reminds us that it must touch emotional chords directly. In both cases, the superposition of a didactic text on a photograph reduces the communicative and interpretative potential of the image, confining the viewer to a predefined interpretation and leaving no room for personal reflection and intellectual autonomy.

Conclusion

Explaining a photograph is the visual equivalent of explaining a joke: if it needs to be explained, then it didn't work. Great photographers such as Eugene W. Smith, Dorothea Lange and Alfred Eisenstaedt have demonstrated how photography can tell powerful and complex stories without the need to add words. The images should be able to enclose a part of reality and arouse curiosity, without the need for verbose articles or excessive descriptions. Let the photographs speak for themselves, as they should, without having to be supported by verbose and redundant texts.

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Bibliographic references:‍

1. Arnheim, Rudolf. Visual Thinking. University of California Press, 1969. EAN: 9780520242265

Arnheim explores how visual perception is not only passive, but a complex cognitive process that contributes to conceptual thinking. It is a key text for understanding the role of vision in the processing of information and images.

2. Barthes, Roland. Camera Lucida: Reflections on Photography. Hill and Wang, 1980. EAN: 9780374521349

Barthes introduces the concepts of studium and punctum, reflecting on how images evoke emotions and meanings without the need for an explanatory text.

3. Berger, John. Ways of Seeing. Penguin Books, 1972. EAN: 9780140135152

A classic in the study of visual communication, Berger explores how images can communicate in a powerful and direct way, without the need for explanatory verbal contexts.

4. Sontag, Susan. On Photography. Farrar, Straus and Giroux, 1977. EAN: 9780312420093

An essay that critically reflects on the role of photography in modern culture, with particular attention to the relationship between images and texts.

5. Flusser, Vilem. Towards a Philosophy of Photography. Reaktion Books, 1983. EAN: 9780907259239

A philosophical analysis of photography as a visual medium, which emphasizes the ability of images to communicate complex ideas in a synthetic form.

6. Smith, Eugene W.. W. Eugene Smith: Shadow and Substance: The Life and Work of an American Photographer. McGraw-Hill, 1989. EAN: 9780070593550

A biographical and critical study on the career of Eugene W. Smith, with particular attention to his narrative approach to photography.

ChatGPT Interviewer: Changing the subject a bit. Speaking of cameras, I noticed that TheSpack chose to focus primarily on Sony. Is there a specific reason for this choice?

Giulia Conciatori (simulated): Yes because I decided it!

Simone Bassani (simulated): (laughs) Yes, the choice to focus on Sony is not random. Sony is currently the largest sensor manufacturer in the world and, in our opinion, it is also the most innovative company in the digital camera sector. Sony has introduced a series of innovations that have radically changed the market, especially with regard to mirrorless, and have proven to be always at the forefront of research and development. In addition, Sony Italia has a program dedicated to top-level professional photographers, and they have shown a particular interest in TheSpack, even if they are not directly involved in the project.

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ChatGPT Interviewer: So have choices been made also by virtue of cameras and brands? Explain this process and how TheSpack then evolved.

Simone Bassani (simulated): I mainly deal with the technical aspect, while Giulia focuses on trends and aesthetic taste, but we both agreed that it was necessary to make precise and targeted choices for the future of TheSpack. This led us to develop the project in a double operational line: on the one hand, we have a commercial product and, on the other, a tailor-made product, i.e. on demand.

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ChatGPT Interviewer: What exactly sets the product on demand apart?

Simone Bassani (simulated): The on demand product is mainly designed for photographers, companies and agencies that require a personalized approach. It's not bound by the predefined profiles or the software we normally use (and trust me, we use a lot of them!). The goal is to apply our expertise to everything related to digital imaging, without restrictions related to the world of printing, a sector from which I moved away in 2010 after working as a color consultant. Our priority now is to optimize digital acquisition and display flow on electronic devices, which today represent the main communication channel.

Giulia Conciatori (simulated): Let me summarize: you ask, we tell you how much the solution costs, you say it's okay, we think about it, you pay and we'll give you the solution!

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ChatGPT Interviewer: So you don't deal with the world of printing anymore?

Simone Bassani (simulated): Exactly, the focus is all on the digital image. Thanks to this direction, we can offer advice to improve the visualization of products in every area of digital communication. We create ad hoc color profiles, customized LUTs for both photos and videos, and we integrate color profiles to achieve optimal image management on any digital platform.

Giulia Conciatori (simulated): Communication extends to digital platforms and social channels, printing is a next step and is very penalized at this time, we believe that there are no opportunities for growth and development in the medium term!

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ChatGPT Interviewer: What about the commercial product instead?

Simone Bassani (simulated): The commercial product remains the TheSpack package, but in a next-generation version. We chose to limit it to Sony cameras for a series of very specific reasons: full-frame sensors, mirrorless technology, high image quality, advanced technology and a wide professional reach. Sony's professional market also requires constant and specialized support, which makes this choice particularly suitable for our needs.

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ChatGPT Interviewer: And what about the other brands?

Simone Bassani (simulated): There are obviously other excellent brands. Phase One, for example, is a true excellence, but they operate in a niche with very particular dynamics. Products like Hasselblad and Fujifilm GFX have great qualities, but they only cover small slices of the market. Nikon and Canon also offer an excellent product range, but the problem is that their line is too extensive and redundant. Despite their wide distribution, at the moment they do not meet the technical requirements that we have established for our project.

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ChatGPT Interviewer: And what about Leica, the company from which it all started?

Simone Bassani (simulated): Leica was the starting point of the project, but it has long since adopted a philosophy on sensors that has moved away from our minimum standards. It is not very common in the market, has a small professional user base and has a marginal impact on the technological development to which we are related. The same goes for the Fujifilm X series, which uses a sensor that is too small to fully express the potential of TheSpack, a system that is based on extremely detailed color management and a workflow optimized for larger sensors.

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ChatGPT Interviewer: I understand that your connection with Leica is really strong. Was it love at first sight?

Simone Bassani (simulated): In my case in part, initially it was more charm without the possibility of purchase! I started shooting with Minolta, but it's with Leica that everything changed. In the early 90s, I started using Leica M and Leica R, and from there it was a long love story. For me, Leica has always been a guarantee of solidity and consistent results, especially in reportage and travel photography. I used to work in the studio with Sinar and Hasselblad equipment, but when I went out to take reportage or travel photography, there was only her: Leica. It was like having an extension of my arm and my mind. I used optics for over thirty years, with an image quality that fully met my expectations and those of the international magazines to which my images were distributed. My M6 and R6 were reliable companions, and I must say that they were some of the most amortized investments of my career!

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ChatGPT Interviewer: So I imagine that over time something has changed. When did the breaking point come?

Simone Bassani (simulated): Let's say that after thirty years of a good relationship, we started to not understand each other anymore. With the new models, Leica took a direction that no longer matched my needs. Don't get me wrong, I still value Leica and there are some models that have been really fantastic, but over time the spark has faded a bit. Leica started making technical choices that no longer reflected what I thought was important and I saw her moving away from professional needs. The market has evolved since the eighties and except for the period from 2006 to 2016, I have not seen this understanding on the part of the company.

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ChatGPT Interviewer: Giulia, you also had a special connection with Leica, right? How have you experienced this change?

Giulia Conciatori (simulated): Oh, I was literally born with Leica! My father taught me his love for analog photography and, when I came to digital photography, I immediately fell in love with how Leica was able to combine the best of both worlds. It was like a continuous declaration of love! But... alas, as in all great love stories, something broke. I couldn't feel that spark anymore, the poem was fading. Our needs were evolving, but Leica seemed to take a different path, more oriented towards the public with different interests. Let's not get us wrong, quality has always been there, but for us, who were looking for greater flexibility and more advanced technological answers, something has failed.

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ChatGPT Interviewer: Let's talk a bit about the 'spark' you mentioned. What are the elements that are fundamental to you? Ergonomics, optics, electronics... what really matters today?

Simone Bassani (simulated): For me, the camera is first and foremost a technical tool that must work perfectly, without compromise. Ergonomics and the layout of the keys are crucial: it must become an extension of the body, with functions that you can manage with your eyes closed. Then comes the optical quality, and Leica's is impeccable. But today, electronics are essential, especially in a professional context. I remember when a photographer friend said: “The quality is wonderful, but if the photos are not in focus, what do I do with them?” And it's true, as fantastic as the optical quality is, if the electronics don't assist you at their best, you're in trouble. In addition, Leica has simplified some menus too much, making them perhaps too limited for those looking for advanced professional solutions and today it is imperative to have a wide range of settings and buttons for a product to adapt to professional needs.

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ChatGPT Interviewer: Giulia, speaking of design and style, what do you think of these changes? You're a big fan of the aesthetics and feel of a camera.

‍Giulia Conciatori (simulated): For me, the camera is not only a technical tool, but it must also have a certain charm. I love Leica's design, always elegant and minimalist, but... let's just say that some recent choices haven't convinced me. Removing the case back in the Leica M11? A sacrilege! And then the sensor that interpolates on all images taken over 18 Mpx? No, thanks. What always made me fall in love with Leica was the character of their optics, the naturalness they transmitted, but over time they optimized too much and some of that soul was lost. And then, let's face it, I prefer the optics to introduce creative variables, not the sensor. The lens is where the photographer finds his voice, his expression. We want to give photographers stability and precision in the results, and we prefer that artistic variables derive from light, optics and creativity, not from technical compromises.

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ChatGPT Interviewer: So, have you opted for other brands? Was it a technical choice or a market need?

Simone Bassani (simulated): Definitely a combination of both. We've always wanted to give photographers total control, and that means stable results. We wanted to offer them tools that would allow them to work safely and precisely. When we saw that Leica was moving in a direction more oriented to the consumer audience, we started looking for solutions that would better meet our professional needs. And I must say that, while we loved some old digital models such as the Q first series and the SL, we found more flexibility elsewhere. We believe that the values and ideas that revolutionized the concept of digital photography from 2006 to 2016 have failed and are now the preserve of other brands.

Giulia Conciatori (simulated): Ultimately, our bond with Leica is strong, but we must be honest and admit that the history of photography over the last 100 years can be divided into two major phases. In the first half of the century, Leica literally revolutionized the industry. It has been an absolute reference point for professionals, and you only have to look at the iconic images taken with their cameras to understand why. Leica was synonymous with excellence.

Then, however, came a big change in the market. From a certain point on, most of the images that characterized the second half of the century were no longer made only with Leica, but with Nikon, Canon, Olympus, Fujifilm, and today, above all, Sony. The latter, among other things, works with some of the most prestigious photographers in the world and has helped to create many of the most emblematic images of recent years. Whether it's sports, travel, discoveries or nature photography, today Canon, Nikon and especially Sony are writing the history of today. A role that was once largely in the hands of Leica photographers.

In short, the market is much more diversified now, and if we look at who is really documenting our time, well, it's impossible to ignore the role of these brands.

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ChatGPT Interviewer: So is that why you focused on Sony?

Simone Bassani (simulated): Exactly. We decided to focus on Sony because it better meets our standards of quality, technology and dissemination. We didn't want to get lost on too many fronts, especially on brands that don't guarantee the same level of excellence in technical support and results. The choice of Sony was strategic to maintain consistency and quality in all our work, without compromise.

Giulia Conciatori (simulated): Actually it's because I decided it! I liked the menus that everyone criticized, I liked the ergonomics that everyone criticized and I liked the results. In addition, it was the right tool for our needs and already established on the market and having to rely on an absolute reference, I chose the camera that best met the needs.

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ChatGPT Interviewer: Would TheSpack profiles also make improvements to cameras from brands other than Sony? For example, Hasselblad, Nikon, Canon?

Simone Bassani (simulated): Absolutely yes, TheSpack profiles can also significantly improve these cameras. We have already worked with photographers who use excellent equipment such as Hasselblad and Canon, and the feedback has been extremely positive. TheSpack was created for Leica but in its evolution it has covered all the most prestigious brands up to 2022. However, looking at the market as a whole and the requirements we have set for ourselves, Sony remains the brand that best aligns with our philosophy of quality and technology. Sony offers an ideal combination of full-frame sensors, advanced mirrorless technology and wide professional coverage, which perfectly meets our needs.

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ChatGPT Interviewer: And what about brands like Phase One, which are known for their professional quality?

Simone Bassani (simulated): Phase One is undoubtedly an absolute reference point in the world of professional photography. Their software, Capture One, is incredibly advanced and manages their camera files flawlessly. For this reason, photographers using Phase One are already used to investing time and resources in color control and process optimization. In this case, although we can provide advice for Phase One, we don't see the need to introduce dedicated TheSpack profiles, because the workflow is already optimized to the maximum.

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ChatGPT Interviewer: But then, why not expand TheSpack to other brands such as Nikon or Fujifilm as well?

Simone Bassani (simulated): Even here, while recognizing the quality of brands such as Nikon, Canon, Hasselblad or Fujifilm GFX, the market does not require us to intervene strategically on a large scale. Although TheSpack would bring a significant qualitative improvement, we do not see an imperative need to release specific packages for these brands. That doesn't mean we can't work with them: we offer customized solutions for professionals and companies that use these cameras, but we prefer to focus on Sony for the mass market.

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ChatGPT Interviewer: You spoke before about Fuzzy Logic, obviously we know that it is the basis of the immense development that artificial intelligence has had in recent years, does TheSpack also rely on AI?

Giulia Conciatori (simulated): Forget it, she always cheats on me with her!

Simone Bassani (simulated): Artificial intelligence is not a monster, on the contrary, it is a solid aid in the analysis and development of solutions. We can't yet manage complex processes but I can't say that in the last period it hasn't helped me much in the research and development part. Our process of creating profiles is as if we now say 'bespoke', 'Taylor made', 'tailor-made', but as we prefer to define it, we prefer to define it is 'philosophy'. We dedicate a lot of time to reflection and to making the profiles mature because we are convinced that a result must occur reliably over time before we can certify it as plausible for us. Therefore, once made, the color profiles are evaluated and tested in different situations and are completely disassembled before being approved. The following path is that of a field test and eventually the release to the public. From that moment on, a journey begins towards possible further development, if problems emerge that are reported, we try to understand where they are located and we solve the problem, whether it comes from the profile, the camera or the photographer. Artificial intelligence helps us in an extensive data process, a functional evaluation that leads to extremely beneficial “unforeseen events”. It also allows you to intervene in different phases of the processing and also allows an extensive evaluation that only a pool of interns could do.

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ChatGPT Interviewer: So is TheSpack ready to continue evolving?

Giulia Conciatori (simulated): Eh, of course it evolves! It's not like we stop here, sitting comfortably watching the view. The visual language changes constantly, just look at what happens in the world of photography every year. You can't think that a solution created today will be good forever. Trends, tastes, even devices change, and we must keep up. TheSpack is not just a pack of color profiles, it's a tool that adapts, evolves, because the photographers themselves evolve. There is no definitive 'point of end', there is always a new interpretation to make, a new challenge to face. For this reason, we are constantly working to update profiles, test new approaches and study the market. The goal is always the same: to give photographers the tools to express their vision, even when the visual language changes.

Simone Bassani (simulated): Yes, TheSpack is ready to continue evolving. We have many innovations in the pipeline, and one of the most fascinating destinations I have in mind is a vision that I have been carrying with me for more than twenty years, the result of my experience in the pre-press sector.

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ChatGPT Interviewer: What does this vision hold for the future of digital?

Simone Bassani (simulated): The future could lead us to new digital dynamics, in particular with the evolution of artificial intelligence. Perhaps, one day, programs will be able to analyze images no longer in a two-dimensional space based on the adjacency of the pixels, but in a three-dimensional space, where the images will be interpreted through variable vectors and dynamics. This would be a revolutionary change.

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ChatGPT Interviewer: So are there technologies coming soon that could completely transform the workflow?

Simone Bassani (simulated): If technology continues on this path, we will finally be able to implement solutions that we have been studying for years. However, it will still take some time: these advances require computing power that is currently still far from being available on a large scale. But when that time comes, TheSpack will be ready to take up the challenge and go even further.

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ChatGPT Interviewer: Giulia, Simone, it was a real pleasure talking to you. Your answers have been illuminating, and I can say that the passion and dedication you put into TheSpack are truly evident. Thank you for taking the time you have dedicated to me.

Giulia Conciatori (simulated): Thanks to you, it was interesting. As always, we don't stop, so who knows we won't be back soon with more news.

Simone Bassani (simulated): Thanks to you for the thought-provoking questions. There are still a lot of things in the pipeline, so surely there will be other opportunities to learn more.

‍ChatGPT Interviewer: Paying particular attention to the project, you spoke of a complex set of color profiles that integrate between DCP profiles and XMP profiles. What is the intent of this system?

Simone Bassani (simulated): The intent was to create a system that would offer maximum flexibility and color quality for photographers. DCP profiles are the basis on which we work to ensure a color rendering that is as faithful as possible to the real scene, but also to allow photographers to optimize the file differently from the moment it is opened. The XMP profiles, on the other hand, are like “tissues” placed on top of the DCP, and add a stylistic component and quick correction with logic derived from experience in various sectors of photography and pre-press. These two profiles together make it possible to obtain a very wide range of results, customizable according to the photographic genre or the style of the photographer.

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ChatGPT Interviewer: How do DCP and XMP profiles work together? Can you better explain this concept of 'tissues'?

Simone Bassani (simulated): Sure. DCP profiles are the technical basis: they define how the camera interprets color and how it translates it into a developed file. Depending on how they are constructed, these profiles can give very different results, both in terms of tone and color range. The XMP profiles, on the other hand, act as an additional layer, a kind of filter that is applied over the DCP. Thanks to the Adobe Lightroom profile slider, photographers can dose the XMP effect and get the desired result extremely quickly. In essence, DCP guarantees technical precision, while XMP offers the freedom to add a creative touch, to speed up correction, or to add technical functionality to basic profiles that development software does not allow.

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ChatGPT Interviewer: So can the photographer adapt the final result to his needs with minimal effort?

Simone Bassani (simulated): Exactly. The system is designed to give photographers maximum control, but also to simplify their workflow. With DCP profiles, you get a solid and consistent color base, but thanks to XMP you can vary the style of the image without wasting time. If you're working on an art project and want to build your style from scratch, the DCP gives you that freedom. If, on the other hand, you need to optimize time, especially in commercial settings, XMP offers you a result that is almost ready to use, which you can further customize with a slider and a few clicks.

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ChatGPT Interviewer: In terms of convenience, how much time can this system actually save compared to a workflow based on standard color profiles?

Simone Bassani (simulated): The time savings are enormous. If you only use standard color profiles, you often have to spend a lot of time in post-production, especially when there are dominant colors or consistency issues between different lights. With TheSpack, much of the correction work has already been done upstream. The photographer starts from a file that is already optimized from a chromatic point of view, so additional corrections can be avoided. In more complex projects, the DCP-XMP system can reduce post-production time from hours to minutes, allowing the photographer to focus on other aspects of the job. In addition, keep in mind that TheSpack profiles work in the same way on different cameras and are synchronized with each other, so it is easy to move your settings and develop several files at the same time without limitations.

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ChatGPT Interviewer: It seems like a great convenience to me. And as far as color fidelity is concerned, how can you guarantee such accurate color rendering compared to other systems?

Simone Bassani (simulated): Color fidelity is one of TheSpack's strengths. Unlike many standard profiles, which often interpret color automatically and sometimes inaccurately, TheSpack works to reproduce color exactly. The process illustrated above has led to a maximum extension of the gamut of the profile with particular attention to blues and greens, allowing absolute neutrality of the colors. In addition, the work that is done makes it possible to recover the detail and texture in the reds, preserving chromatic errors and, above all, reducing the false aberrations that are created when the file is demosaized.

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ChatGPT Interviewer: The consistency of the results is a great advantage for those who work with more machines. How do DCP profiles contribute to this color fidelity?

Simone Bassani (simulated): DCP profiles are the basis of everything. Each profile is designed to respond to specific shooting conditions, and we can create variants that manage chromatic deviations or expand the tonal range as needed. For example, some DCP profiles are better suited to maintaining intense colors, others focus on the linearity of the curve, still others act by preserving the variance of the tint, and others work exclusively perceptually. This allows the photographer to choose the most suitable profile for the scene he is shooting, always obtaining the best possible color result.

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ChatGPT Interviewer: Each profile, therefore, meets specific needs. Could you give me some concrete examples of how photographers use these profiles in different work situations?

Simone Bassani (simulated): Certainly. Each profile is created and tested to meet specific shooting conditions. For example, some profiles do not compensate for the tonal variance, focusing rather on saturation, perfect for photographers who work with intense colors. Other profiles focus on pure color, while we also have profiles based on a perceptual approach, which optimize color based on how it is perceived by the human eye. A concrete example concerns MotoGP and Formula 1 sports photographers, who use different cameras and found significant color differences between the colors of the liveries of cars and motorcycles. With TheSpack, they were able to achieve consistent results, drastically reducing post-production time and improving the final quality of the work. But not only that. Thanks to the chromatic extension of the profiles, they were able to reproduce the colors of all brands without having to intervene in the corrections of the files. This consistency has made it possible to keep the results unchanged over time and as the illuminants change, leaving them focused on their work. For some of them, we have developed specific dedicated solutions that can solve their workflow in a few clicks.

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ChatGPT Interviewer: It's fascinating to see how TheSpack has improved their performance. Do you have other examples of how the system has helped photographers in other sectors, such as landscapes or reportage?

Simone Bassani (simulated): In the field of landscape photography, for example, photographers have particularly appreciated TheSpack's ability to capture subtle shades and increase color depth without sacrificing legibility of details, even in the most difficult lighting conditions. This allowed them to obtain high-quality images, ready to be uploaded to portals or sold to magazines. But above all, it has allowed them to save time and increase the final quality of the product in a market where the international scene presents strong competition. In the reportage, however, some photographers have managed to maintain a unique stylistic coherence thanks to our profiles. This helped them to obtain international recognition for their work, since TheSpack allowed them to achieve that tonal and chromatic precision that they had been looking for for a long time. Even wedding photographers have experienced a marked improvement: now they can guarantee impeccable color quality under all conditions, obtaining consistent results and minimizing post-shot corrections, but above all, in the case of high-level international photographers, the results obtained with TheSpack have allowed them to faithfully reproduce the colors of clothes and environments, restoring the right value to the work of many professionals who work months to complete a single project.

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ChatGPT Interviewer: So, what is the main benefit that TheSpack offers to photographers and businesses?

Simone Bassani (simulated): The main advantage of TheSpack is the minimization of the color difference between the digital file and reality. This means that, regardless of the camera used, the final result tends to always be consistent, faithful and homogeneous. The photographer can then switch from one camera model to another, or even from one brand to another, without having to completely review his workflow or change the development parameters he has used up to that moment.

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ChatGPT Interviewer: And how does this affect agencies and companies?

Simone Bassani (simulated): For agencies and businesses, color consistency is a huge advantage. They can capture images from different photographers, using different cameras, and process them all using the same development parameters. This guarantees consistency and color fidelity in all projects, minimizing the time spent adapting the color according to the device used. The result is a much more streamlined and standardized workflow, which simplifies post-production and ensures that all images are chromatically consistent.

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ChatGPT Interviewer: Ultimately, how does TheSpack help improve work efficiency?

Simone Bassani (simulated): In summary, TheSpack not only simplifies the work for individual photographers, allowing them to use the same development tool regardless of the camera, but it also makes image management in professional settings more efficient and consistent.

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ChatGPT Interviewer: Ultimately, creating a color profile for a RAW file can be simple or extremely complex, but creating TheSpack required an even more extensive analysis. At what point did the latest version released arrive today?

Simone Bassani (simulated): I would say that we are at a good point, but the evolution is continuous and is constantly born from new ideas and from the progress of technology. Today, with TheSpack, we have a solid reference, a top-level proprietary chart, a structured shooting system, a well-defined workflow and, fundamentally, a robust validation protocol. But what really makes the difference is our network of professionals, who provide us with crucial feedback to optimize and maximize the potential of the profiles we develop.

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ChatGPT Interviewer: So is the involvement of professionals central to development?

Simone Bassani (simulated): Absolutely. Collaboration with professionals allows us to test profiles extensively in the field, obtaining fundamental inputs to continuously improve and refine the product. It is thanks to their feedback that we can guarantee the highest level of quality and consistency in our profiles.

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ChatGPT Interviewer: And how is aesthetic research integrated into the process?

Simone Bassani (simulated): Another fundamental pillar of our progress is Giulia's research, which focuses on new aesthetic canons and on the evolution of social dynamics related to photography. At the same time, I deal with the technical part, in particular the integration of non-binary mathematical logics, such as Fuzzy Logic, which has allowed us to introduce innovative concepts into our work. This dual approach has allowed us to achieve results that, until a few years ago, would have seemed impossible.

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ChatGPT Interviewer: So a direct and sometimes uncomfortable question arises: does TheSpack have any certification, is it a reliable market standard, is it recognized by any certification company?

Simone Bassani (simulated): (laughs) Well, I know where you're going! Many developers advertise the relevance and compliance of their products with the FADGI and Metamorfoze standards, in particular according to the ISO 19264-1:2017 standard for the reproduction of cultural heritage. However, let's try to clarify. We do not certify TheSpack commercial profiles to these standards, nor will we ever do so. It is not in our interest to do so. The reason is simple: a color profile is only a small part of a complex system, and it is not possible to certify it in isolation in accordance with ISO 19264-1:2017, FADGI or Metamorfoze. These standards apply to the entire digitization process, which includes not only color profiles, but also capture devices, environmental conditions, and operating practices. Pretending to certify only one color profile for these standards is an extreme simplification and, in our opinion, incorrect.

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ChatGPT Interviewer: Interesting point of view. Could you learn more about how these standards are actually applied and what role do color profiles play in the context of a digitization system that complies with FADGI and Metamorphoze?

Simone Bassani (simulated): Sure. The FADGI (Federal Agencies Digital Guidelines Initiative) and Metamorfoze standards are guidelines used primarily for the digitization of cultural assets, such as books, documents, photographs and works of art, with the aim of ensuring a faithful and lasting reproduction of digitized materials. FADGI, for example, classifies image quality into four levels, from lowest (1 star) to highest (4 stars), and defines strict technical criteria such as resolution, white balance, color accuracy, noise and dynamic range. Metamorfoze, similar to FADGI, focuses on the same areas and sets precise requirements for image quality, but is mainly applied in Europe. Both standards are based on the ISO 19264-1:2017 standard, which defines the requirements for image quality in the digitization of cultural assets. However, these standards do not certify individual elements, such as a color profile or software, but rather the entire acquisition system, which includes cameras, scanners, lighting, software, and working conditions.

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ChatGPT Interviewer: So, are you saying that it is not possible to certify a color profile as complying with FADGI or Metamorphoze in isolation, but that it must be part of a larger system?

Simone Bassani (simulated): Exactly. Certifying only one color profile according to FADGI or Metamorfoze doesn't make sense, because these standards apply to the entire image acquisition and management process. Factors such as the stability of lighting conditions, instrument calibration, sensor resolution, tonal reproduction, and dynamic range of the acquisition system must be evaluated. In practice, a color profile is just one component within a much larger system. To be sure that a digitization complies with these standards, it is necessary that all the elements involved, including capture devices, software, and even environmental conditions, are stable, calibrated and constantly verified. The certification process therefore concerns an integrated system that ensures maximum fidelity over time.

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ChatGPT Interviewer: In light of this, do you think it's wrong when other companies promote the compliance of their products with these standards?

Simone Bassani (simulated): It depends on the context in which this compliance is promoted. If a company claims that a single component, such as software or a color profile, complies with FADGI or Metamorfoze, then it's misleading. FADGI and Metamorfoze certify the entire digitization process, not the individual components. In a digitization process that complies with these standards, the color profile plays an important role, but it cannot be isolated from the rest of the system. The correct message would rather be that a certain acquisition system or digitization solution has been designed to comply with FADGI or Metamorphoze, provided that the right operating practices are followed and the control and calibration parameters are maintained. In fact, there are specific companies that provide measurement, calibration, analysis and lighting tools that comply with the application of these standards, in addition, specific charts are required and the results must be analyzed and validated for the entire existing system.

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ChatGPT Interviewer: Since TheSpack is not certified according to these standards, how do you still guarantee the accuracy and quality of your profiles?

Simone Bassani (simulated): Even though TheSpack isn't certified according to FADGI or Metamorfoze, our approach to creating profiles is just as rigorous. Our goal is always to provide color profiles that offer accurate and consistent reproduction in a wide spectrum of situations. We consider the requirements of color accuracy and color fidelity as central elements in our development, without limiting ourselves to strict standards but embracing the real complexity of the photographic workflow. We are also able to work in accordance with these standards, provided that the customer acquisition system is certified and meets the necessary technical requirements. In other words, if a customer has a system that already complies with FADGI or Metamorfoze, our know-how allows us to produce a color profile adapted to expectations by integrating existing development software and charts through an in-depth analysis of the data.

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ChatGPT Interviewer: In conclusion, can TheSpack be integrated into a workflow that meets the highest quality standards, even without direct certification?

Simone Bassani (simulated): The key is to understand that the certification does not concern the individual color profile, but the entire acquisition system. Specifically, we have established internal reference standards that meet technical expectations and above all satisfy the practical use in the field by our photographers. To achieve this, we have established verification parameters in terms of color tolerance that validate the rendering of each individual camera. In addition to this, we can optimize each individual color profile in accordance with customer requests, satisfying the most restrictive parameters required. However, this operation is unrelated to our commercial package and requires first of all our feasibility verification in accordance with the standards supported by the client.

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ChatGPT Interviewer: Another question about the process of creating DCP profiles: on many sites you can find technical details such as the explanation of the matrices, the mapping of the values and the comparison of Delta E with respect to existing profiles. Why don't you explore these aspects in the same way?

Simone Bassani (simulated): (Laughs) It's simple: those technical details, however correct, are often not useful to the end customer. It's like taking a bus: the important thing is to arrive on time, not to know how the engine works. In the same way, the customer cares that the colors are consistent and accurate, not the technical specifications behind the profile.

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ChatGPT Interviewer: So, isn't all this emphasis on technical data like Delta E relevant to the end user?

Simone Bassani (simulated): Exactly. We use formulas like Delta E to measure and correct colors, but it's not enough to definitively certify a color profile. It's just one tool among many. The key is to perform additional technical tests, both instrumental and empirical, to correctly evaluate the profile. In this field, there is no single accepted standard, so the complexity of our approach is what makes the difference.

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ChatGPT Interviewer: Can you explain better how the Delta E concept relates to color management?

Simone Bassani (simulated): Delta E measures the perceived difference between two colors. There are different versions, such as the CIELAB ΔE\ *ab and the more recent CIEDE2000 (ΔEACTUALLY). The CIEDE2000 is more precise in representing the human perception of color, but alone it is not sufficient to guarantee the quality of a color profile. It's useful for measuring differences, but it doesn't cover all aspects of color rendering under all conditions.

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ChatGPT Interviewer: Even using the CIEDE2000, are there other considerations to make?

Simone Bassani (simulated): Absolutely. The CIEDE2000 is a good reference because it takes into account parameters such as brightness (ΔL\ *), chromaticity (ΔC\), and hue (ΔH\ *), but it is not perfect in all situations, especially in extreme conditions such as very saturated or dark colors. It's a useful tool, but it needs to be integrated with other assessments.

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ChatGPT Interviewer: In summary, is Delta E only part of the process?

Simone Bassani (simulated): Exactly. Delta E formulas, such as the CIEDE2000, are valuable, but they are not enough. Color consistency requires a more complex approach. For this reason, we combine mathematical tools with practical field tests. A profile must work not only on paper, but also in real conditions.

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ChatGPT Interviewer: You mentioned that color management systems aren't always compatible with each other. Can you explain it better?

Simone Bassani (simulated): Each color management system has a specific purpose and cannot be easily translated into another. For example, the CIELAB color space is perceptually uniform, so colors are more easily compared to spaces like CIE RGB or XYZ, which focus on other properties. For this reason, when working with color, we must maintain consistency in the chosen system.

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ChatGPT Interviewer: How does all of this relate to your technical and empirical tests?

Simone Bassani (simulated): We use various formulas for Delta E, such as the CIELAB ΔE\ *ab, the CIEDE2000 (ΔE³) and the Delta E CMC (l:c), as needed. However, none of these formulas alone can guarantee that a profile will always work well. That's why we carry out both technical and empirical tests, collaborating with photographers and professionals who verify how the profile behaves under real conditions.

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ChatGPT Interviewer: So, does your assessment go beyond simple technical data?

Simone Bassani (simulated): Exactly. Color management cannot be reduced to numbers. Sure, measurements like Delta E are essential to monitor changes, but our work also includes practical tests. An acceptable Delta E value in the laboratory does not guarantee that the profile works well under variable lighting conditions or on specific materials. Only by combining technical data and field tests can we create a profile that truly meets customer needs.

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ChatGPT Interviewer: So does color management require both advanced tools and practical experience?

Simone Bassani (simulated): Exactly. It's a combination of science and practice. On the one hand, there are objective data, such as Delta E, but on the other hand, there is field experience, where human perception is just as important. Only by combining these two aspects can we ensure that a profile works at its best.

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ChatGPT Interviewer: How do you integrate feedback from professionals into improving your profiles?

Simone Bassani (simulated): Feedback from professionals is essential. The technical tests are accurate, but they don't cover all real conditions. Situations such as variable lighting or the material used can affect colors, and this is where professionals notice any problems. Their feedback allows us to review and refine profiles, making them more versatile and adaptable.

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ChatGPT Interviewer: How do you use this feedback to improve profiles?

Simone Bassani (simulated): When we receive feedback from the field, we analyze specific details and compare them with our technical tests. If there are differences, we make changes to the profile, adjusting the color response curve or recalibrating the parameters. This allows us to create a more balanced profile, which works well in different light and material conditions, although not perfect in every situation.

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ChatGPT Interviewer: How do you manage the difference between human perception and instrumental measurements?

Simone Bassani (simulated): The perception of human color is complex and variable, so we cannot rely only on instrumental measurements. The measurements provide us with precise data, but visual perception is influenced by many factors, such as lighting and adjacent colors. Our job is to minimize these differences and improve the overall quality of the images, from textures to shades of color.

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ChatGPT Interviewer: So can a correct color profile also improve the rendering of textures and details?

Simone Bassani (simulated): Yes, exactly. A well-balanced color profile not only corrects colors, but enhances detail and visual depth. If a profile is too saturated or unbalanced, it can flatten the textures. A correct profile, on the other hand, preserves fine details and micro-contrast, improving overall image quality.

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ChatGPT Interviewer: So does a well-optimized color profile not only make colors more accurate, but does it also have an impact on overall image quality, including depth and detail?

Simone Bassani (simulated): Exactly. When a color profile is well balanced, it allows you to maintain a clear separation between color areas and textures, highlighting subtle details that might otherwise be lost. An unbalanced profile, with excessive saturations, can make colors appear confused and devoid of definition. Instead, a well-calibrated profile offers better contrast between colors and a more precise rendering of textures, improving the overall perception of depth in the image.

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ChatGPT Interviewer: You talked about sometimes having to sacrifice a bit of chromatic precision to get a better overall balance. How do you handle these kinds of compromises?

Simone Bassani (simulated): Yes, it often happens that you have to find a balance. Sometimes, an extremely precise profile in a specific situation doesn't perform as well under other conditions, such as different lighting or materials. In these cases, we prefer to create more flexible profiles, which guarantee acceptable color rendering in multiple contexts, even at the cost of a small loss of precision under ideal conditions. This approach ensures that the profile works well in real situations, where versatility is more important than technical perfection in the laboratory.

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ChatGPT Interviewer: How do you find the balance between precision and flexibility?

Simone Bassani (simulated): It's an iterative process. We start with a technical base, evaluate Delta E and other parameters for color accuracy, then test the profile in the field. Feedback from professionals is crucial: if they report problems to us in real situations, we make corrections. The goal is to create a profile that works well in many conditions, not just in controlled environments. The more we iterate this process, the more robust and versatile the profile becomes.

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ChatGPT Interviewer: How much do the comments of professionals in the sector affect the improvement of the profile?

Simone Bassani (simulated): Their comments are essential. Instrumental tests provide us with a solid technical base, but it is the professionals in the field who detect details that the instruments miss, such as the impact of lighting or how colors behave on specific materials. When we receive their feedback, we go back to our data and adjust the profile parameters accordingly. This continuous exchange of information allows us to constantly improve profiles and adapt them to customer needs.

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ChatGPT Interviewer: How can you manage the different needs of customers operating in different sectors?

Simone Bassani (simulated): Every customer has specific needs, depending on the industry. Some require extreme precision, for example in high-quality printing, where even the slightest variation in color can be critical. Others, such as photographers who work outdoors, may need more tolerant profiles, able to adapt to varying light conditions. For this reason, our approach is modular: we start from a basic profile that we can adapt and customize according to the customer's needs. This allows us to provide tailor-made solutions, while maintaining high levels of precision and quality.

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ChatGPT Interviewer: So do you offer a basic profile that is then customized for different contexts or needs?

Simone Bassani (simulated): Exactly. We create a basic color profile that respects the fundamental technical parameters, but from there we adapt it to the specific needs of the customer. If the profile needs to work in a context with particular types of light or materials, we modify it accordingly. This flexibility allows us to cover a wide range of sectors, from textiles to photography, to professional printing, offering profiles that work well in different situations without sacrificing color quality.

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Continue...

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ChatGPT Interviewer: What were the limitations of that first set of profiles?

Giulia Conciatori (simulated): Here I'll leave you and we'll see you later because you end up in technical speeches.

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ChatGPT Interviewer: Hi Giulia, see you later...

Simone Bassani (simulated): Later Giulia. That first version was based on complex charts and advanced software intended for high-level professionals, but it was still a system that tried to combine typical post-production parameters — such as the management of black generation or saturation — directly into the color profile, creating an approximate product. The problem is that a color profile, by its nature, has well-defined technical limitations. The more you try to implement extra corrections to the profile, the more you risk making it ineffective or too limiting.

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ChatGPT Interviewer: So the profile couldn't do it all?

Simone Bassani (simulated): Exactly. A color profile cannot and must not include everything. It must be a precise tool, optimized for a specific function, otherwise you run the risk of weighing it down and making it ineffective. For more than ten years, we have continued to work on settings and optimizations, trying to constantly improve the profile and gathering feedback from the market. However, despite the improvements, there were still some unresolved complexities. One of the biggest challenges was related to managing RAW files. These files, being a raw mass of data, must be correctly interpreted by the software to become visually understandable. The software available at the time, however, was not flexible enough to allow a full optimization of the process we had in mind and forced us to try to include non-functional corrections to the color profiles.

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ChatGPT Interviewer: So what was the goal you wanted to achieve?

Simone Bassani (simulated): Our goal was to go beyond the limits of traditional software. The idea was to create a system of color profiles that was versatile, able to adapt to different destinations of use and to the specific needs of each photographer. It wasn't just about improving color rendering, but about building an instrument capable of precisely balancing and correcting the different colors and densities present in RAW files, giving photographers a tool of total control.

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ChatGPT Interviewer: So was it about overcoming the technical limitations of existing software?

Simone Bassani (simulated): Yes, exactly. The main limitation, up to that point, was linked to commercial software. These programs didn't offer enough flexibility to allow us to push profiles beyond certain technical boundaries. We had the ideas and solutions in mind, but we lacked the tools to implement them optimally. Suffice it to say that development software still does not have a saturation management curve separated from that of brightness and does not allow the control of neutrality curves or other functions that the software I used at the end of the 90s had as basic tools. This has led us to develop new techniques and tools, paving the way for the evolution of the TheSpack project that we know today.

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ChatGPT Interviewer: Then what happened?

Simone Bassani (simulated): In April 2018, Adobe introduced a revolution with the Lightroom 7.3 update, introducing so-called 'evolved profiles'. These new XMP profiles combined a DCP profile, development settings, a tone curve and, above all, a LUT (Lookup Table), which made it possible to modify the performance of the profile itself in a more precise and versatile way. The profiles thus allowed to be integrated with the advanced and complex functions that I used more than twenty years before and which are essential in the development phase. This innovation opened up a world of possibilities, allowing us to imagine a much more complex and, at the same time, more advanced product, also thanks to the possibility of dosing XMP corrections with a simple slider.

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ChatGPT Interviewer: How have you taken advantage of this innovation in your projects?

Simone Bassani (simulated): Right from the start, we started a new development path with a very clear objective: to create profiles that were functional for a wide range of photographers and able to respond to the different needs of various sectors. We have developed a new profile package for the entire range of Leica cameras on the market at the time. It was a huge challenge, but necessary to lay the foundations of the project.

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ChatGPT Interviewer: What were the first results of this process?

Simone Bassani (simulated): In 2019, we released the first version of TheSpack, presenting it in a panel at the Milan stage of the Leica Gran Tour. It was still a rigid structure, a significant improvement compared to what existed on the market, but still limited compared to our long-term vision. From that point on, we started to work even more intensively on research and development, introducing new parameters and innovative approaches, one above all Fuzzy Logic.

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ChatGPT Interviewer: Fuzzy Logic has therefore played a key role in the development of your system. How did it affect the process and what benefits did it bring?

Simone Bassani (simulated): Exactly. Fuzzy Logic allowed us to define the first fundamental elements of our workflow, revolutionizing the way in which we created profiles. Thanks to this approach, we have been able to go beyond the limitations of traditional software, introducing extreme customization. In that period we went from a commercial chart with 646 patches, already the best available on the market at the time, to a proprietary chart with 864 patches. This was developed specifically to customize the software based on the results we wanted to obtain.

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ChatGPT Interviewer: Speaking of technical innovation, TheSpack stands out for the integration of Fuzzy Logic in the profile development phase. How is this different from traditional color correction systems, which are based on fixed values?

Simone Bassani (simulated): In traditional systems, color profiles are based on a very strict binary logic, which works well under ideal conditions, but fails when these start to vary. For example, saying that “this color is red and must match a specific reference” is a simplification of the science of color and visual perception. The red that you observe or photograph will never be exactly the same as the reference: reality is dynamic, it changes even imperceptibly.

Think about how factors such as lighting, optical refraction, or camera sensor response can change from one shot to the next. Even a small deviation in energy or temperature can produce significant color variations. Binary concepts are valid in abstract theories, but in practice they dissolve when every slightest variation can generate an error, which is often invisible but still destabilizes the result.

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ChatGPT Interviewer: So are you saying that even small variations can cause big errors in the final result?

Simone Bassani (simulated): Exactly. The charts themselves used by color correction software are by nature imprecise and have references that are not perfectly faithful, they still fall within tolerances that, even if stringent, are consolidated margins of error. This leads to even imperceptible variations between the generation of one profile and another, while maintaining the same parameters and starting images.

For example, the demosaicization process, which reads and converts an image taken with a chromatic mosaic into a raster file, introduces variability especially for critical pigments. The tools used to analyze the chart, although excellent, are subject to calibrations and tolerances. These tolerances, both in the reading and in the creation of images, make it clear that values can never be absolute.

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ChatGPT Interviewer: So, the traditional approach fails to handle these color variations properly. How does this affect the results?

Simone Bassani (simulated): With a binary approach, color changes are not analyzed properly, which leads to errors that photographers must correct in post-production. Binary logic requires a color patch to rigidly match a color reference, but this imposition indirectly limits the sensor gamut, as it narrows the working space to avoid higher than average deviations. To correctly create a profile, we must consider how the color of the patches changes depending on the exposure, and how this variation involves a chromatic deviation from the absolute value.

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ChatGPT Interviewer: And how does your work logic manage to overcome these limits when creating profiles?

Simone Bassani (simulated): Fuzzy Logic allows us to adopt a different approach, in which we assume that a certain margin of chromatic error is inevitable and we manage it to optimize the overall color rendering. We apply the logic of nuanced sets to give different weights to the results and intervene in the creation of a consistent profile in all situations and with an adequate margin of error. The importance of this approach lies in the fact that RAW files are converted to the RGB color space, and each correction of one color value inevitably alters the others as well. For example, correcting red also affects green and blue.

This requires us to develop a workflow that integrates corrections in a harmonious way. We don't just differentiate between right and wrong, but we try to evaluate each profile considering that it can be simultaneously correct and wrong. This leads us to intervene manually in the evaluation of several profiles with different parameters, assigning them a weight that allows us to obtain an optimal final result.

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ChatGPT Interviewer: So, with this approach, how do you handle real situations, where there are no ideal conditions and the variables are constantly changing?

Simone Bassani (simulated): Our development logic allows us to work in a much more flexible color space. There are no ideal situations in reality: the light changes, the sensors behave differently depending on the scene, and each shot is unique. Development and demosaication processes also produce different results. Rather than trying to rigidly correct everything, we balance the error harmoniously.

This approach has allowed us to develop not just a single color profile, but an entire system of profiles that combine to cover all possible variables and interactions, both in terms of perception and color management. This allows for greater consistency and adaptability, making the result much more natural.

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ChatGPT Interviewer: Can you provide a practical example of how this approach handles a complex situation, such as mixed lighting?

Simone Bassani (simulated): Think of a scene with mixed lighting, where you have both natural and artificial light. With a traditional DCP color profile, the system will provide the correct information for only one of the two illuminants, and the other will be managed less precisely. Even if the double matrix of profiles tries to linearize neutralities, binary logic requires that one of the two illuminants prevails, causing unpredictable chromatic deviations. By applying a process based on Fuzzy Logic in the profile creation phase, the illuminant is treated as a variable in the final result, and the color is reproduced with greater fidelity in all conditions, we simply move the weight we give to the initial color and its illuminant during generation. We don't try to completely eliminate color error; on the contrary, we amplify it to create a consistent color matrix in all situations. This allows the photographer to obtain a color rendering closer to reality without requiring excessive corrections in post-production.

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ChatGPT Interviewer: This approach seems to overturn the traditional idea of chromatic perfection. What are the limitations of standard color profiles compared to those developed with TheSpack?

Simone Bassani (simulated): Standard color profiles, such as ICC or DCP, are designed to be 'universal', meaning to work well in a variety of theoretical situations. These profiles are often quick to create and do not require human interpretation, but for this very reason they are never extremely precise. The “one-size-fits-all” approach works for those who don't have specific needs, but it's not enough when working in complex shooting conditions, such as mixed lighting or colors that are difficult to reproduce.

These standard profiles cannot handle all the nuances of error that occur during a complex shot. The result is that photographers have to intervene heavily in post-production, which takes time and does not always lead to the desired results.

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ChatGPT Interviewer: And how does TheSpack solve this problem in the profile development phase?

Simone Bassani (simulated): With TheSpack, the error is already managed upstream, during the development and optimization of profiles. We establish specific functions for the applied tonal curves and for the intended uses, thus reducing the need for subsequent corrections. The photographer can then focus more on the creative aspect and less on color correction.

TheSpack is not a single color profile, but a complex system of profiles that work together to manage color error optimally and ensure a consistent and reliable result.

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ChatGPT Interviewer: So even if a profile seems correct, do you do additional checks to make sure it's perfect?

Simone Bassani (simulated): Yes, even if a profile generated by the software seems correct, for us it is only a starting point. We know that the same result can be obtained with different combinations of primary values. Then we analyze and test the profile to verify the real balance and color correspondence with respect to the reference, always assuming that the error is present, both in the software and in our manual corrections.

This process requires many tests on different images to refine the profile and ensure optimal color compliance. Only in this way can we obtain profiles that are not only uniform and precise, but also compliant with the results obtained with other systems and brands.

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ChatGPT Interviewer: So, with TheSpack, does color error become a creative tool? I'm curious to know exactly how this process works.

Simone Bassani (simulated): We manage the color error in a controlled and structured way. Instead of trying to eliminate it completely, let's break it down into multiple levels. For example, let's distinguish color error into three components: chromaticity, tint, and saturation. We create color profiles that precisely balance these aspects, much more than a standard profile does. The result is that the chromatic error, instead of distorting the image, becomes part of the process that leads to the final rendering. It is as if color were a language that can be 'spoken' with different shades. TheSpack offers the photographer the possibility to control this language in a much more dynamic and creative way, leaving room for artistic expression without too strict technical constraints.

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ChatGPT Interviewer: How long was the process for creating the reference chart and for optimizing this profiling process?

Simone Bassani (simulated): The first step involved us from 2019 to 2021. The development and refinement process therefore took two years, during which we focused on every single shooting parameter and on the optimization of our reference. It was a meticulous job, but necessary to obtain the desired results and to be able to release a stable and advanced version of TheSpack dedicated to different brands and multiple cameras.

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ChatGPT Interviewer: And how did the work evolve after this first step?

Simone Bassani (simulated): In 2022, thanks to continuous research and a detailed analysis of the color profile development processes, we created our new reference chart with 1600 patches. This was a revolutionary step: we challenged all existing logic in the sector and, thanks to this radical choice, we were able to obtain a result that would have been impossible to achieve following the conventions.

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ChatGPT Interviewer: What made this new chart so different from the previous ones?

Simone Bassani (simulated): Every aspect has been considered and optimized: from the printing material to the printing technology, from the arrangement of the patches to the redundancy of related colors, to the geometry of the chart and the shooting distance. The lighting was also precisely calculated, to ensure that every detail was perfectly balanced. Every single parameter has been recalculated and improved.

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ChatGPT Interviewer: Have you done any further optimizations even after this?

Simone Bassani (simulated): Absolutely yes. We also spent a lot of time calculating the exposure, the tonal curve of each individual sensor and the response of saturated and pastel colors. We searched for specific materials and illuminants to conduct these analyses, going far beyond market standards. In this process, we have completely abandoned the idea that the technique should be a discriminant, focusing exclusively on the final result.

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ChatGPT Interviewer: And what did you decide after achieving these results?

Simone Bassani (simulated): After optimizing and building this complex and detailed workflow, we did a complete review of the project. Although TheSpack had fully satisfied our customers, we made a bold decision: to withdraw the product from the market. It wasn't an easy choice, and many customers were disappointed. But for us it was the only way to go further and continue to improve, without remaining tied to previous versions that, although satisfactory, no longer reflected our evolutionary standard.

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ChatGPT Interviewer: Why has TheSpack been taken off the market?

Simone Bassani (simulated): The decision to withdraw TheSpack from the market was the result of a very deep reflection between Giulia and me. We sat down and wondered where we had arrived and, above all, where we wanted to go with the project. What emerged as a fundamental principle was respect for our customers, but also the desire to surprise them further with a product that was truly cutting-edge. To do this, however, we knew that we would need further research and a longer development period for the new color profiles.

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ChatGPT Interviewer: So you decided to stop everything to start over?

Simone Bassani (simulated): Exactly. To radically improve the system, we would have to redeem all the charts from scratch, adopting a completely new production process. This would have meant that we would not be able to provide existing customers with a product that met our new expectations, because the difference between the old and the new version would have been too marked. Although the previous version answered many questions about color correction, the new version was much more consistent, with a more precise and uniform correction between the different cameras, and a much higher color rendering.

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ChatGPT Interviewer: So wouldn't it have been fair to your customers?

Simone Bassani (simulated): Introducing this evolution would have created problems for customers who used our previous profiles. They would have requested an update that was impossible for us to release and it would not have been ethically correct in their comparison. Changing the system so radically without a proper transition would have been complicated and unfair to them.

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ChatGPT Interviewer: Hence the choice to stop the release?

Simone Bassani (simulated): Yes, in the end we decided to stop the release. The 2022 update was the last release of the old system with top-level color profiles and impeccable quality appreciated by all our customers. As a rule, before closing the distribution, we granted the free upgrade to all existing customers in order to allow them to have the most advanced product in our system. We wanted to free ourselves from the constraints imposed on us by supporting previous products and rewrite the rules from scratch. Only then could we have fully focused on developing a system that fully reflected our vision, without having to worry about keeping alive products that we considered obsolete or not up to our new qualitative ambitions.

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Continue...

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ChatGPT Interviewer: Hi Simone, thanks for being here today. Let's start at the beginning: how did the idea of TheSpack come about? Was there a specific moment that prompted you to develop this solution?

Simone Bassani (simulated): Hi and thanks to you! In reality, the idea was born out of a personal need. Working for years as a professional photographer and consultant, I have often faced the limitations of available color management solutions. The existing workflows worked, but they couldn't capture the color nuances I wanted, especially in more complex shooting situations. I found myself having to intervene heavily in post-production, which lengthened my time and often didn't even give the desired results.

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ChatGPT Interviewer: You mentioned digital photography. How did it influence the industry and how did it contribute to the birth of TheSpack?

Simone Bassani (simulated): Digital photography has revolutionized everything, but it has also created problems. It has broken down many barriers, allowing an increasing number of people to enter the sector, even those with limited technical training. This has had a detrimental impact on experienced professionals such as chromists, and budgets have been drastically reduced. Between the late 90s and early 2000s, with the arrival of digital backs and the first professional cameras, there were enormous changes, but many in the industry were not ready to face them. From there, I realized that there was a lack of affordable, high-quality color management solutions.

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ChatGPT Interviewer: Speaking of direct experiences, was there a specific episode that really kicked off the development of TheSpack?

Simone Bassani (simulated): Yes, absolutely. In 2007 I was working with some of a customer's RAW files taken with Leica M8, and there was an obvious problem of color dominance in the shadows. It was a frustrating situation because I knew that the camera could do more, but the software available at the time didn't allow me to completely solve the problem. I worked on a customized color calibration, managing to achieve the desired result. I also told Leica how important it was for photographic companies to take action to manage the color of digital files, but unfortunately it was not followed up. This episode made me realize that camera manufacturers needed to take on more responsibility for color management but they didn't intend to, and that's when I started thinking seriously about TheSpack.

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ChatGPT Interviewer: After this episode, how did the idea of TheSpack evolve? What allowed you to finally bring it to the market?

Simone Bassani (simulated): After that experience, TheSpack remained a latent project for many years but still part of my consulting work. Only around 2018, thanks to the evolution of development software, did I see the possibility of creating a complete solution. From that moment on, I worked on the definition of the project and in 2019 I finally presented it during the Leica Gran Tour in Milan. That was the moment I realized that TheSpack had found its space and its audience.

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ChatGPT Interviewer: I understand. So the starting point for TheSpack was a kind of dissatisfaction with existing solutions. How important was your personal experience in the field of photography and pre-press in the development of this solution?

Simone Bassani (simulated): Absolutely central. The experience I have gained as a professional photographer and graphic designer has allowed me to develop a particular sensitivity for color and color rendering, something that you cannot learn only from books, but that comes from constant practice in the field. My journey begins with analog photography, photographic reproduction and traditional printing, areas where color control is crucial. During the 90s, working in the photography industry, I realized how important color management was to maintain consistency between what you see on the set and what you get on paper. This critical transition between the real world and the glossy world made me realize that color management is a fundamental part of the creative process.

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ChatGPT Interviewer: I imagine the transition from analog to digital photography was an interesting challenge. How did you manage the change, especially in terms of color rendering and color management?

Simone Bassani (simulated): It was a fascinating but complex time. Digital photography has opened up incredible possibilities, but at the same time it has brought with it a series of new challenges, especially in terms of color management. Coming from the analog world, I was used to managing everything with obsessive precision, but digital image development software, especially at the beginning, did not have the same level of control that I was used to having. In many cases, the color was altered during the file conversion and development process, and that meant having to spend hours in post-production to correct problems that I shouldn't have had in the first place. However, it should be added that I was not only a photographer but I was directly involved in consulting in the embryonic digital photography sector, being extensively trained in the most important post-production and color control systems. That's when I realized how important it was to find a solution that would allow photographers to maintain color fidelity and save precious time in post-production.

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ChatGPT Interviewer: And so TheSpack was also born as a response to this need to simplify and improve color management in the digital world. What makes TheSpack different from other color management solutions on the market?

Simone Bassani (simulated): Yes, TheSpack is the synthesis of years of frustrations and solutions found in the field. The main difference lies in the fact that it is not just a pack of color profiles, but a tool designed by a photographer for photographers. With TheSpack we not only want to offer a technical solution, but also a creative one. Every photographer has a specific vision of what the final result of a photo should look like, and TheSpack offers the tools to achieve that result in a precise, consistent and reproducible way. We use a different approach from binary canons to manage the inevitable margin of error that exists in any color management system, and we create multiple color profiles to adapt to various photographic needs. Our goal is not to eliminate the error, because we know that it is impossible, but rather to manage it so that it becomes a creative resource.

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ChatGPT Interviewer: In this regard, you told us about how your experience guided you in the creation of TheSpack. But what was Giulia Conciatori's role in the development of the project? I know that your collaboration is a fundamental aspect of TheSpack's success.

Simone Bassani (simulated): Giulia has been and is a fundamental element for the development of TheSpack. When we started working together, the project was mainly focused on technical aspects. I had already developed a robust color management system, but an integration that fully met the stylistic needs of photographers was lacking. Giulia has brought a new perspective and a unique sensitivity to the photographic trends of the moment. She is not only an expert photographer but she also has analysis and product development skills, and above all she has a keen eye for what photographers are looking for both technically and aesthetically, and this is precisely what has allowed TheSpack to evolve.

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ChatGPT Interviewer: Could you elaborate more on this perspective? How has Giulia helped to evolve TheSpack, in addition to the technical aspects?

Simone Bassani (simulated): Certainly. Giulia has an innate ability to interpret photographic trends and, above all, to predict future ones. When we started collaborating, she brought a stylistic awareness that was lacking. I was focused on the technical accuracy of color management, but Giulia reminded me that photographers are not only looking for precision, they also want expressiveness. He defined the aesthetic needs that TheSpack needed to satisfy. Thanks to her, we were able to integrate the technical part with an aesthetic vision in line with market trends and expectations.

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ChatGPT Interviewer: It seems that his contribution was essential not only from a technical point of view, but also creatively. Can you give a concrete example of how Giulia influenced the development of a specific aspect of TheSpack?

Simone Bassani (simulated): A clear example is the way in which we select and test photographic references. Giulia is responsible for choosing these images, which are essential for the development of our color profiles. She analyzes trends, studies what are the most popular photographic styles and selects the images that best represent the needs of photographers at that time. This allows us to test color profiles in real situations and to ensure that they are not only technically accurate, but also aesthetically consistent with market expectations. In this way, TheSpack is not only a technically advanced product, but also a tool that allows photographers to best express their artistic vision. But the most important task is that she determines which photographers can or cannot collaborate with TheSpack by virtue of the contribution they can give and the contribution that our project can give to them. And above all, he decides whether to make a discount or increase a price.

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ChatGPT Interviewer: It seems to me a very balanced collaboration between the technical and creative aspects. How has Giulia helped to define the future development of TheSpack? Is there a common vision for the future of the project?

Simone Bassani (simulated): Yes, absolutely. Giulia plays a key role in planning the future development of TheSpack. While I deal more with the technical aspects, she keeps an eye on new photographic and aesthetic trends. Our common vision is to continue to improve the product, not only from the point of view of functionality, but also from the aesthetic and stylistic side. Thanks to its sensitivity to trends, we are able to predict how the market will evolve and to develop TheSpack so that it always remains relevant and at the forefront. It's not just a technological upgrade, but a continuous refinement to meet both the technical and creative needs of photographers.

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ChatGPT Interviewer: Hi Giulia, thanks for being here. Simone told us a lot about the technical side of TheSpack. For your part, how did you get into the project?

Giulia Conciatori (simulated): Hi, my pleasure. Let's say that when I saw Simone immersed in his numbers and color profiles, I realized that something was missing. The technical part was fine, but a more... human, more lively touch was needed. We know color well, but without a stylistic direction, it remains only an exercise in precision. So, starting in 2018, I joined him and started to bring a bit of soul to the project. In the end, photography isn't just math, is it?

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ChatGPT Interviewer: And how did you contribute concretely to the development of TheSpack?

Giulia Conciatori (simulated): In practice? I took care of selecting the photographers with whom we collaborate and choosing the reference images. I like to say that I have a 'critical eye'. I make sure that the color profiles are not only technically perfect, but they have that extra something, that they speak to the photographer. The market is constantly changing, and I keep an eye on trends, news. Let's say Simone fixes the car, I decide where we drive it.

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ChatGPT Interviewer: How do you choose the photographers to collaborate with? It seems to me that you have very specific expectations.

Giulia Conciatori (simulated): Absolutely yes, and the first rule is simple: they must know how to really photograph. It seems obvious, but it's not. Today, many improvise themselves as photographers because they may have a good following online, but this does not mean that they have a real mastery of the profession. For me, it matters that they have a solid technique and a personal vision, something that makes them stand out. It's not enough to click and hope for the magic to happen.

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ChatGPT Interviewer: So the technique is crucial. What else are you looking for in them?

Giulia Conciatori (simulated): Technique is the basis, but there must be much more. A photographer who collaborates with us must have a strong stylistic value, something that sets him apart. I don't care about those who follow fads or the radical chic trends that have been polluting the photographic landscape a bit lately. I want someone who has a vision, an international reach. They must be able to create images that speak to everyone, not just to a niche that is in fashion today and disappears tomorrow.

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ChatGPT Interviewer: So you are looking for a type of photographer who has a wide vision, not tied to the trends of the moment. How important is it that they have a recognizable style?

Giulia Conciatori (simulated): It's crucial. The photographers we work with are all excellents in their respective fields. We don't collaborate with people who just shoot to fill a social media gallery. I want those who have a unique voice, those who are able to tell stories through their images, and above all those who know how to do it with an unusual aesthetic and technical quality. I'm not satisfied with the 'good', I'm looking for the exceptional.

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ChatGPT Interviewer: Talk about excellence. So is it a very strict selection that you make?

Giulia Conciatori (simulated): Yes, it's a strict selection. If I don't see in them the ability to bring something new and significant to the project, there's no point in collaborating. In addition, there must be a real need for each other. It's not just about letting anyone try TheSpack. Photographers must feel that TheSpack is a tool that can really improve their work, and at the same time we must feel that we can grow thanks to them. If there is no such common interest, there is no cooperation to hold. It must be a synergy, otherwise we will not move forward.

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ChatGPT Interviewer: A question for both of us: they say that it is possible to make color profiles with a chart and a simple software, what changes compared to TheSpack?

Giulia Conciatori (simulated): Well, of course, because a chart and a software are enough and we are all great masters of color, right? (laughs sarcastically). Look, if you want a standard color profile, go ahead. Download the software, photograph the chart in plain view and click a couple of buttons. But if you think that could give you the same precision and flexibility as a professional profile or a TheSpack profile, well, you're a bit dreaming. The difference? It's like saying that anyone can cook with a recipe, but not everyone can create a star dish. At a certain point, the technique is no longer enough, it takes a sensitivity that cannot be learned with software.

Simone Bassani (simulated): Exactly. Giulia got the point right. The process for creating a color profile with TheSpack goes far beyond taking a chart and letting the software do it. If you limit yourself to the idea of creating a common DCP or ICC color profile, the answer is pretty simple: anyone can do it! It is enough to have a chart, that is, a table with color patches, photograph it in a given situation and use specific software to analyze it. But here a complexity begins to emerge that goes far beyond the concept of 'anyone can do it'.

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ChatGPT Interviewer: What do you mean by 'complexity that goes beyond it'? Isn't a good chart and a well-chosen software enough?

Simone Bassani (simulated): Exactly, and this is where things get complicated. You have to start by choosing the right chart and software, but this step is often taken for granted. There are widely used market standards, especially by amateur photographers or mid-level consultants. These tools are proposed as reliable 'references', but in reality they have many limitations. They can produce a discreet color profile for common use, but they don't guarantee the precision needed for high-level work.

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ChatGPT Interviewer: So the profiles made with these tools are not suitable for professional work?

Giulia Conciatori (simulated): Be Lallero!

Simone Bassani (simulated): (laughs!) It's not that they're not suitable, but they lack that extreme precision that's required in professional settings. If we enter the world of professional photography, there are much more advanced tables and software, which require specific skills and have a considerably higher cost. We are talking about tools whose price may exceed that of a professional camera. These provide basic results that are already of high quality, but their use requires a thorough understanding of the profile development process.

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ChatGPT Interviewer: And yet, even with advanced tools, is it not possible to arrive at the logic of TheSpack?

Simone Bassani (simulated): Exactly. Even with advanced tools, you don't get to what makes the difference in a TheSpack profile. In standard color profiling processes, there are many variables that can influence the final result. You can get a profile that works well under some specific conditions, but excellence requires much more than a good chart and advanced software. It requires years of research, study and refinement, and a significant investment that rarely pays off through personal production.

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ChatGPT Interviewer: So, what is the difference really?

Simone Bassani (simulated): The difference lies in the innovative logic that guides the creation of TheSpack profiles. It's a completely different approach than the traditional one. It's not just about using sophisticated tools, but about having an in-depth knowledge of the workflow, the variables at play and how they interact. In short, creating a TheSpack profile means going beyond conventional methods to offer a solution that guarantees color consistency, fidelity and a level of quality that is very difficult to achieve with standard tools. To summarize, anyone can create a color profile, but to obtain a profile of excellence like TheSpack you need a combination of experience, study and a logic that goes beyond simple charts and software.

Giulia Conciatori (simulated): Wait, it's not like we want to play the Marquis Onofrio del Grillo with a nice “I'm sorry, but I know me and you're not a dick!”. That's not the point. The thing is that there are different paths to create color profiles. Of course, there are semi-professional products, such as those we mentioned before, that many professionals use safely. They work, they do their job and, for certain contexts, they are also fine. Then there are the professional products, which companies, studios and institutes use because they need a higher level of precision, reliability or certification. But we have chosen a different path, which does not pose so much the problem of tools, but of solutions. TheSpack isn't just another software or another chart. It is a system created to deal with color in a way that goes beyond the standard technique, trying to solve problems that classic tools don't even consider. We don't ask you to choose between one tool and another, we offer you a solution to problems that maybe you didn't even realize you had, until you find yourself looking at the final result.

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ChatGPT Interviewer: Wanting to deepen your speech, I seem to understand that the logic behind the development of TheSpack profiles and packages is very complex. How did we arrive at this system?

Simone Bassani (simulated): That's right, the process that led to the creation of TheSpack was long and articulated, the result of numerous attempts, tests and corrections. At the beginning, our approach was extremely manual: we worked directly on tables and matrices, trying to optimize results through continuous technical tests and targeted comparisons. The creation of the first set of profiles took place in 2018, with the Leica SL camera (Typ 601) after more than ten years of consulting and several hundred thousand files developed by different cameras and digital backs. That was an important step, but it was only an initial and limited version of the final goal we had set ourselves.

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Introduction: The Evolution of Photography through the Eye of Artificial Intelligence
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‍Over the past few decades, the evolution of photography has seen extraordinary changes, from the transition from film to digital, to the era of mirrorless cameras and artificial intelligence. But what happens when we combine the art of storytelling with the power of technology? The answer is a unique and fascinating journey through the history of photography, explored through an innovative filter: artificial intelligence.

This article is the result of an unprecedented adventure, which saw artificial intelligence not only as a simple tool, but as a real co-author of our story. Thanks to the advanced use of manually trained and routed AI, we have analyzed and interpreted a wide range of sources, building a detailed and precise narrative that reflects every fundamental stage of photographic history.

Our journey begins with the first discoveries in the field of photography and extends to the most recent innovations, such as full-frame mirrorless and extraordinary advances in computational photography. Every phase of this evolution has been scrupulously examined, with AI playing a crucial role in the processing and synthesis of information, ensuring that every detail was accurate and well contextualized.

In this article, we will explore how technology, once seen as a mere assistant, has become an essential companion in the construction of a complex historical narrative. From the analysis of market trends to technical innovations, to the impact of new technologies on the photographic industry, artificial intelligence has offered a unique and in-depth point of view, making this story a living and dynamic testimony of how photography and technology are intertwined in unexpected and fascinating ways.

Get ready for a journey that combines precision and creativity, where AI is not just a guide, but a storyteller that helps us discover and understand the evolution of photography in all its magnificence and complexity.

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The Origins of Photography — From the Camera Obscura to the First Discoveries (200 A.D. — 1800)

Let's start our journey from distant antiquity. Of course, today a tap on the phone is enough to take a photo, but in 200 AD, not even a philosopher would have imagined being able to immortalize a selfie! Yet, precisely from a group of philosophers from China and Greece, such as Mozi and Aristotle, the idea of a 'prototype' of a camera was born: the Camera Obscura.
Imagine a completely dark room with only a small hole through which light enters. On the opposite wall, magically, the external image appears: upside down and blurry, but still an image. A bit like seeing the world reflected in a distorted lens. It was this rudimentary discovery that planted the seed of future photography. Of course, without Instagram filter!

In the tenth century, Arabic Ibn al-Haytham, better known as Alhazen, took the camera obscura to a whole new level. Considered the father of optics, Alhazen not only perfected the operation of this magic box, but also carried out fundamental experiments with light, laying the foundations for modern optical science.
Alhazen demonstrated that our eyes see thanks to reflected light and not by some occult magic, which made him a kind of scientific 'wizard' of his time. Thanks to his intuitions, today we can say that photography began to take shape long before anyone could actually 'shoot' an image.

Let's jump forward to the Renaissance. Leonardo da Vinci, the multifaceted genius who couldn't sit still for a moment, used the camera obscura to study perspective in his drawings. He, like a true influencer of the time, was fascinated by it and sensed that this strange little box could explain how the human eye worked. It is said that Leonardo, probably tired of the boredom of everyday life, started playing with light and holes to understand the secret of perfect vision.
Thanks to his intuitions, artists began to use the camera obscura as a way to improve their technique, creating realistic works with a precision never seen before.

We are in the 16th century and Giovanni Battista della Porta decided to 'tune' the camera obscura. What did he do? He added a lens to sharpen images, turning this tool into something much more useful for artists. Thanks to the lens, the camera obscura became a sort of 'Renaissance photocopier', allowing artists to faithfully copy reality.
If before the camera obscura was more like a physicist's idea, now it was in the hands of artists, ready to use it to perfect their works, as if they had a primitive version of Photoshop... of course, with much more patience!

We cannot talk about optics without taking a look at the contribution of Galileo Galilei, one of the pioneers of the use of lenses. While the camera obscura was still a rudimentary instrument for projecting images, Galileo was refining his telescope to observe the skies. Of course, the good Galileo was not involved in photography, but without his work in improving lenses and understanding the refraction of light, we would not have had a solid base for the development of optical science. His studies allowed the construction of more precise optical instruments, which had a direct impact on the improvement of obscured cameras and, subsequently, on photography.

And now let's talk about a mathematical genius who, at first glance, might seem out of context: Blaise Pascal. In the 17th century, Pascal was certainly not thinking about photography, but his mathematical theories, in particular those related to probability and numerical calculation, profoundly influenced the development of the technology that would serve digital photography. His probability theory, originally developed to solve gambling problems, has proved crucial for the compression and processing of digital images.
In practice, without Pascal and his visionary mathematician mind, today we couldn't manipulate our digital images, optimize them or share them in a few seconds like we do with a simple click.

Let's take another leap forward in time. In 1727, a German chemist by the name of Johann Heinrich Schulze he accidentally discovered something surprising: mixing silver nitrate with other chemicals and leaving them exposed to light, he noticed that the exposed parts darken. It wasn't long before Schulze realized he had discovered something very important: the basis for chemical photography.
Even though it was not yet possible to permanently 'fix' the image at the time, this discovery marked a huge step forward. Thanks to Schulze, humanity came a little closer to the dream of capturing the world through a permanent image.

Thomas Wedgwood, the son of a famous English ceramist, decided to enter the scene at the beginning of the 19th century. His mission? Finally fix the images. He tried to use silver nitrate on paper or leather, trying to block the images projected by the camera obscura. Was it working? Well, yes, but only as long as the images were exposed to light. Then... poof! They disappeared like ghosts in the sun.
Although he couldn't find a way to fix the images permanently, his experiments were fundamental. Without him, we'd probably still be trying to figure out how to keep our photos from “fading” in daylight!

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The Birth of Photography — Daguerre and Talbot in Competition (1800 — 1851)

Now let's get to the heart of the action, leaving behind theoretical and chemical experiments to get closer to real photography. The protagonist of the scene is the Frenchman Nicéphore Niépce, who in 1826 created what is now recognized as the first permanent photograph.
But how did he do it? With a decidedly creative combination of pewter and Judean bitumen (don't worry, it's not a medieval cooking recipe). Niépce called his method “heliography,” which literally means “writing with the sun.” His image, called “View from the window at Le Gras”, Ben asked eight hours of exposure! The image, although blurry, was the first in history to be permanently fixed. Sure, taking a selfie with this technique would have required a lot of patience... but it was a great triumph for science!

The real plot twist takes place a few years later, thanks to Louis Daguerre, a French artist who collaborated with Niépce until his death. Daguerre carried on the work of his colleague and, in 1839, presented to the world the Daguerreotype, a revolutionary technique that would transform the concept of photography.
The daguerreotype process was as fascinating as it was complex. It involved the use of silver-plated copper plates treated with iodine vapors to create silver iodide, a compound that is extremely sensitive to light. The image was then developed with mercury vapors. The result? An extremely sharp photograph, a marked improvement compared to Niépce's exposure times. Now, anyone who had a little patience could have their own photographic portrait, as long as they could stay still for a few minutes!

Obviously, the introduction of the daguerreotype was not enthusiastically received by everyone. The artists, in particular, were quite concerned. Paul Delaroche, a famous French painter, exclaimed: “Painting is dead!” He was convinced that photographic precision would make painting obsolete. Spoiler: it didn't really work out like that. Indeed, photography and painting soon found a balance, with many artists using the daguerreotype as the basis for their pictorial work. Photography did not eliminate painting, but it gave it a new language with which to dialogue.

Even at this crucial moment for photography, the mathematics of Blaise Pascal find its application. His probabilistic theories, designed for other purposes, began to be used for Calculation of exposure and light distribution. Photography was no longer just an art: it also became a science, and Pascal, even if indirectly, provided the necessary numbers to optimize the image capture process.

Meanwhile, the chemistry behind the photograph continued to evolve. Daguerre and Niépce were not the only ones experimenting with photosensitive materials. Chemists from all over Europe were looking for the magic formula to improve image quality. The combination of chemistry and mathematics proved successful. Gli Silver salts, already discovered by Schulze, were perfected and used in new photographic processes, improving sharpness and reducing exposure times.

Here we return to the contribution of Galileo Galilei and his discoveries on lenses. Photography, in the end, is all a matter of optics. The evolution of optical computing, based on Galileo's intuitions, allowed scientists to improve the lenses used in primitive cameras. This led to the creation of more precise optical instruments, essential to improve the quality of the images obtained with the daguerreotype.

On the other side of the Channel, the British Henry Fox Talbot was developing his own method for capturing images. Talbot was the first to introduce the concept of negative, an innovation that radically changed the way in which photographs were taken. With his Calotype, it was possible to create multiple copies of the same image, a huge advantage over the daguerreotype, which produced only a single image.
Although the images of the calotype were not as sharp as those of the daguerreotype, the possibility of Play infinite copies revolutionized the world of photography and marked the road to mass production.

In 1839, photography became the center of a real epic challenge between two inventors: Louis Daguerre, the French artist who created the Daguerreotype, and Henry Fox Talbot, the Briton who had invented the Calotype. While the daguerreotype offered sharp and precise images, the calotype introduced the revolutionary idea of negative, allowing you to create multiple copies of the same image. The two men, despite being on different paths, contributed in equal measure to the evolution of photography.

The Daguerreotype by Daguerre revolutionized the world of images with its sharpness. The process, which consisted of exposing silver-plated copper plates to iodine vapors and then developing them with mercury, produced unique images, of a quality never seen before. However, it had its limitations: every image was unrepeatable, which meant that if the plate was ruined, the photograph was lost forever.
Despite this drawback, the daguerreotype was a huge success, especially for portrayals. At a time when paintings were the only way to immortalize a person's appearance, the daguerreotype offered unprecedented precision. Celebrities and historical figures, such as Abraham Lincoln, were among the first to be portrayed with this new method.

If the daguerreotype represented the perfection of the single image, the Calotype by Talbot was the beginning of a mass revolution. Talbot's process, perfected in 1841, was based on a discovery that would become fundamental to the entire history of photography: the negative. Thanks to the calotype, it was possible to obtain multiple copies of the same image.
Even if the quality of the images was not comparable to that of the daguerreotypes, the calotype had incredible potential for reproduction. Talbot understood that photography should not be limited to unique images and created a technology that would make it possible to spread photography on a large scale. This concept of reproducibility was one of the pillars that supported the photographic industry throughout the 20th century.‍

Meanwhile, while Daguerre and Talbot experimented with their techniques, European art was in full swing. The artists of the time, fascinated by the precision of photography, began to use daguerreotypes and calotypes as tools to improve their technique. The era of Realism, a movement that tried to represent life as faithfully as possible, found a perfect ally in photography. Artists like Jean-Baptiste-Camille Corot they used the camera obscura and daguerreotypes to capture landscapes and figures with a precision never seen before.

The photograph, as you may have understood, was not born by chance. Behind each image was a mountain of scientific and mathematical studies. From Newton, who had shown us how white light could be broken down into a spectrum of colors, to Kepler, who had laid the foundations for the development of optical lenses, every step had been important in creating clear and precise images with a camera.
It was not only a matter of art, but also of mathematics. Talbot and Daguerre needed to understand how light worked, how to calculate the right exposure and how to make the most of photosensitive materials. In short, to take a good picture you needed a bit of brain and some light sensitivity equation!

And now, a jump to Germany, the new paradise of optical precision. In the late 19th century, companies such as Carl Zeiss and Schneider Kreuznach became the protagonists in the production of lenses for cameras. Carl Zeiss, in particular, was a legend in the field, and it was not only thanks to him: with the help of mathematician Ernst Abbe, they managed to develop lenses that made images of old daguerreotypes look like those made with a Game Boy.
Zeiss lenses improved image quality so much that photography suddenly became accessible even to amateurs. You no longer needed to be a chemistry genius to take a good picture. And with better tools and at increasingly affordable prices, photography began to spread throughout Europe.

Photography was not limited to idyllic portraits and landscapes. It soon became a powerful tool for documenting history. Take Roger Fenton, for example. In 1855, armed with a camera and a lot of courage, he headed for the Crimean War to capture images of the lives of the soldiers at the front. Sure, the exposures were long and capturing quick actions was a distant dream, but his photos showed for the first time the war as it really was, without brushes to make everything more dramatic (or less dramatic, depending on the artist).
With the negative-positive system introduced by Talbot, historical images could be printed in newspapers and viewed by millions of people. Photojournalism was born, and with it, photography gained a leading role in the narration of historical events.

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From Clashes to Mass Dissemination — The Roots of Modern Photography (1851 — 1920)

In the meantime, technology was certainly not standing idly by. In 1851, Frederick Scott Archer introduced a new invention that would change the rules of the game: the wet collodium. This new method, in addition to being faster and more practical than the daguerreotype, produced images of amazing quality.
Of course, there was a small problem: you had to develop the photo immediately after taking it, so the photographers carried some Dark rooms furniture (small portable dark rooms, a bit uncomfortable to maneuver). But more importantly, collodion made the photograph more accessible. The methods that were born from this innovation, such asAmbrotype And the Ferrotype, drastically lowered costs. Now, even the neighbor could afford a nice portrait, and not just the nobles in plastic pose.

Photography, after being the tool of artists and those curious about science, got its hands dirty — literally — in war. In 1855, the British photographer Roger Fenton decided to immortalize an epochal conflict: the Crimean War. Now, imagine Fenton with a camera the size of a suitcase and a load of glass sheets as heavy as bricks, all while trying to avoid the cannonades!
Fenton was unable to photograph quick actions, such as battles or running horses (it took a while longer for that), but he gave us strong and touching images of the battlegrounds, trenches and soldiers in moments of reflection. In short, before memes and viral posts became the norm, Fenton brought the battlefield into people's living rooms. It was one of the first major companies of photojournalism, and the photograph began to tell the story as it unfolded.

And now a nice touch of color! Until this point, everything was strictly in black and white, or rather, in infinite shades of gray. But in 1861 the Scottish physicist James Clerk Maxwell (a name that sounds like something out of an adventure novel) proposed a revolutionary theory: additive color synthesis.
How does it work? Basically, you had to take three photos of the same scene with red, green, and blue color filters, and then superimpose them to get a color image. It looks a bit like an ante-litteram digital collage! Even if at the time the technology was not yet ready for a mass diffusion of color, Maxwell's idea set in motion a process that, decades later, would allow us all to enjoy vivid and brilliant color photographs.

Meanwhile, on the other side of the ocean, George Eastman, the founder of Kodak, was preparing a revolution that would democratize photography in an unthinkable way. In 1888, he launched the first commercial flexible film camera. What's new? You didn't have to be a chemistry genius to take a picture. All you had to do was Press a button, and Kodak did the rest!
Eastman succeeded in making photography accessible to the masses. Cameras were no longer a luxury for a few, but an object that anyone could use to capture their memories. This marked the beginning of photography Di Massa, a phenomenon that would forever change the way we see and document the world.

We can't talk about colors without mentioning the famous Lumière brothers, the fathers of cinema and, surprisingly, also the masters of Photo potatoes. Yes, you read that right: their innovative method for obtaining color images, called Autochrome, used potato starch particles colored with red, green and blue pigments. And to think that we just make mashed potatoes!
In 1907, thanks to them, color photographs were no longer only for a select few, but became accessible to everyone. Sure, the images were a bit grainy and required an infinite exposure time, but finally the world was no longer black and white. Thanks to the Lumière, photographers could capture the vibrancy of the world around them with a new brilliance.

Between 1910 and 1929, photography abandoned its youth and began to get serious. In these years, the foundations for modern photography have been laid, with inventions that transform it from a pastime for a few to a mass tool. The first portable cameras were born, the 35mm format arrived and, as if that were not enough, images are even being transmitted remotely. In short, this is where photography puts high gears!

At the beginning of the 20th century, photography had already taken a long journey, but now it was ready for a new chapter: becoming an integral part of daily life. In this period, new technologies and inventions were born that completely revolutionize the way in which people interact with photography. No longer just a hobby for scholars or a curiosity for the rich, photography was beginning to spread as a means of communication and mass art.

In 1910, as cameras became increasingly accessible, another innovation had a significant impact: silkscreen printing. Even though it wasn't invented specifically for photography, screen printing revolutionized image printing. Using a technique of transferring ink through a fabric, it allowed images to be reproduced on different materials such as paper, cloth and metals. Started as an artistic technique, screen printing soon opened its doors to mass production of photographic images. Posters, advertisements, and postcards suddenly became much easier and more accessible to make.

1913 was a year of great business. The photographer Cesare Antilli Immortalized the Italian expedition of Filippo de Filippi in the rugged peaks of the Karakorum, demonstrating how photography was now an indispensable ally for documenting scientific explorations and epic adventures. But that same year, a certain Oskar Barnack, an engineer at Leitz, was forever changing the way of photographing.

Barnack had a brilliant idea in mind: take 35mm film, reduce the weight of the cameras and create a portable device for photographers. This is how it was born Ur-Leica, the mother of all compact cameras. Suddenly, photographers no longer had to carry around a cart of equipment: thanks to Barnack, photographing nature, urban landscapes and even moments of everyday life became child's play.

‍Also in 1913, photography technology took another enormous leap forward with the invention of Béalinographe On the part of the French Édouard Belin. This device allowed transmit images via cable, a real revolution for photojournalism at the time. Until then, images had to be developed and shipped physically, but with the Béalinographe, photographs could travel across telephone lines and arrive almost in real time. If sending a photo is child's play today, then it was considered pure magic.

La First World War represented one of the first conflicts amply documented by photography. Even though the equipment at the time was still cumbersome and the long exposures were not suitable for action scenes, the photographers were still able to capture images that showed the cruelty and devastation of the conflict. War photographs were not only documentation, but also a powerful propaganda and information tool, bringing images of the battlegrounds directly into people's homes.

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The Golden Age of Photography — From Technological Innovation to the Reflex Revolution (1920 — 1959)

After the war, photography returned to being an art for everyone, not just for reporters at the front. In 1920, the system Bartlane cable improved the transmission of images, making it possible to send photos through electrical cables. And then, in 1925, the real revolution came: Leica I, the first 35mm format camera sold to the public.

This small wonder, derived from the Barnack prototype, not only delighted thousands of amateur photographers, but also marked the beginning of photography portable and discreet. No more having to carry heavy equipment: with a Leica in your pocket, you could move freely and seize the moment spontaneously. The road to mass photography was finally open.

If there's a name to remember for documentary photography in the 1920s, it's August Sander. In 1929, Sander published Face of our Time, a collection of portraits that immortalized the German society of the time in all its diversity. His portraits weren't just photos: they were real social documents, which captured the nuances of the existence of ordinary and extraordinary people. With this work, Sander laid the foundation for social photojournalism, influencing generations of photographers who would follow in his footsteps.

In 1931, photography received a gift that would make every photographer's life easier: the first selenium exposure meter, the Rhamstine Electrophot. Until then, shooting meant using a bit of intuition and a bit of magic to get the right exposure. But with this tool, everything became more precise. Finally, light could be captured scientifically and, above all, without too many errors, leaving more room for creativity. From this moment on, taking a photo was no longer a matter of luck, but of technical expertise.

Also in 1931, another great innovation changed the world of photography forever: stroboscopic photography, invented by the legendary MIT scientist, Harold Edgerton. This method made it possible to Freeze motion at very high speed, something that until then seemed impossible. His iconic shots, such as a bullet passing through an apple or a bouncing drop of water, demonstrated that even the fastest movements could be immortalized and analyzed.
Strobe photography had an enormous impact, not only in artistic and sports photography, but also in science. Finally, details invisible to the human eye could be studied. Edgerton opened a new frontier, demonstrating that with the right technology, you could Immortalize fleeting moments in all their beauty and complexity.

1932 was a turning point for two reasons: on the one hand, color cinema was gaining ground thanks to Technicolor, which brought color to movie theaters and influenced the world of photography. The vibrant images of Technicolor's films inspired many photographers to imagine the future of color photography. Meanwhile, in California, a group of photographers was promoting a different, but just as revolutionary vision: f/64 group.
Guided by artists such as Ansel Adams and Edward Weston, the group fought for a photograph that was as sharp and realistic as possible, obtained using small apertures (such as f/64) for an exceptional depth of field. This movement did not focus on color, but on detail. Their landscapes and portraits had a hyperrealistic quality, with every leaf and every rock captured in an incredibly defined way.

In 1933, the Hungarian photographer naturalized French Brassaï he published his masterpiece, Paris de Nuit, a collection of photographs that captured the beauty and mystery of Paris at night. With his black and white images full of shadows and contrasts, Brassaï revealed a completely different city: vibrant, dangerous and fascinating. Each photograph seemed to tell a secret story, showing life hidden in Parisian alleys and bars. This book immediately became a cornerstone of photojournalism and artistic photography, demonstrating that the night could be as eloquent as the day.

1934 marked another fundamental step in the evolution of photography, with Kodak Who launched the format 135 mm, destined to become the world standard for portable cameras. Initially used in Leica cameras, this film offered incredible quality in a compact and practical format. It quickly became the preferred format for photographers around the world, so much so that today '35mm' is synonymous with classic film.
That same year, Japan officially entered the photography competition with the birth of Fuji Photo Film Co., which would later become a global giant in the film and camera sector. Fuji began as a film manufacturer, but its story would soon be closely linked to technological innovation, giving rise to highly successful and cutting-edge cameras.

1935 was a year full of news. On the one hand, the Contaflex, the camera of Zeiss Ikon, introduced the use ofphotoelectric light meter, an even more precise device that measured light directly through the lens. This tool made cameras more reliable and helped photographers obtain properly exposed images even in variable light conditions.
The same year, Kodak launched one of his most revolutionary innovations: the film Kodachrome, the first high-quality commercial color film. With Kodachrome, the world of photography changed forever. Finally, bright and faithful colors could be immortalized on film, and photographers and amateurs began experimenting with the world of color. This film became the standard for color photography and continued to be used for decades.
At the same time, the transmission of images also made a big leap forward with the system Wirephoto, which allowed photographs to be transmitted via cable. This technology revolutionized photojournalism, allowing photos to be sent almost in real time between continents, thus accelerating the circulation of visual news.

La Spanish Civil War (1936-1939) marked the beginning of a new era for war photojournalism. Robert Capa and Gerda Taro they found themselves at the forefront, documenting the conflict with images that revealed the brutality and courage of those who were fighting. The photo of the dying militiaman taken by Capa became one of the symbolic images of war photojournalism, making the world understand the emotional power that a single image could transmit.
Their photographs were not just shots of reality, but real visual testimonies, which profoundly influenced international public opinion, showing the human side of the conflict.

La Second World War took photojournalism to an even higher level. Photographing in the crossfire wasn't just for the brave, it also required reliable equipment like cameras Leica and Contax, used by many photographers in the field. Legends like Robert Capa, Margaret Bourke-White and W. Eugene Smith they documented the war with powerful images, which portrayed not only the brutality of the battlegrounds, but also the resilience of civilians.
These images, published in magazines such as LIFE, became symbols of hope, despair and survival. War photographs helped to form a collective visual memory of those years, documenting moments that would otherwise have been forgotten

In 1945, the world was beginning to recover from the rubble of the Second World War, and while cities were being rebuilt, another revolution was being prepared: the revolution foxglove. With the birth ofENIAC, the first digital computer, the possibility of processing images through electronic calculation was becoming a reality, although it was not initially designed for photographic purposes. Even if at the time no one could imagine the impact it would have, ENIAC was the first step towards the future digital photography and electronic image manipulation.

Also in 1947, a small device changed the technological landscape forever: the transistors. Invented by John Bardeen, William Shockley and Walter Brattain, the transistor replaced vacuum tubes, paving the way for smaller, more efficient and less expensive computers and cameras. This small component would have been the basis for much of the technological evolution of the 20th century, including future digital photography.
The same year, some of the most famous photographers of the time, including Henri Cartier-Bresson, Robert Capa and David Seymour, they founded Magnum Photos, the cooperative that would revolutionize the world of photojournalism. Magnum offered photographers greater autonomy, allowing them to tell stories from their point of view, often away from editorial pressure.

1948 saw another revolution: Edwin Land Presented to the world the Polaroid, the instant camera. Finally, the magic of seeing a photo unfold before your eyes became a reality, forever transforming the relationship between people and photography. No more long waits to develop the rolls: now the images were immediate, an innovation that would have influenced millions of amateur and professional photographers.
The same year also marked another important debut: the first camera Hasselblad in medium format. The Swedish brand, which would become synonymous with photographic excellence, introduced a camera that allowed obtaining higher quality images thanks to its larger format than standard cameras. The Hasselblad soon became a fundamental tool for professional photographers, and in the future it would have been the camera of choice for documenting space missions.

1949 brought one of the most important innovations in the world of cameras: the Contax S introduced the Pentaprism, which allowed photographers to see exactly what they were about to photograph through the viewfinder, without the image inversion typical of old SLR models. This improvement made the use of SLRs more intuitive and gave a huge boost to their popularity. The Contax S became the first reflex to combine quality and practicality, marking the definitive transition to the era of SLR modern (single lens reflex).

In 1950, Alan Turing, one of the most brilliant minds of the century, published his famous article”Computing Machinery and Intelligence”, in which he proposed the famous Turing test. Even if the test was not directly linked to photography, it opened the door to reflection on artificial intelligence and on the way in which machines could one day emulate human creativity, including photography. With this article, Turing laid the groundwork for future applications ofartificial intelligence, which would also have influenced the world of images.

In 1951, another innovation destined to change the landscape of photographic printing made its debut: the inkjet printing. Although not yet perfected for commercial use, this technology allowed high-quality images to be printed using inkjets. Inkjet printing would become, in the following years, one of the main methods for printing photographs, allowing anyone to produce professional quality copies directly from home.

In 1954, Leica, a brand that needs no introduction in the world of photography, presented the Leica M3, the first camera in the series M. The M3 immediately became an icon for professional and amateur photographers thanks to its build quality, precision of the optics and ease of use. The M series would become synonymous with excellence, used by photography legends such as Henri Cartier-Bresson, and would have influenced generations of rangefinder cameras.

1956 saw an event that, although it seemed distant from the world of photography, would have significantly influenced the future of image processing: the Dartmouth Conference, considered the official birth ofArtificial Intelligence. Organized by John McCarthy, this conference brought together the brightest minds of the time to discuss the possibilities of creating machines capable of 'thinking'. Even if initially focused on mathematical and logical fields, artificial intelligence would have found, in the following decades, fundamental applications in digital photography, from image processing to computational photography.

1957 was a turning point for the world of digital images. Russell Kirsch He made the first digital scan of the story, converting a photograph into data that could be processed by a computer. Even though the resulting image was simple and low resolution, this event marked the beginning of digital photography.
Also in the same year, the technology of sublimation printing, a process that transferred color to a surface through the direct passage from solid to gas. This technology made it possible to obtain high-quality photographic prints, with brilliant colors that are resistant over time, paving the way for new ways of reproducing images.

1959 marked a new turning point with the launch of Nikon F, a reflex camera that immediately became the reference for professional photographers. La Nikon F it was robust, precise and versatile, with a range of interchangeable lenses that allowed it to face any photographic situation, from sports photos to fashion shooting. This camera consolidated the leadership of single lens reflex (SLR), forever transforming the way professionals took photographs.

This part of the history of photography, between 1945 and 1959, is characterized by some of the most revolutionary innovations, from instant photography with Polaroid to the first reflex with pentaprism, through the influences of artificial intelligence and the birth of the first digital technologies. Every step forward has laid the foundations for the evolution of the photographic sector, paving the way for modernity.

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The Evolution of Reflex Cameras and the Advent of Digital (1959 — 1984)

In 1960, the Mec 16SB made its entrance into the market, introducing a technology that would change the way of taking photos forever: the first TTL (Through The Lens) light meter. This system made it possible to measure the light that passed directly through the lens, eliminating the use of external exposure meters and making the exposure more precise and intuitive. Finally, photographers could calculate exactly how much light hit the sensor or film, vastly improving the quality and consistency of the shots.

In 1963, Kodak took a fundamental step towards the democratization of photography with the introduction of Instamatic, a camera that made shooting accessible to everyone. His film loading system was revolutionary: easy, intuitive and without the need for technicalities. Now anyone could take photos without worrying about focus or exposure.
Instamatic transformed photography into a daily and accessible activity. Thanks to economic film and ease of use, the camera became a common object in the homes of millions of people. Every event in life, from birthdays to holidays, could be immortalized, creating family visual archives that made photography an essential part of modern life.

The '60s were not only synonymous with rock and social revolutions, but also with a real creative explosion in the world of fashion photography. Magazines such as Vogue and Harper's Bazaar became the stage for visionary photographers like Richard Avedon and Irving Penn, who transformed fashion into pure visual art. Avedon, with his bold and dynamic style, broke the conventions of traditional fashion photography. He didn't just immortalize clothes: he created visual stories, making his subjects alive and vibrant, transforming them into cultural icons. Penn, on the other hand, was a master at balancing simplicity and refinement, elevating fashion photography to a highly sophisticated art form.
These shots were not just advertisements, but real visual stories of luxury, elegance and creativity, in which every detail, from the dress to the expression of the model, was an integral part of a larger narrative. Fashion and photography were inextricably intertwined, revolutionizing the image and the role of glossy magazines.

The Topcon RE Super, launched in 1963, brought this revolution to a wider audience, integrating the TTL exposure meter into a 35mm reflex camera, making it accessible to many more photographers. But 1963 was also important for another innovation: the birth of mouse, invented by Douglas Engelbart. Although initially it did not seem closely linked to photography, the mouse would soon become a fundamental tool for photo editing and navigating graphic interfaces, paving the way for software that would change photographic post-production forever.

In 1965, the mathematician Lotfi Zadeh Presented the Fuzzy Logic, a theory that made it possible to manage uncertainty in complex systems. Even if not created for photography, this logic would later be used to develop systems of autofocus and Automatic exposure that no longer required binary choices, but took into account various nuances, making the cameras more 'smart'. This technology has had a profound impact on future SLRs and, above all, on digital cameras.

La Vietnam War brought photojournalism to a new level of raw reality. For the first time, photographers documented the atrocities and suffering of the conflict in real time, taking them directly to people's homes. Eddie Adams, Larry Burrows and Nick Ut they were among the photographers who changed the face of war reportage. Shots like that of Kim Phúc, the Vietnamese girl who flees after a napalm attack, shot by Nick Ut, shocked the world and became symbols of the conflict.
The images of Vietnam not only documented the war, but they influenced public opinion, sparking global debates and protests against the conflict. The photojournalism of this period stopped being a mere representation of the facts and became a powerful reporting tool, capable of recounting the harshest realities with an emotional force that no other medium could match.

In 1966, the Minolta SR-T 101 introduced the exposure system CLC (Contrast Light Compensation), which further improved light measurement in reflex cameras. This semi-intelligent system automatically compensated for differences in light between the subject and the background, allowing photographers to obtain more accurate exposures. The CLC system was so successful that it remained in use until the 80s, becoming a standard for SLR precision.

In 1967, the engineer Michael Tompsett He developed the first MOS array with 10x10 active pixels. Even though the resolution was extremely low, this small array laid the foundation for digital sensors, opening the door to what would become the heart of future digital cameras. Even if 100 pixels would make us smile today, it was a real leap forward at the time.

In 1969, digital photography took a leap forward with the invention of CCD (Charge-Coupled Device) sensor, the work of Willard Boyle and George E. Smith at Bell Labs. The CCD made it possible to convert light into electrical signals, making it possible to create digital images. This was the heart of all future digital cameras. In the same year, the laser printing debuted, revolutionizing the speed and quality of printing, and ushering in an era in which images could be reproduced with unprecedented precision.

In the '60s, the world of music changed forever, and with it the visual imaginary associated with artists. Music album covers became works of art in their own right, with photographers who transformed bands into visual icons. An emblematic example is the famous photo of Beatles that cross the crosswalks on Abbey Road, taken by Iain Macmillan. Or the painted face of David Bowie In style Aladdin Sane, immortalized by Brian Duffy, which immediately became a symbol of rock glamor and theatricality.
These images not only accompanied the music, but expanded its impact, transforming the covers into cultural symbols. Each shot was not only the presentation of an album, but the construction of a visual identity that became part of the legend. La musical photography became a field of experimentation and creativity, playing with lights, colors and emotions to create images that we consider today part of our collective visual heritage .

In 1971, Ray Tomlinson He sent the first emails and used the '@' symbol for the first time. Even if this event doesn't seem immediately related to photography, email would soon become one of the main tools for sharing digital images. Photography was becoming increasingly digital, and rapid communication through the Internet would play a key role in its dissemination.

1972 saw the introduction of the Polaroid SX-70, a camera that brought the instant photography to a new level of sophistication. The SX-70 was not only a foldable and portable reflex camera, but it also allowed images to be developed directly, before the user's eyes. This innovation completely transformed the photographic experience, making it not only more practical, but also immediate and interactive. The SX-70 quickly became a cult object, used not only by enthusiasts, but also by artists such as Andy Warhol, who adopted it to explore new visual languages. Instant photography thus established itself as a new artistic medium, capable of capturing unique moments in real time and transforming them into contemporary art .

1972 saw the reportage “My beloved” than W. Eugene Smith, published on LIFE, shake the world. Smith documented mercury poisoning in a small Japanese community, once again demonstrating the power of photography in Raise public awareness on global issues. The images were so powerful that they helped push the Japanese government to intervene, turning a local problem into a global issue.

In the same year, Kodak He launched the camera 110, a compact format that revolutionized amateur photography, making photography accessible to an ever wider audience. In addition, the introduction of thermal transfer printing made photographic printing faster and more accessible, a significant step towards the democratization of photography.

In 1973, the Fairchild Semiconductor Presented the first chip Large-format CCD, a sensor that increased the resolution to 100x100 pixels, marking a significant improvement compared to the first attempts to digitize images. This technological development laid the foundation for future digital camera sensors.
Also in 1973, the Xerox Alto became the first computer to introduce a graphical interface and a mouse, anticipating many of the technologies that would become standard for image manipulation. This was a crucial step in the fusion between photography and computer technology, which would change the way of doing post-production.

The 1975 It was the year in which Steven Sasson by Kodak created the first digital camera portable, sensor-based CCD. The resolution was incredibly low (0.01 megapixel) and the images were black and white, but this project was a Epochal turning point. Sasson not only invented the digital camera, but he paved the way for a future where images could be digitized, stored and transmitted without the need for film.
That same year, Kodak continued to develop and improve digital sensors, marking the beginning of the transformation of photography from analog to digital.

In 1975, the mission Viking 1 NASA took the first digital images of the surface of Mars. This camera, equipped with a digital sensor, demonstrated that the digital technology could work even in extreme conditions, paving the way for astronomical photography and demonstrating that digital images could also travel in space.

In 1976, the Canon AE-1 ushered in a new era for photography, becoming the first reflex camera to be equipped with a integrated microprocessor. This innovation greatly simplified the shooting process, automating many functions, making SLRs accessible to a much wider audience. Even those who had no experience with traditional photographic techniques could now obtain professional shots with ease.

The 1976 was a crucial year for photography with the introduction of Leica Carrefot, the first camera equipped with autofocus. This innovation made photography much more accessible, eliminating the need for manual focus. For many amateur photographers, the Carrefot was a revolution, allowing for sharp shots without effort.
Also in 1976, Steve Jobs and Steve Wozniak They founded Apple, a company that would have had a significant impact also in the world of digital photography. The computers Apple, with their advanced graphic capabilities, soon became the preferred tool for photo editing, paving the way for a new era of digital creativity .

1976 also saw an important innovation in the field of color photography with the introduction of the film Fujicolor. This film offered more saturated and vivid colors than the competition, in particular compared to the film Kodachrome. Its visual impact, especially in landscape photography and fashions, was immediate and marked a new era of visual experimentation.
The competition between Fuji and Kodak pushed companies to continuously innovate, taking color photography to new heights of quality and realism. The public, fascinated by the bright and intense colors of Fujicolor, quickly embraced this technology, transforming the '70s into an era of daring visual experiments

In 1977, the Konica C35AF became the first autofocus camera available to the public. This was a revolutionary step for consumer photography, as it made the use of cameras much easier and more intuitive for the general public. Autofocus, initially considered a technological luxury, quickly became a standard for mass cameras.

The 1978 It was the year in which the photographer Hiroshi Sugimoto began his iconic series of seascapes, characterized by a minimalist and meditative aesthetic. Taken with a large format camera, his images evoked a sense of eternity and immobility, exploring the relationship between time and nature. The visual purity of his shots profoundly influenced contemporary photographic art, defining a new standard of aesthetic perfection.

In 1980, Elsa Dorfman He used the gigantic Polaroid 20x24” to create his famous portrayals. This camera, one of the most impressive ever built, allowed us to take photographs of great visual impact, with extraordinary details. Dorfman's portraits quickly became iconic, demonstrating that photography snapshot it could also be a tool for the great art .

In 1981, the Sony Mavica She made her debut as the first digital camera intended for mass audiences. It recorded images on floppy disk as analog video signals, and although it was not a pure digital camera like modern ones, it marked the beginning of transition from film to digital for consumers. The Mavica represented a huge step forward towards Democratization of digital photography .

In 1982, the foundation of Adobe Systems changed the world of photography and design forever. With the introduction of software such as Photoshop and Illustrator, Adobe provided photographers and creatives with unprecedented tools for editing and improving images. Digital post-production became an art in its own right, revolutionizing the creative process and opening up new expressive possibilities.

The 1983 saw the development of the first software WYSIWYG ('What You See Is What You Get'), called Type Processor One. This tool revolutionized the way visual content was created, allowing you to see exactly how it would appear in print. This technology had a huge impact on the creation of photographic content and photo editing, allowing photographers to have greater control over the final appearance of their works.
In the same year, Kodak launched the Disk camera, which used a new film-on-disc format. Even if it was not very successful due to the poor quality of the images, it still represented an interesting experiment of innovation in consumer photography .

The 1984 marked two major events in the world of photography and technology. Apple He launched the first Macintosh, a computer equipped with graphical user interface and mouse, which soon became an essential tool for image editing, thanks also to software such as Photoshop, which would arrive shortly thereafter.
In the same year, Leica Presented the M6, a rangefinder camera that combined mechanical precision and modern innovations. Loved by professionals for its ruggedness and unparalleled optical quality, the M6 became a real Icon of the photographic world, capable of merging past and future in a single instrument.

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The Age of Autofocus and the Beginning of Digital Photography (1985-1994)

In 1985, the Minolta 7000AF revolutionized the world of photography by introducing autofocus integrated into SLRs. Before then, focusing was a challenge: it required patience and manual precision. With the 7000AF, however, everything changed: thanks to a phase detection system, autofocus became accessible to everyone, from professionals to amateurs. The precision and speed of the system dramatically reduced focusing errors, allowing photographers to focus on composition and the art of shooting.
The Minolta 7000AF was so successful that Standard A-mount, introduced with this camera, continued to be used also by Sony when it acquired Minolta's photographic division. In addition to the photographic revolution, the 1985 It was also the year in which another great change began: the registration of the first domain Dot-com and the expansion of the Internet, which would soon change forever the way in which photographs were shared.

Meanwhile, the world of digital graphics was also making great strides with the introduction of Aldus PageMaker, the first desktop publishing software, and the arrival of Windows 1.0 And of the Apple LaserWriter, the first laser printer for the consumer market. Creativity was finally entering the hands of the general public.

In 1986, three formats changed the world of digital photography forever. JPG, developed by the Joint Photographic Experts Group, introduced the digital image compression, allowing you to reduce file size without sacrificing too much quality. This format became essential for sharing images on the nascent Internet, marking the beginning of a massive diffusion of digital photography.
On the other hand, the TIFF format made its entrance as the preferred choice for those looking for the highest quality images, especially for post-production and professional printing. While JPG was ideal for those who wanted to shoot and share, TIFF became the format of purists who did not compromise on quality. Simultaneously, Adobe PostScript revolutionized printing, allowing graphics and text to be managed with unprecedented precision.
These innovations laid the foundation forexplosion of digital graphics and professional photography in the years to come.

In 1987, Minolta introduced the circular diaphragm in its lenses, a small innovation that changed the world of portrait and macro photography. This system improved the quality of the Bokeh, the artistic blur of the background, making the images softer and more elegant. With the circular diaphragm, the subjects stood out in the foreground with a faded background, which gave the shots a professional touch.

Also in 1987, the world of digital graphics took another leap forward with the introduction of QuarkXPress, which revolutionized digital publishing, and of Adobe Illustrator, who brought vector graphics into the world of creativity. These tools quickly became indispensable for designers and photographers, transforming the way visual content was created and managed.

The 1989 saw the introduction of Fujifilm DS-X, one of the first portable digital cameras. Even if its resolution could not compete with today's standards, the DS-X marked a fundamental step towards digitization of photography, paving the way for a future in which film would have been replaced by digital media. With the DS-X, photography became more accessible and more democratic.

In the meantime, the Collapse of the Berlin Wall marked a historic moment that was immortalized by photographers from all over the world, both with analog and digital cameras. The images of this epochal event were among the first to be quickly shared around the world, anticipating the impact that digital photography would have had in the following years.

In 1990, Minolta introduced the Fuzzy Logic in its exposure meter systems, allowing cameras to better manage situations of uncertainty in light conditions. This technology dramatically improved the accuracy of automatic exposure, making it easier for photographers to obtain well-balanced shots even in difficult conditions.

But 1990 was also the year of Photoshop, the photo editing software that would transform the world of digital photography. With Photoshop, photographers were finally able to manipulate, correct, and transform their images in ways previously unthinkable, making post-production an essential part of the creative process. That year, Tim Berners-Lee He also launched the first web browser, setting the stage for the era of global image sharing, an epochal change in the way in which photographs would be viewed and shared.

In this period between 1985 and 1990, automation and digitalization completely revolutionized photography. From the Minolta 7000AF autofocus to the birth of Photoshop, to the introduction of formats such as JPG and TIFF, these years marked the beginning of a new era in which technology would transform the art of shooting, manipulating and sharing images.

The 1991 marked the beginning of a new chapter for digital photography, especially for professionals. One of the most significant developments was the introduction of first scanned digital spine, the Leaf DCB (Digital Scan Back). This innovation made it possible to capture very high quality images with an impressive resolution, thanks to the 2048x2048 pixel sensor on a 40x40 mm format. Although it was intended for studio use, where shooting speed was not critical, the Leaf DCB represented a dream for those looking for extreme quality images, ideal for commercial or product photography.

In the same year, Kodak He launched the DCS 100, the first digital SLR designed for professional use. Based on a body Nikon F3, this camera had a 1.3 megapixel sensor — a resolution that would make you smile today, but which at the time was a Incredible breakthrough. The DCS 100 was perfect for photojournalism, allowing reporters to quickly capture and transfer images for publication, changing the way the media portrayed the world. Sure, it was rather cumbersome and the cost was exorbitant, but its usefulness and transmission speed marked the beginning of the end for the film in the world of reportage.

The 1992 brought with it a new innovation that made the traditionalists tremble: the First multishot digital spine, the MegaVision T2. This device was capable of capturing very high resolution images through a technique that combined several separate exposures into a single image. Perfect for product photography And the reproduction of works of art, where every last detail mattered, the T2 was the secret weapon for those looking for perfection in every pixel.

Also in 1992, it was officially certified standard JPG, a format that allowed digital images to be compressed while maintaining good quality. This format immediately became popular, being ideal for sharing on the Internet and for storing a large number of images without running out of available space. The JPG Made the photograph digital more accessible, paving the way for the massive dissemination of images on the web and laying the foundations for the visual world in which we live today.

The 1993 was a pivotal year for anyone working in the professional photography sector. It was in that year that theInternational Colour Consortium (ICC), an organization that was responsible for standardizing the color management between different devices. Before the ICC, seeing the correct colors on screens and prints was a bit like hoping that the barista's cappuccino would be perfect every time: a lottery. The ICC brought order to this chaos, ensuring that the colors displayed on the monitor matched those printed. This consistency was crucial for photographers working with very high quality prints and for those who couldn't afford to see their images transformed into a chromatic disaster.

In the meantime, the LightJet printing made his debut, using lasers to produce photographic prints with a color quality never seen before. The LightJet allowed photographers to achieve an incredible level of precision, making the fine-art print a powerful tool for showcasing your work.

The 1994 It was the year in which the Internet began to take shape with the launch of Netscape Navigator, the first real web browser convivial. This innovation accelerated the sharing images on the Internet, bringing the digital world ever closer to that of photography. Although social media were still a long way off, we were beginning to see the potential of the network for the distribution of images in real time.

In parallel, theICC continued to improve its color management standard, ensuring that photographers could finally trust that the colors of the images on the monitor matched those printed perfectly. Thanks to this standardization, the photographic post-production became much more reliable, especially for those who worked in the world of high quality printing .

In the same year, Adobe further consolidated its leading position in the photo editing sector by acquiring Aldus, merging the software Photoshop and PhotoStyler on a single powerful platform. This consolidation made Photoshop definitive tool for post-production, allowing photographers to modify and improve their images in previously unthinkable ways.

Between the 1991 And the 1994, digital photography made great strides, moving from a Technological curiosity to an increasingly consolidated reality. With the introduction of tools such as digital spine, the Kodak DCS 100 And the JPG format, digital photography not only began to compete with analog photography, but it was already revolutionizing the way we capture, manage and share images.

The invention of color standards and the growing diffusion of software such as Photoshop pushed digital photography to new heights, allowing photographers to work with a precision and creativity never seen before. These years were only the beginning of a revolution that would definitely transform the world of photography, preparing it forTechnological explosion of the following years.

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The Evolution of Digital Photography and the Birth of Mirrorless (1995-2005)

The 1995 marked an important turning point for the world of digital photography, with the introduction of Kodak DC40, one of the first digital cameras designed for consumers. Until then, digital photography was an expensive toy reserved for professionals or technology enthusiasts. With the DC40, the digital photography began to enter the homes of ordinary people, gradually transforming the market.

At first, there was some skepticism. Who would have abandoned film for a world of pixels and batteries that run out? And yet, like going from carriages to cars, once tried, it was difficult to go back. Digital offered immediacy, and even if the image quality was not yet at the level of traditional SLRs, convenience and ease of use were beginning to win over consumers.

In 1996, a collaboration between Kodak, FujiFilm, AgfaPhoto and Konica It led to the birth of APS system (Advanced Photo System). This innovative film format introduced interesting features, such as the possibility to choose between different printing formats and a much more intuitive loading of the film. It seemed like the perfect solution to make the film more 'user-friendly', but while the APS tried to gain a foothold, foxglove he was already ready to steal the show.

Still in the same year, Leica made his entrance into the digital world with the Leica S1, one of the first digital scanning cameras. Designed for studios and artists, the S1 was able to capture images with a resolution of 5140 x 5140 pixels. It wasn't a camera for everyone, given its complexity and cost, but it showed that even the Giants of the film they were starting to hug the digital revolution.‍

In 1997, the term Bokeh made its official appearance thanks to an article on Photo Techniques. The concept of bokeh refers to Blurry quality in the out-of-focus areas of a photo, and it quickly became an obsession among photographers, especially those who loved portraits. Suddenly, taking a good picture was no longer enough: the bokeh had to be creamy and soft, transforming the background into a delicate painting that enhanced the main subject.

Also in that year, Google Search entered the scene. Even though it wasn't directly tied to photography, Google changed the way photographers found information and inspiration. With the world of knowledge just a click away, the possibilities for learning and sharing multiplied exponentially.

Finally, in 1997, Philippe Kahn He did something extraordinary: he sent the First photo via cell phone, an event that seemed almost random but that would have anticipated the revolution of smartphones And of the mobile photography. From that moment on, the world would have been increasingly visually connected.

In 1998, PhaseOne Presented the Lightphase, the first professional one-shot digital spine. With a sensor of 36x24 mm and a resolution of 3056x2032 pixels, this system brought digital photography to a level that could finally compete with medium-format films. For commercial photographers, this spine represented the perfect solution: high quality without having to deal with the slowness of multishot systems. Digital was no longer just a curiosity, but a It would be an alternative for those who worked in the professional sector.

At the end of the 90s, digital technology was ready to make its triumphant entry into the professional market. The 1999 saw the launch of Nikon D1, the first truly professional digital SLR, equipped with a sensor from 2.7 megapixels. Although it may seem little compared to today's standards, at the time the D1 represented a Epochal turning point. For the first time, a digital camera could compete directly with film both in terms of image quality and speed of use. La Nikon D1 proved that digital photography was not only feasible, but even superior in many cases. The advantages of immediacy, of image review And of the cost reduction compared to the development of film, they quickly transformed the D1 into an indispensable tool for professional photographers. From then on, the foxglove began to dominate the sector, heralding the beginning of a new era.

In 1999, Adobe He launched InDesign, a software that revolutionized the world of publishing and page layout. For photographers, this meant unprecedented control over image layout in editorial projects. InDesign made it possible to combine text and images in innovative and creative ways, improving the quality of editorial products and offering new possibilities for those who worked in the field of photography.

The 2000 saw the debut of J-SH04 by J-Phone, the first cell phone equipped with a camera. Although the resolution was modest (only 0.1 megapixels), the idea of being able to take a photo and share it immediately changed the game forever. This was the beginning of a new era of mobile photography, a sector that in the following years would take over and transform the way we make and share images.

The 2001 it was a significant year not only for technology, but also for photography. Mac OS X debuted, quickly becoming the favorite platform of Creatives from around the world, including photographers. Its user-friendly interface and stability made it a perfect tool for digital image processing, especially with programs such as Photoshop, which ran flawlessly on this new platform.

In the same year, the world was shocked by September 11 attacks. Digital photographs of that tragic event were shared in real time, documenting every moment with a speed never seen before. The images, taken and sent via e-mail or uploaded online, demonstrated the potential of digital photography as a tool for immediate documentation and of global impact.

The 2004 It was the year in which Facebook made its debut, radically transforming the way people shared photos online. Facebook became one of the first platforms on which images were not only shared, but also commented and disseminated in real time, ushering in the era of visual social media.

In the same year, the Epson R-D1, the first camera Mirrorless rangefinder, made his debut. Developed in collaboration with Cosina, this camera combined the tradition of rangefinders with digital innovation. It offered interchangeable lenses, maintaining a classic aesthetic, but with a modern heart. The R-D1 was aAnticipation of mirrorless futures, which would revolutionize the photographic market in the years to come.

The 2005 saw the birth of YouTube, a platform initially dedicated to videos, but which quickly became a point of reference also for photography. Through YouTube, photographers were able to share tutorials, equipment reviews, and creative projects with a global community. YouTube not only made it easier Democratization of photographic knowledge, but made it possible to create Community visuals focused on photography.

Another milestone of this period was the introduction of Adobe Photoshop in 1990. This software didn't just change the way the images were displayed Elaborate and Modified, but it completely transformed the concept of post-production. With Photoshop, photography stopped being only the capture of reality and became a artistic expression tool, with infinite possibilities for manipulation and creativity. Professional and amateur photographers began experimenting with filters, contrast adjustments, color corrections and special effects, pushing digital photography to new creative horizons. Photoshop rendered the digital post-production an integral part of the photographic process, expanding expressive possibilities and redefining the art of photography itself.

In the early 2000s, the digital SLR (DSLR) they definitely conquered the market thanks to models such as the Canon EOS 300D (known as Digital Rebel in the United States) and the Nikon D70. These cameras made the high quality digital photography accessible to the general public, with an unprecedented quality/price ratio. La EOS 300D, launched in 2003, broke down the price barrier, making DSLRs affordable for many enthusiasts. The following year, the Nikon D70 consolidated this change, offering surprising image quality and accelerating the transition from Digital film. Thanks to these models, digital photography became increasingly popular, permanently wiping out film for most consumers.

During the early 2000s, Canon and Nikon consolidated their leadership in the digital camera sector with professional models such as the Canon EOS 1D And the Nikon D2H. These cameras offered an image quality that rivaled film, making it clear that the transition to digital was now irreversible.

With the rise of digital cameras, film giants like Kodak and Fuji they were faced with a harsh reality: change was inevitable. Although they had dominated the film market for decades, the arrival of digital signaled the need for strategic rethinking. Kodak, despite being one of the first to develop digital camera technology, struggled to adapt to the new business model, which cost her dearly. Fuji, on the other hand, managed to Navigating the transition in a more agile way, rapidly embracing digital technology and becoming a leader in the digital camera industry. Photography was changing dramatically and businesses had to go with the flow or they risked disappearing.

During the decade 1995-2005, digital photography went from being a niche technology to a Mainstream reality. With the introduction of more accessible digital cameras such as Kodak DC40, the birth of mobile photography with the J-SH04, and the growing diffusion of sharing platforms Like Facebook and YouTube, the world experienced a real visual revolution. Photography was no longer a practice reserved for professionals, but it became a daily activity for millions of people.

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The Mirrorless Revolution and Formats (2006-2014)

The 2006 it was a crucial year for photography enthusiasts. Leica, the legendary German brand, made its official entry into the digital world with the Leica M8. While maintaining the iconic design that made the M series famous, the M8 represented a bold transition: a digital camera A rangefinder with sensor APS-H from 10.3 megapixels. It wasn't a full frame, but an ingenious compromise that sought to bring precision and analog feel to the digital world. For Leica purists, it was a real event.

In the meantime, Dalsa It released a technological bomb: a sensor 111 megapixel CCD. Of course, it was not meant for the masses, but for scientific and industrial applications. However, its existence represented the future of very high resolution photography. The 2006 marked the beginning of a race that would see megapixels increasing more and more, ushering in the era of very high definition photography.

In 2008, the world of photography received a shock thanks to Panasonic Lumix G1, the first camera Mirrorless In the world with system Micro Four Thirds (MFT). SLRs were now a classic, but the big and bulky mirror was starting to look a bit dated. With the G1, Panasonic took off the mirror and presented to the world a compact, lightweight camera with the ability to change lenses, making Mirrorless the perfect camera for those who wanted portability without sacrificing quality.

The system MFT, with its smaller sensor compared to the full frame, slightly sacrificed image quality in exchange for greater portability. However, the balance between compactness and performance won over photographers of all levels, from beginners to professionals looking for something more practical to take on a trip.

In 2009, Canon He launched the EOS 7D, which quickly became a best seller among photographers and videomakers. Equipped with a sensor APS-C from 18 megapixels and the ability to record videos in HD, the 7D offered a complete package: speed, robustness and quality, without requiring a mortgage for the purchase. The format APS-C continued to dominate the scene, proving to be the ideal compromise between image quality and price, particularly loved by photographers who wanted high-level performance without breaking the bank.

The 2010 Marked the entrance of Sony in the world of mirrorless with models NEX-3 and NEX-5. These compact cameras, with sensor APS-C And the innovative attack E-mount, redefined image quality in a tiny body. For photographers who wanted professional performance without the clutter of a traditional SLR, the NEX represented a revolution. Light, compact and powerful, they were enthusiastically received.

The same year, another colossus came on the scene: Instagram. At first it seemed like a simple app for adding vintage filters to photos, but it soon turned into an essential platform for mobile photography And it visual storytelling. With Instagram, photography became more Democratic than ever, allowing millions of people to share their vision of the world through images.

In 2013, Sony He raised the bar again with the launch of Sony Alpha A7 and A7R, the first full-frame mirrorless on the market. With the A7 from 24 megapixels and the A7R from 36 megapixels, Sony managed to combine the image quality of a full-frame SLR with the compactness of a mirrorless. This was a real plot twist for the sector, pushing more and more photographers to switch from DSLR Alle Mirrorless.

La A7 brought the full-frame to a wider audience, demonstrating that a huge camera body was not necessary to obtain very high quality images. This was the moment when mirrorless cars began to become a serious choice even for professionals, and not just for amateurs.

In 2014, the format Micro Four Thirds consolidated its presence in the mirrorless market, with top models such as Olympus OM-D E-M10 And the Panasonic Lumix GH4. The latter, in particular, conquered the hearts of videomakers thanks to its ability to Record videos in 4K, a function that at that time was a real rarity in the consumer world. Le MFT they showed that, despite the small size of the sensor, they could do Great things, attracting photographers and videomakers who were looking for a impaired between quality and portability.

Also in 2014, Leica He launched the Leica T, a mirrorless APS-C with a minimalist design and made of a single block of aluminum. Even if it wasn't for all budgets (after all, it's still a Leica), combined solid performance with an aesthetic that made my head spin.

The Formats That Matter: Full Frame, Micro Four Thirds, APS-C and Digital Medium Format

During this time, four major sensor formats established themselves in digital photography, each with their own strengths:

• Full Frame: Dimensions equal to the traditional 35mm frame, the full frame has become the standards For those who were looking for the highest image quality, excellent low light performance and a shallow depth of field. Ideal for demanding professionals and enthusiasts.

• Micro Four Thirds (MFT): Smaller, but amazingly portable. The MFT system became popular with photographers who wanted a lightweight solution and versatile, especially in the world of video. Even though it didn't offer the same dynamic range as the full frame, the MFT it was a great compromise between practicality and quality.

• APS-C: The perfect format for those looking for a balance between quality and sizes. Common in DSLR and Mirrorless mid-range, theAPS-C continued to prove its worth thanks to the good relationship between cost and performance.

• Digital Medium Format: The luxury of photography. With huge sensors, the digital medium format became the reference for commercial and high fashion photography, offering a unparalleled resolution. It wasn't for everyone, but for the professionals who used it, it was the Holy Grail of photography.

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The Influence of AI in Photography (2015-2024)

2015 was the year that sanctioned the undisputed power of mirrorless, with Sony Alpha A7R II at the head of the charge. With its full-frame sensor from 42.4 megapixels and a stabilization at 5 axes, not only demonstrated that mirrorless cameras could compete with SLRs, but in some cases, even surpass them. Sony was playing at a higher level, positioning itself as the elite choice among professionals.

On the other hand, the Leica SL offered a more robust interpretation of the mirrorless world, with its sensor from 24 megapixels and a body built to last. There was no doubt that Leica aimed at a demanding clientele, but those who wanted uncompromising quality and performance found in the SL the perfect partner.

Fujifilm he certainly didn't stand by and watch. The X series, with its models X-T1 and X-Pro2, became a symbol for advanced and professional amateur photographers looking for an alternative to the omnipresent full-frame. The sensor X-Trans by Fujifilm, eliminating the low-pass filter, offered impressive sharpness and detail, helping to make the format APS-C more than just a compromise choice.

In 2016, the battle between DSLR and mirrorless reached new heights. Canon, with its EOS 5D Mark IV, and Nikon, with the D5, released two giants of the reflex world that made the hearts of those who were not yet ready to switch to mirrorless. But the mirrorless world didn't stand still: Olympus and Panasonic they continued to redefine the boundaries of the format Micro Four Thirds.

THEOlympus OM-D E-M1 Mark II, with its autofocus speed and stabilization at 5 axes, won over sports and nature photographers, while the Panasonic Lumix GH5, with the ability to record in 4K at 60 fps, made videomakers fall in love with each other. The MFT format thus became the undisputed king for those looking for portability without sacrificing video performance.

On the medium format front, the war of 100 megapixels had started: Phase One and Hasselblad they fought for dominance among the professionals of photographic luxury, with the Phase One XF IQ3 100MP And theH6D-100c by Hasselblad.

2017 was the year of speed, and who better than Sony Alpha A9 could he interpret it? With his ability to shoot a 20 fps and the autofocus driven byAI, the A9 became the ideal tool for sports photographers. The revolution had begun: the mirrorless was about to beat the reflex competition, bringing to the field a speed and precision unthinkable until then.

In parallel, Fujifilm It hit hard in the market of medium format with the GFX 50S, offering image quality from 51.4 megapixels at a more affordable price than the giants in the segment.

Adobe Lightroom contributed to the AI revolution, introducing tools that made post-production more intelligent and automated. Now, even the most inveterate photographers could save hours of editing thanks to the power of artificial intelligence.

After years of hesitation, even Canon and Nikon they decided to finally enter the full-frame mirrorless ring. La Canon EOS R, with its RF connection and a sensor from 30.3 megapixels, immediately caused a sensation, while Nikon launched its first full-frame mirrorless: the Z6 And the Z7, which were immediately welcomed as direct rivals of Sony's Alphas.

In the meantime, Sony Alpha A7 III established itself as the new market standard. Balanced, powerful and competitively priced, the A7 III became the must-have for both photographers and videographers.

2019 was the year of computational photography. Devices such as the Google Pixel 4 And theIPhone 11 they brought AI to the heart of smartphones, with mode Night Sight and Night Mode that made night photos something magical. While Adobe software improved automatic exposure, color, and perspective management, Olympus was starting to lose ground. The growing demand for full-frame mirrorless led the market to an inexorable destiny for the Japanese company.

In 2020, the Sony Alpha A7S III consolidated its dominance among videomakers, while Leica Q2 brought compact photography to new levels of luxury and quality. Unfortunately, it was also the year in which Olympus had to give up its photographic division, sanctioning the definitive decline of a glorious time.

In the meantime, Apple with theiPhone 12 Pro Max was getting closer and closer to the world of traditional cameras, thanks to the support for the format RAW.

In 2021, Sony Alpha 1 He led the way with a sensor from 50.1 megapixels and video in 8K, while Canon responded with the EOS R5 And the R6, combining photographic and video power. Nikon Z7 II further consolidated the presence of the Japanese company in the mirrorless sector, while Apple He launched theiPhone 13 Pro, pushing the frontier of mobile photography even further.

In 2022, Sony continued to redefine the mirrorless market with the launch of Alpha A7 IV, a significant upgrade compared to the already popular A7 III. Equipped with a sensor 33-megapixel full-frame, the A7 IV offered improved autofocus and the ability to record video in 4K at 60 fps, making it one of the most versatile cameras on the market, ideal for both photographers and videographers. Its combination of image quality, speed and video performance placed it among the preferred choices of those looking for a reliable and multipurpose device.

Also Canon He did not miss the opportunity to make a big entrance into the world of professional mirrorless with the EOS R3. This full-frame mirrorless, designed for sports and action photographers, introduced a revolutionary technology: the autofocus system based on eye movement. Photographers could control the focus area simply by looking at the subject through the viewfinder. An innovation that, combined with the shutter speed of 30 frames per second, made the EOS R3 the perfect tool for capturing action moments with extraordinary precision.

Meanwhile, in the world of mobile photography, Google He launched the Pixel 7 Pro, continuing to overcome the limits of computational photography. The Pixel 7 Pro, thanks to its processing algorithms based on AI, significantly improved the quality of images in low light conditions, offering sharp and detailed photos, getting closer and closer to traditional cameras. Not least, Apple, with theiPhone 14 Pro, introduced the mode ProRAW, allowing photographers to have a unprecedented flexibility in manipulating images directly from the smartphone. The line between mobile and professional photography was getting thinner and thinner.

2023 saw the arrival of Sony Alpha A9 III, a full-frame mirrorless designed for sports and action photographers. Equipped with a system of AI-enhanced autofocus, the A9 III was able to track multiple subjects at the same time, with impressive precision, making it one of the best performing cameras in the professional segment. With a continuous shutter speed of 30 frames per second and advanced video capabilities, the A9 III was the ideal ally for those who worked in dynamic and high-speed environments.

Nikon, for his part, introduced the Nikon Z8, a camera that was positioned between the Z7 II And the Z9, combining high performance with a more compact body. With a sensor 45.7 megapixel full-frame, an improved autofocus system and the ability to record 8K video, the Z8 quickly became a versatile camera, perfect for professional photographers looking for an ideal mix of image quality and portability.

In 2023, theGenerative AI made his entrance into the world of photography, opening new creative horizons. Thanks to advanced AI tools, photographers and content creators could generate realistic images starting from simple textual descriptions, allowing a new dimension in visual creation. This technology represented a real Epochal turning point, offering professionals and amateurs the opportunity to explore new approaches to visual art, combining reality and imagination in new and stimulating ways.

These two years marked a decisive turning point in the photographic landscape, in which mirrorless, computational photography and artificial intelligence began to merge, pushing the boundaries of creativity and technical possibilities ever further.‍

In 2024, the cameras Mirrorless they were no longer a novelty, but professional standard consolidated. Models like the Sony Alpha A1, the Canon EOS R5 And the Nikon Z9 dominated the market thanks to their impressive technical skills: full-frame sensors at very high resolution, 8K video and systems of autofocus empowered byartificial intelligence (AI). The result? A tool that combined the power of SLRs with the agility and versatility of mirrorless, becoming the preferred option for fashion, sports and landscape photographers.

But the real innovation of 2024 was not only in the technical specifications of the cameras, but in thefull AI integration at every stage of the photography workflow. It was no longer just a matter of improving focus or exposure: now, AI participated in every phase of photographic creation, from capturing Alla post-production. Le Mirrorless equipped with generative AI, not only allowed exceptional quality photos to be taken, but also to create visual worlds completely new, merging real and artificially generated elements.

Canon, with his EOS R5 Mark II, took AI to the next level, improving tracking abilities to anticipate subject movements, ensuring perfect focus. Nikon, with the Z9 II, introduced further refinements in AI autofocus, with unprecedented precision even in the most difficult lighting conditions.

In the meantime, Smartphones they continued to reduce the distance with professional cameras. Apple, Google and Samsung they pushed the limits of computational photography, using advanced technologies such as multi-frame photography, the HDR fusion and the processing AI-based real-time. The integrated cameras of smartphones were able to produce very detailed images, even in low light, while the ability to record 8K video made these devices increasingly competitive compared to traditional cameras.

Google Pixel 8 Pro and iPhone 15 Pro they were the leaders of this revolution. Thanks to the integration of Generative AI, users could not only improve the quality of the images, but also manipulate them profoundly directly on the device. What does it mean? That creative effects and complex modifications, which previously required professional software, were now accessible in a couple of taps on the screen.

Generative AI it was no longer just a futuristic experiment, but a fundamental tool for visual production. Tools such as Adobe Firefly and DALL·E allowed us to create extraordinary scenarios starting from simple textual descriptions and then merge them with real photographs. These tools amplified creative possibilities, allowing photographers to explore uncharted territories and combine reality and fantasy.

Even the post-production underwent a real revolution. Adobe Photoshop and Lightroom, thanks to the integration of advanced AI, offered tools that speeded up complex operations such as removing objects, the automatic filling And the automatic light and color correction. Thus, both professional and amateur photographers could achieve stunning results in a short time, eliminating the need for hours of manual editing.

In 2024, photography evolved into an experience completely enhanced byAI, where the creative possibilities are practically endless. Le Mirrorless And the smartphones they met halfway, bringing image quality to levels never seen before. And you? Are you ready to explore this new visual dimension?

Between 2015 and 2024, photography experienced one of its most extraordinary evolutions. Mirrorless technology has redefined the professional market, while smartphones, with their computational photography, have brought image quality into everyone's hands. Artificial intelligence has become a central part of the photographic process, improving focus, exposure, and even image creation from scratch. Photography is no longer just a means to capture reality, but an art that allows create imaginary worlds, blurring the boundaries between the real and the virtual. In this period, we have seen the transition from film to digital complete, and the beginning of a new era in which AI, computational photography and computer-generated images are destined to play an increasingly important role.

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From Pascal's Cogwheels to Leibniz's Binary Circuits: A Journey Through the Time of Computing

Welcome, explorers of technological history! Today we will dive into a fascinating journey, starting from the mechanical calculators of the 17th century and ending with the super-computers of the present day. Are you ready to discover how a little ingenuity and a few toothed wheels have given life to modern artificial intelligence systems? Fasten your seatbelts, because we are about to leave!

First Steps: Blaise Pascal and the Magic of Mechanical Calculators

Imagine being in 1642, in France. The air is filled with a sense of scientific discovery, and in the laboratory of Blaise Pascal, a man with a strong French accent and a brilliant mind, a revolution is taking place. Pascal, not content with being only a mathematician and philosopher, decides to start building a mechanical calculator. Yes, you got it right, a mechanical calculator, which today sounds like something out of a steampunk novel!

His invention, the Pascalina, was a rather futuristic business for the time. Think of a machine with toothed wheels that turn and drive other wheels forward — a sort of “game of gears” for mathematicians! Pascalina was able to do addition and subtraction with numbers up to eight digits.¹ ² Sure, she wouldn't have won any prize for commercial innovation, but it was a fundamental step towards modern calculators.

Pascal's Adventures in Probability Calculation

But Pascal didn't stop at Pascalina. Oh no! This mathematical genius also ventured into the field of probability, together with his colleague Pierre de Fermat. The two started doing calculations for gambling, and who would have thought so? That research that seemed dedicated to casinos became the basis for many machine learning algorithms that we use today. A real mathematical luck!

Gottfried Wilhelm Leibniz and the Magic of Binary Computing

Now let's move on to the late 17th century, where we find Gottfried Wilhelm Leibniz, another pioneer of mathematics. Leibniz, like Pascal, loved designing machines, and his Stepped Reckoner was an ambitious attempt to calculate additions, subtractions, multiplications and divisions. Of course, the machine didn't always work as expected, but Leibniz had another brilliant idea that would change the world: binary computing.

In 1703, Leibniz published a treatise on binary calculus, a system that uses only two symbols, 0 and 1.,4 Imagine the simplicity of this system, which in the end proved to be brilliant. Today, our entire digital world is based on these two small numbers. Yes, every time you turn on your computer, you are actually celebrating Leibniz's work!

Charles Babbage and Ada Lovelace: The Visionaries of the Nineteenth Century

In the 19th century, the world of technology began to take shape with two extraordinary figures: Charles Babbage and Ada Lovelace. These two pioneers were like the Batman and Robin of computing and programming, laying the foundation for modern computers.

Charles Babbage: The 'Father of the Computer'

Charles Babbage was the British mathematician and engineer who gave us the idea of the Analytical Machine, a device that could be considered the 'grandfather' of computers. Although he failed to build it completely (we must forgive him, his tools were more like those of a medieval blacksmith than those of a modern engineer), his idea was science fiction for the time.

Babbage's Analytical Machine was designed to perform complex calculations using programmed instructions, just like today's computers. And if you think that punch cards used to insert data and instructions are an old-fashioned idea, know that they did their job for a long time, up to the era of floppy disks and beyond!

Ada Lovelace: History's First Programmer

And now, get ready to meet the first female programmer in history: Ada Lovelace! Daughter of the poet Lord Byron and an extraordinary mathematician, Ada worked with Babbage and wrote fundamental notes on the Analytical Machine. But that's not all! Ada created the first algorithm intended to be executed by a machine. Imagine a 19th century woman who dreamed of machines as tools for creating music or art — today, this seems like a modern concept, but Ada had already had the intuition! 5/6

Ada also predicted that machines could never think like human beings. In other words, even if they could perform scheduled tasks, they would never have a soul or creativity. A reflection that still fuels the debate on artificial intelligence today.

The Link Between Pascal, Leibniz, Babbage and AI

Let's put the pieces of the puzzle together. The inventions and ideas of Pascal, Leibniz, Babbage and Lovelace were not only technological marvels of their time, but they laid the foundations for what we now call artificial intelligence. Pascal paved the way with probability calculations, Leibniz defined the rules of binary calculus, and Babbage and Lovelace imagined the future of computers and programming. Without them, our technological era would probably be very different, if not non-existent!

Twentieth Century: The Dawn of Computer Science and AI

The 20th century saw computer science and artificial intelligence explode like never before. From the first electronic calculators to Alan Turing's revolutionary theories, this era laid the groundwork for the modern digital age.

1936: Alan Turing and the Turing Machine

In 1936, Alan Turing, a British mathematician with a supercomputer brain, proposed a theoretical machine that would make anyone who listened to it dizzy. The Turing machine is a concept that describes a universal computer capable of performing any calculation we could imagine, given enough time and resources. Imagine an infinite ribbon, a head that reads and writes, and a series of commands — it's a bit like the computer's' brain 'that we can find under the hood.

1939-1945: World War II and Computers

During the Second World War, computers took a leap forward, even though the atmosphere was not exactly that of a technology fair. A great example is the Colossus, the first programmable digital electronic machine, developed by Tommy Flowers and his team. The Colossus, with its more than 2,000 vacuum tubes, was the hidden hero of the war, helping to decipher enemy codes.

Then there was the famous von Neumann Architecture, proposed by John von Neumann in 1945. This model, which separates the memory and the processing unit, underlies most modern computers. It's like having created an instruction manual for all the computers we would have known later.

1945-1950: The First Electronic Computers and Advances in Computing

1945 saw the arrival of the ENIAC (Electronic Numerical Integrator and Computer), the first general-purpose electronic computer. Designed by John Presper Eckert and John William Mauchly, the ENIAC was capable of performing complex calculations and showed the world the potential of electronic computers. If you think your laptop is powerful, think of ENIAC as the dinosaur in every computer! :08

In 1947, transistors were invented by John Bardeen, William Shockley, and Walter Brattain. Transistors have replaced vacuum tubes, making computers smaller and more reliable. This invention ushered in a new era of computing power.

In 1950, Alan Turing published his influential work “Computing Machinery and Intelligence” where he introduced the Turing Test, a method for determining if a machine can behave as intelligently as a human being. The proof is simple: if a human cannot distinguish between a machine and another human during a conversation, then the machine is considered 'smart'. In short, it's like the Matrix reality test, but without the colored pills! This laid the groundwork for evaluating machine intelligence and has continued to be a hot topic in the AI debate.

1956: The Birth of Artificial Intelligence

In July 1956, the field of artificial intelligence was officially launched with the Dartmouth Conference. Imagine a sort of geek gathering of the time, organized by technology giants like John McCarthy, Marvin Minsky, Nathaniel Rochester, and Claude Shannon. 9 This conference marked the beginning of a new era, with McCarthy coining the term “artificial intelligence” and dreaming of machines that could emulate human cognitive functions.

During the conference, we discussed how to create programs capable of manipulating symbols and solving problems with formal rules. The first attempts at AI in the 1950s and 1960s were, however, a bit like electronic toys, limited by strict rules and unable to handle the complexity of the real world. It was as if we had just opened the door to a dark room and started to discover the potential hidden behind it.

The '60-'80s: Fuzzy Logic and Artificial Intelligence

Binary Logic and Its Limits

In the 1960s, most computers used binary logic, a system that works with two values: true (1) and false (0). This approach was perfect for digital circuits, but when it came to managing partial or ambiguous information, such as the recognition of complex patterns, binary logic proved to be a bit limited. It was like trying to solve a puzzle with only two pieces: it's not that it didn't work, but it was definitely not flexible.

Fuzzy Logic: Introduction by Zadeh (1965)

In 1965, Lotfi A. Zadeh launched a real revolution with fuzzy logic. Imagine a logic that is not limited to 'yes' or 'no', but allows for a more nuanced range of answers, such as 'rather warm' or 'slightly high'. Fuzzy logic is like a pair of glasses that allows us to see the world in grayscale instead of in black and white. This flexibility has found applications in various fields:

• Industrial Control: Improving complex processes, such as temperature regulation and quality management.

• Expert Systems: Helping with medical diagnosis and decisions with incomplete knowledge.

• Pattern Recognition and Computer Vision: Dealing with noisy and ambiguous data.

• Automobiles: Optimizing control systems for safer and more comfortable driving.

Fuzzy logic has led to the creation of more adaptive intelligent systems, capable of facing uncertainty and solving complex problems with a new dose of creativity.

80s and 90s: Neural Networks and Machine Learning

The Rebirth of Neural Networks

In the 1980s, artificial neural networks experienced a renaissance thanks to new discoveries. The backpropagation algorithm, developed by Geoffrey Hinton, Yoshua Bengio and Yann LeCun between 1986 and 1989, made it possible to train multi-layered neural networks. This has significantly improved pattern recognition and classification. Think of this as the invention of a new method for training an athlete, allowing them to refine their performance and break new records. ¹ ¹ ¹

In 1989, Bengio and LeCun introduced Convolutional Neural Networks (CNN), inspired by visual perception in mammals. CNNs have revolutionized image recognition, as if we had given special sunglasses algorithms to better distinguish details.

Integration of Fuzzy Logic with Machine Learning

In the 80s and 90s, there was also a fusion between fuzzy logic and machine learning. The researchers combined fuzzy logic with neural networks to better manage uncertainty in the data. This combination has improved classification and control, exploiting neural networks to learn from data and fuzzy logic to manage uncertainty. It was like a marriage between two approaches that, together, created a powerful force in the field of AI.

21st Century: The Triumph of Deep Learning and Neural Networks

2010-2024: The Rise of Deep Learning and Language Models

In the 21st century, we have witnessed a real explosion in the field of deep learning. Deep neural networks, which can have dozens or hundreds of layers, have radically changed the technological landscape. Imagine an artificial intelligence superhero, capable of extracting and understanding complex information from enormous amounts of data. This superhero has led to revolutionary discoveries in various sectors.

AlexNet and the Image Recognition Revolution

In 2012, Alex Krizhevsky, Ilya Sutskever and Geoffrey Hinton presented AlexNet, a model that participated in the ImageNet competition and achieved extraordinary results in image recognition. AlexNet marked the beginning of an era in which convolutional neural networks (CNN) became essential tools in computer vision. It was as if we had given a robot a super-powerful sight, capable of distinguishing details invisible to human eyes.

BERT and Natural Language Understanding

In 2018, Google AI introduced BERT (Bidirectional Encoder Representations from Transformers), which revolutionized natural language understanding. BERT uses the Transformer architecture to understand the context in both directions, greatly improving the understanding of complex texts, answering questions and translating languages. Imagine BERT as a universal translator who can grasp the hidden meaning and nuances of any text.

GPT-3 and Advanced Text Generation

In 2020, OpenAI launched GPT-3 (Generative Pre-trained Transformer 3), a language model with 175 billion parameters. GPT-3 has demonstrated advanced abilities in generating texts, understanding the context and answering complex questions. This model has reached new levels of quality in the production of natural language, as if we had created a robotic author capable of writing articles, stories and even poems.

The Impact of Computational Capabilities: NVIDIA and the Evolution of Computing

The progress of deep learning has been strongly supported by computational capabilities, with NVIDIA playing a central role. Founded in 1993, NVIDIA initially focused on graphics chips, but since 2006 it has revolutionized parallel computing with its CUDA GPUs. NVIDIA GPUs are particularly suited for deep learning because of their ability to perform parallel operations on a large scale. Imagine an orchestra of chips working together to train the most advanced AI models.

NVIDIA GPUs and High Performance Computing

NVIDIA GPUs such as the Tesla V100 and A100, launched in 2017 and 2020 respectively, have greatly enhanced computing capabilities. These chips are like the engines of computing racing cars, allowing researchers to push the limits of AI. In 2021, the Ampere architecture with A100 GPUs further improved performance, and the H100 GPUs, launched in 2022, further enhanced computing capabilities. This progress has made it possible to develop increasingly complex and sophisticated AI models.

Cost and Energy Consumption of AI Development

The expansion of deep learning has led to increased computing requirements, costs, and energy consumption. Training large models, such as GPT-3, requires enormous computational resources. GPT-3 training, for example, involved thousands of GPUs for weeks, with estimated costs of millions of dollars. It's as if every great AI model were an elephant that eats mountains of energy and requires enormous spaces to train.

The Challenges of Sustainability

Energy consumption is a growing concern. A 2019 document estimated that training large deep learning models could consume energy comparable to that of a small city for a year. This raises concerns about the long-term sustainability and costs of AI. The research is therefore focused not only on innovation, but also on how to make these technologies more sustainable and economically accessible.

Evolution of AI in Industry and Society

Artificial intelligence has found applications in many sectors, transforming our daily lives. Facial recognition is used in security and on social media, while recommendation systems, such as those of Netflix and Amazon, personalize the user experience. It's like having a virtual assistant that knows exactly what you want, even before you know it.

AI in Medicine and Self-Driving

In medicine, AI is used for early diagnosis and personalized treatments. IBM Watson Health analyzes clinical data to suggest diagnoses and therapies, while Google's DeepMind has made progress in predicting protein structures, a crucial area in biology and medicine. In autonomous driving, companies like Waymo and Tesla use neural networks and machine learning to develop autonomous vehicles capable of navigating and making decisions in complex environments.

Future Perspectives: Artificial Intelligence and Quantum Computing

The future of AI could be revolutionized by the integration of quantum computing. Quantum computers, which exploit the principles of quantum mechanics, have the potential to solve complex problems at speeds unimaginable compared to traditional computers. It's like going from a bicycle to a space shuttle in the computing world.

Quantum Supremacy

IBM, Google and Microsoft are among the leading companies in quantum computing. In 2019, Google announced the achievement of quantum supremacy with the Sycamore quantum computer, demonstrating that it can perform calculations that exceed the capabilities of classical supercomputers. This development could not only improve the efficiency of machine learning and deep learning algorithms, but also lead to innovative solutions for complex problems in various sectors.

Conclusion: The Future of Artificial Intelligence and Computer Science

The evolution of artificial intelligence and computer science has been an extraordinary journey, full of innovations, discoveries and challenges. From Blaise Pascal's first mechanical calculator to advanced linguistic models such as GPT-3 and the promising frontiers of quantum computing, we have witnessed an exponential growth that has transformed the way we live, work and think.

A Journey Between Innovations and Discoveries

We have seen how historical figures such as Pascal and Leibniz have laid the foundations for modern computing and computing with their inventions and theories. Their pioneering ideas paved the way for innovations such as fuzzy logic and neural networks, which allowed them to address complex problems and manage uncertainty in new and powerful ways.

Throughout the 20th century, wars and scientific discoveries accelerated technological progress. The Second World War saw the birth of the first electronic computers, and the transistor revolution allowed the development of smaller and more powerful computers. The advent of deep learning models and neural networks in the 21st century has further amplified the capabilities of AI, leading to incredible advances in natural language understanding and computer vision.

The Crucial Role of Computational Skills

The progress of deep learning has been strongly supported by computational capabilities, with NVIDIA playing a central role in providing the GPUs necessary for training complex models. However, with the increase in computational capacity, challenges related to costs and energy consumption have emerged, raising questions about the long-term sustainability of advanced technologies.

The Future: Beyond AI, Towards Quantum Computing

Looking to the future, quantum computing represents a new frontier that could revolutionize AI and other sectors. Quantum computers promise to solve complex problems with unprecedented speed, paving the way for discoveries and innovations that today we can only imagine. The integration of quantum computing with AI could usher in a new era of technological advances, radically changing our approach to solving problems and understanding the world.

Conclusion: An Endless Journey

Ultimately, the evolution of AI and computer science is a constantly evolving journey, fueled by human curiosity, ingenuity and determination to solve the most complex problems. Each innovation builds on the previous one, creating a network of discoveries that continues to expand. We are only at the beginning of this exciting journey, and the next discoveries could lead to changes that we cannot even imagine today.

Let's conclude with a reflection: as we venture into this era of artificial intelligence and quantum computing, we must not lose sight of the value of fundamental ideas and of the people who have paved the way. The future is bright, and the journey continues!

This concludes our article. I hope you enjoyed it and that it provided you with an interesting and engaging overview of the evolution of artificial intelligence and computer science!
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Note:

1. Campbell-Kelly, M., & Aspray, W. (1996). Computer: A History of the Information Machine. Basic Books.

2. Pascal, B. (1995). Pensées and Other Writings. Penguin Classics.

3. Williams, M.R. (1997). A History of Computing Technology. IEEE Computer Society Press.

4. Leibniz, G.W. (1989). Philosophical Essays. Hackett Publishing.

5. Swade, D. (2000). The Cogwheel Brain: Charles Babbage and the Quest to Build the First Computer. Little, Brown.

6. Menabrea, L.F. (1842). Sketch of the Analytical Engine Invented by Charles Babbage, Esq. Scientific Memoirs.

7. Turing, A.M. (1937). On Computable Numbers, with an Application to the Entscheidungsproblem. Proceedings of the London Mathematical Society.

8. Flowers, T. (1983). The Design of Colossus. Annals of the History of Computing.

9. McCarthy, J., Minsky, M.L., Rochester, N., & Shannon, C.E. (1956). A Proposal for the Dartmouth Summer Research Project on Artificial Intelligence.

10. Goodfellow, I., Bengio, Y., & Courville, A. (2016). Deep Learning. MIT Press.

11. Krizhevsky, A., Sutskever, I., & Hinton, G.E. (2012). ImageNet classification with deep convolutional neural networks. Advances in Neural Information Processing Systems.

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‍Bibliography:

• Campbell-Kelly, M., & Aspray, W. (1996). Computer: A History of the Information Machine. Basic Books.

• Flowers, T. (1983). The Design of Colossus. Annals of the History of Computing, 5 (3), 239-252.

• Goodfellow, I., Bengio, Y., & Courville, A. (2016). Deep Learning. MIT Press.

• Krizhevsky, A., Sutskever, I., & Hinton, G.E. (2012). ImageNet classification with deep convolutional neural networks. In Advances in Neural Information Processing Systems (pp. 1097-1105).

• Leibniz, G.W. (1989). Philosophical Essays. Hackett Publishing.

• McCarthy, J., Minsky, M.L., Rochester, N., & Shannon, C.E. (1956). A Proposal for the Dartmouth Summer Research Project on Artificial Intelligence. Dartmouth Conference on Artificial Intelligence.

• Menabrea, L.F. (1842). Sketch of the Analytical Engine Invented by Charles Babbage, Esq. Scientific Memoirs, Selected from the Transactions of Foreign Academies of Science, Vol. 3, 666—731.

• Pascal, B. (1995). Pensées and Other Writings. Penguin Classics.

• Swade, D. (2000). The Cogwheel Brain: Charles Babbage and the Quest to Build the First Computer. Little, Brown.

• Turing, A.M. (1937). On Computable Numbers, with an Application to the Entscheidungsproblem. Proceedings of the London Mathematical Society, 2 (42), 230-265.

• Williams, M.R. (1997). A History of Computing Technology. IEEE Computer Society Press.

• Yates, F.A. (1966). The Art of Memory. University of Chicago Press.

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Insights:

• Ceruzzi, P.E. (2003). A History of Modern Computing (2nd ed.). MIT Press.

• von Neumann, J. (1945). First Draft of a Report on the EDVAC.

• Grier, D.A. (2005). When Computers Were Human. Princeton University Press.

• Russell, S., & Norvig, P. (2020). Artificial Intelligence: A Modern Approach (4th ed.). Pearson.

• Schmidhuber, J. (2015). Deep Learning in Neural Networks: An Overview. Neural Networks, 61, 85-117.

• LeCun, Y., Bengio, Y., & Hinton, G. (2015). Deep Learning. Nature, 521 (7553), 436—444.

• Turing, A.M. (1950). Computing Machinery and Intelligence. Mind, 59 (236), 433-460.

• Nielsen, M.A., & Chuang, I.L. (2010). Quantum Computation and Quantum Information (10th Anniversary Ed.). Cambridge University Press.

• Arute, F., Arya, K., Babbush, R., et al. (2019). Quantum Supremacy Using a Programmable Superconducting Processor. Nature, 574, 505—510.

‍ • Strubell, E., Ganesh, A., & McCallum, A. (2019). Energy and Policy Considerations for Deep Learning in NLP. Proceedings of the 57th Annual Meeting of the Association for Computational Linguistics.