Neither fish nor flesh ...

"Well," said Rabbit, after a long silence in which nobody thanked him for the nice walk they were having, "we'd better get on, I suppose. Which way shall we try?"


Sometimes I feel like Rabbit, one of Winnie the Pooh's best friends, in this excerpt. I walk on a path for long time, wishing someone is after me but, then, in a moment of disguise and distraction, I realize that no one is either at my side, nor on my tracks. Neither I dare to say that I wish someone could be waiting for me at the end of the trail. Still, I never give up, as I feel a constant need to find a way to get on ... and dream.
Something like this is happening again in these days of early June: I'm really drowning under a heap of work to do, whereas the heap of things that I'd love to do grows on and on ... They simply heap. I put down notes to stick somewhere and let them get yellow and dusty, day after day, month after month ... year after year.

I haven't been grown and educated in order to be able to manage my time as I should instead, for coping with all the different things I'd like to carry on. The result is this strange kind of feeling of being potentially able to do everything but, when it comes to facts, I throw constantly aside all my passions and projects and bow down my head to work.

I'm in Oslo this week. There are good chances this could be my last week spent in Norway, after six years of traveling up & down. Yet, I've completely wasted three evenings working till late in an empty open space, among cardboard boxes full of dusty books, rolls of disposed cables, keyboards and monitors in wait for someone to take them away.
Curtains are closing and I still linger on the stage, as if this could help me recollect all the wasted opportunities I had.

My photographic experience started here, on the banks of this town harbour, where you can still aim at people walking in the streets without being hit. I have still one night ahead and I can't miss it. I just need to get out of this state of lethargy I have recently entered. This could hopefully be a sign of recovery. The world is waiting for me!
And maybe, at least, a piece of good red herring I'll be.

Northern Green

Closed for lack of clients

This time I can't either say I was late ...

On the sky again

Sunday afternoon, time to move on again.

Oslo

I'm spending many weeks of this first half of the year in Oslo. I'm getting used to a blinding sunlight that lingers low on the horizon for endless minutes before falling behind the western line. My shadow walks distant far from me.

Help Japan earthquake victims

The PrintAid Project

Three Merseyside based photographers have set up the PrintAid Project to help the victims of the recent earthquake in Japan. The PrintAid Project involves renowned photographers and designers from around the world who have donated their images to be sold on the project website. All money raised will go to the Red Cross charity.The project will tentatively raise money in two ways:

• A selection of prints to be sold at a special reduced rate from the website.

• Limited edition prints to be sold in a series of charity auctions on this website.

The artists involved in this project have donated their images and time to the project and set up the website for free. This means that after printing and postage costs, every penny raised will be donated to the victims of the Tohoku earthquake.The site is accepting submissions for possible inclusion via the submission page: theprintaidproject.com/submissions

Klippan exhibition

On display on 591

Mr Urbano wrote: "I get a sense of a struggle with geometry, and how to come to terms with it by turning to nature. Klippan is a place with the presence of the sea and the archipelago - beyond the bridge and the city traffic. I watch people waiting for something. Something is happening, although not immediate or visible - there is a strange undertone that Tiberio captures so well."

Click on the poster above to go to the exhibition.

Here it is!

After almost a whole year I managed to make the final effort and get to the end. Now my first photobook is ready and I'm feeling proud and happy. I'll receive my personal copy winthin a week. I'm just sorry that most probably I'll be in Norway when the book will arrive in my office. I'll have to wait some more.
But now I need to know what other people think of it. Anyone can leaf through the book pages using Blurb's preview facility (just click on the picture below). I'm not expecting for someone to buy it, even though it is actually possible. I'd certainly appreciate if you let me know your opinion, either good or bad.

Enjoy!

Thinking Spots

These are "samples" I took with my falling apart and half blind mobile phone on the island of Branno, few months ago. I use to make these short journeys on ferry boats from Saltholmen peer, in west end of Goteborg, when I'm lucky enough to have a couple of hours left before sunset. Ferries and small islands become my thinking spots. I can't find better places to meet myself alone.

Photographs, (C) Tiberio Fanti

Behind the glass of the small red wooden cabin on the highest top of Branno an open book, two candles, a window, an island, then another island and the ocean.
How comes this kind of relic, half scrap of plastic, metal, Ni-Cd & silicon is still able to give me emotions?

Movie or Photography?

Half the world wide web media have been recently talking about a footage collecting in a rapid and (IMHO) perfectly mounted sequence many short video clips taken in Astoria, New York Queens, when a snow blizzard struck NY district the day after Christmas. "Idiot with a tripod", photographed (sic) and edited by NYer director Jamie Stuart, is a short but great documentary film that keeps the eyes of the audience clutched to the monitor for the whole three minutes of its length. The short, admitedly an homage to the 1929 Dziga Vertov's masterpiece "Man with a Movie Camera", is so impressive that someone (namely Roger Ebert, on his blog on Chicago Sun-Times) even claimed it deserves an Academy Award for the best short live-action subject: "You can tell from the cinematography he knew exactly what he was doing and how to do it. He held the Vertov film in memory. Stuart must already been thinking of how he would do the edit and sound. Any professional will tell you the talent exhibited here is extraordinary."

I'm not able to add anything more to help J. Stuart to get the deserved credits. Yet, the vision of his work sparkled some candid questions in my mind (you might be surprised, as well as I am, why I never asked them before ...): how strong is today, with current technology (the film was shot with a Canon D7), the relation between moving pictures and still? And how large is the blurred area that separates the first from the latter? Is it growing or narrowing? I'd really like to know your opinion about.

Idiot with a Tripod from The Mutiny Company on Vimeo.