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Agfachrome was my favorite slide film. I liked the drama of its reds and the way it cranked up the intensity of its palette. There seemed to be the subtlest kiss of gold in the whites and it always processed about a quarter stop under, giving it overtones of shadowy romantic mystery.
Is it still available? Doesn't matter to me now, I'll never return to film. But just as memories of early rock will influence the way I hear music to always, say, set me hunting for the interplay of the bass drum and the electric bass. So will the memory of what Agfachrome could capture set me searching to capture its memories and feelings in my current photography.
So here I've lathered that Agfa nostalgia atop of one of photography's debates. When we make our images, do we express reality or distort it? Attack it? One thing's clear though - we certainly diddle with reality when we filter it through our imagination. I guess that's why Ansel Adams always insisted that we don't take photographs... we make them.
My object here: When I saw this barber on a break in his doorway, I imagined him on the set of an Italian opera. I'm told many were set on these streets of Rome, so it seemed as if stage lighting should spot the barber and enough of his surroundings to clearly place him in an ancient, yet modern place. And it was this theatrical sense of place which I wanted to present to you. So? How my doing?
WHAT'S ODD ABOUT THE ROMAN STOP SIGNS? Look at it carefully. Now it's an Italian sign so... Why the heck is it in English? They all are! Both in shape,color, and words - they are identical to American signs. Know why? Lemme know.