Nudes nominee

Had I lived in different era, most probably I would have founded "the new school of colour photography" along the lines of Stieglitz's school in Philadelphia in 1898.
For many years I have worked in the dark room with colour, with open eyes, experimenting and discovering things: easy, new and diverse.
Everything that in appearance is not understood about the technique is not magic but mastery acquired through time. That helps my visionary fantasy.
The image is conceived, thought of and dreamed of before entering the dark room.
Along the way it gets refined, modified, polished and re-tried. In the process one despairs and then gets to start all over again.
I admit having arrived in wrong era for artisan work. Unfortunately it is not my fault if in the computer era I discovered that my research is nothing more than the continuation of the B&W "Pictorialist" current of the late eighteen hundreds, but in colour.

Paolo Romani is a researcher in the print in color from negative film.
My story: more than 40 years I have researched on the photographic color negative, with craft technique.
In 1981, I submitted to the Kodak of Rochester my patent for the printing of color negative in the darkroom with enlarger, to locate a printing with no dominant color with a very simple system.
Despite the advent of electronics, I continued my research in the darkroom, with open eyes, discovering new things.
In 2011 I experimented direct printing of an electronic image in color on Kodak Endura paper with Developer, Bleach-fix replenisher in the darkroom, creating a hybrid EXCLUSIVE, for the first time
During these years I have done professional work as a folder on Venice for the Palazzo Grassi Museum , which was the Christmas gift of Gianni Agnelli for the "Friends of Palazzo Grassi";
I made a poster for Ferrari when Enzo Ferrari got the World Championship Marche 1983.
I also worked with Mondadori for three illustrated commercial books.
My works are handmade prints in color, unique pieces, made in the darkroom without electronic devices of any kind.
A printing technique "dated" as the darkroom is able Had I lived in different era, most probably I would have founded "the new school of colour photography" along the lines of Stieglitz's school in Philadelphia in 1898.
For many years I have worked in the dark room with colour, with open eyes, experimenting and discovering things: easy, new and diverse.
Everything that in appearance is not understood about the technique is not magic but mastery acquired through time. That helps my visionary fantasy.
The image is conceived, thought of and dreamed of before entering the dark room.
Along the way it gets refined, modified, polished and re-tried. In the process one despairs and then gets to start all over again.
I admit having arrived in wrong era for artisan work. Unfortunately it is not my fault if in the computer era I discovered that my research is nothing more than the continuation of the B&W "Pictorialist" current of the late eighteen hundreds, but in colour.
Everything has changed: the printing paper , the emulsions, the chemicals the negative film, and the camera. Notwithstanding all this I discovered that there is still room to return to artisanship. Paraphrasing Gerard Richter : I do not want to imitate painting, but to elevate the photographic paper medium to the noble level of the painter's canvas, free from any bondage of "software