Montioni (GR), Toscana. Sono bestie più amichevoli di quanto ci si aspetti, ma sempre e comunque meno amichevoli di quanto ci piacerebbe che fossero. Indubbiamente incutono timore e rispetto, come è giusto che sia.

Montioni (GR), Tuscany, Italy. Wild boars are friendlier beasts than you’d expect, but less friendly than you would like. They indeed demand for respect and a cautios approach.

Oggi ho messo alla prova il mio nuovissimo Canon 70-200 f4 L USM IS. Lo chiamano “la lama”, per un motivo. Oltretutto, il sistema di stabilizzazione funziona a meraviglia. Sono estasiato, e i micini mi danno ragione :)

Today I put to my shiny brand new Canon 70-200 f4 L USM IS to the test. They call it “the blade” for a reason. Plus, the IS works like a charm! I am delighted. Oh, and the kitten agree :)

Genova.

You can’t buy loyalty, they say
I bought it though, the other day;
You can’t buy friendship, tried and true,
Well just the same, I bought that too.
I made my bid, and on the spot
Bought love and faith and a whole job lot
Of happiness, so all in all
The purchase price was pretty small.
I bought a single trusting heart,
That gave devotion from the start.
If you think these things are not for sale,
Buy a brown-eyed puppy with a stump for a tail.

Ultimamente non ho molto tempo per fotografare… Perdonatemi questa foto di repertorio, che mi è saltata agli occhi recentemente :)

I don’t have much time to take new shots these days. So I hope you’ll forgive me for this “oldie” I found ;)

Mysterious Guy

Paris, July 2009.

Un gatto locale inizia il nuovo anno crogiolandosi al raro sole invernale.

A local cat starts the new year warming himself in the rare winter sun.

[Audio clip: view full post to listen]

Buon anno a tutti dai nuovi inquilini!

Happy new year to everyone from the new neighbors!

Il mio primo ragù, preparato alla toscana seguendo le disposizioni della mia mamma, e il mio primo esperimento di fotografia di “food”. Il ragù è venuto eccezionale, certamente più grazie a mammà che a me. La foto mi soddisfa abbastanza, per essere un primo tentativo. Che ne pensate?

My first experiment in food photography. And my first “ragù di carne”, prepared following my mom’s traditional recipe. The ragù is awesome, thanks to my mom experience and precise directions. The photo, well, it’s OK for a first. What do you think?

Pensate, ci sono pazzi che si portano la macchina fotografica anche quando vanno a fare la spesa al supermercato.

You see, there are nuts who even bring their DSLR to the mall.

Solitary brother, Is there still a part of you that wants to live ?
Solitary sister, Is there still a part of you that wants to give?

Paris, Palais de Chaillot, 9th of July 2009.

Iranian Student Protests of July, 1999 (Also known as 18th of Tir and Kuye Daneshgah Disaster (Persian: فاجعه کوی دانشگاه) in Iran) (7–13 July) were, at that time, the most widespread and violent public protests to occur in Iran since the early years of the Iranian Revolution.

The protests began on July 8 with peaceful demonstrations in Tehran against the closure of the reformist newspaper, Salam. Following the demonstrations, a student dormitory was raided by riot police that night during which a student was killed. The raid sparked six days of demonstrations and rioting throughout the country, during which at least three other people were killed and more than 200 injured.

In the aftermath of these incidents, more than seventy students disappeared. In addition to an estimated 1,200–1,400 detainees, the “whereabouts and condition” of five students named by Human Rights Watch whom are believed to be detained by Islamic authorities remain unknown.

Full story on Wikipedia.

Una bella e altèra turista parigina, in uno scatto rubato al Sacro Cuore.

A beautiful and serious Paris tourist, in a shot I stole in the Sacre Coeur.

This is the first of a series of interviews to fellow photographers. I hope my readers will find it interesting. Ladies and gentlemen, continue reading below to find out more about Sharon Wish, aka Bluechameleon.

(Oh, and here’s a fitting soundtrack for your listening pleasure, if you feel inclined :))
[Audio clip: view full post to listen]
Alessandro: Hi Sharon! When I thought about starting a series of interviews on my photoblog, you promptly came to mind. Before “going solo” with my own custom-built photoblog, I started publishing my photos in the awesome Aminus3 community, and there your blog immediately drew my attention –and not only mine, judging from the sheer volume of comments your photos get every time they’re posted.
The thing is that you do have a unique style of your own. At first I thought it was the high-contrast B&W, then that out-of-focus dreamy atmosphere, maybe the absence of people, but then again there were people in some of your best shots…
Finally, I realized that I can NOT pinpoint what makes a photo a “bluechameleon” photo… even though I can recognize one when I see it. Is there some recurring concept, some base idea, some constant source of inspiration, some artistic movement that influenced you… what is a “bluechameleon photo” made of?

Sharon: Hmmm… you know, it’s not something that I have consciously thought about, but I suppose there is a kind of similarity from image to image. I think what it comes down to is that I am drawn to lights and shadows and the scenarios they create for me. I like how the world is transformed with a setting sun and the long shadows that come with it, or an early morning fog and the mystery it brings.
I try to see beyond what I am shooting, try to capture the inner mood, whether it be a lone bare tree, reflections in a window or a person walking down the street. I think we all feel vulnerable from time to time, and with showing that vulnerability in my photographs, I hope that whoever is viewing them can feel it too, and relate to it on some level. There is a beauty in sadness, and I am drawn to that.
The works of Henri Cartier Bresson and Robert Doisneau have always been of interest to me. Both of these men were always able to capture more than meets the eye, whether they were shadowy figures or street portraits. I have always found this sort of photography fascinating and inspiring. I am also a fan of film noir, which has been a huge influence in how I see things.

Alessandro: …And indeed, your photos may as well be frames from a film noir.
So, there’s always more than meets the eye. You, amongst all the other feelings, chose to reveal the “fragile” content of a small part of your world, be it a human being, part of nature itself, or both.
There’s obviously some sort of direct connection between what you feel and the way you’re able to transfer it to the film (or its digital equivalent)… How much of this process is spontaneous? Did you train yourself to develop this Photographic eye or it just popped out in the middle of your forehead? And what about the techies? Do your photos require a certain amount of technical prowess (maybe with some post-processing, too) or you just shot and forget about the techies?

Sharon: I’d say that my method is spontaneous for the most part as I don’t have a particular idea or theme in mind when I take photos. I do a lot of walking around, and while I am doing this I usually have a camera or 2 with me. It’s all pretty random, and sometimes I’ll just shoot from the hip, lomo style, for something completely different. There are times when a ‘mood’ is carried on through the day, and I am able to see my end result before I take the photo, meaning, that I know I’ll have what I want once I convert it to black and white, or perhaps increase the contrast some. I wouldn’t say I have a trained eye, but I do know what I like and have gotten to the point where I have a good idea on how to capture that one moment that moves me.
When it comes to processing I try to spend as little time as possible in order to keep things simple, but processing is a big part of it for me to achieve exactly what I want, and what I felt while taking the photos. My Photoshop skills are very limited, so what I do is pretty basic.

Alessandro: Speaking of post-processing, we all know that some photographers are very sensitive on the issue. There are the purists, who barely admit cropping as the only option allowed (and sometimes even cropping is too much for them), there are the creatives, for whom anything goes if it helps to deliver their vision: dodging, burning, cloning, massive color manipulation, even non-photographic filters… What’s your take on this issue? Do you limit yourself in some way when post-processing? Do you think that something as an “unprocessed” photo can even exist in the digital world?

Sharon: You know, it’s one of those questions that would more than likely get answered many different ways, depending on who you ask, but for me the “processing” is just as important as the image itself. I’m a purist to some degree, but the camera for me is really just a tool of expression, and part of the process to get the end result of the photographer. I look at this this way, before digital there was the analog darkroom…negatives being sandwiched together, dodging and burning and much more. So, what’s the difference? I say anything goes and that it entirely up to the photographer as to how he/she wants the end result to be.
As far as what I do goes, I will sometimes add a texture for a certain image, or I will crop or dodge and burn. I don’t do much in the way of cloning (I am hopeless at it!) as I do like the photo for the most part be as I saw it through the lens. However with street photography, one really only gets that one chance to get the shot, so I am not above cropping something out that does not fit, or is in the way of what I want to present.
I do draw the line when it comes to my Lomo or Polaroid images though because the beauty of that format for me is the lo-fi quality and taking them as they were shot, so I don’t mess with that, but that’s just my personal preference.

Alessandro: We pretty much share the same opinion on the matter. It’s refreshing to see there are other “non-pure’ photographers out there! :)
Ok, now for the big ‘ol classic question: how long have you been doing this? And how did it begin? Was there a mentor who inspired you or did you develop your passion all by yourself?

Sharon: I’ve always been drawn to imagery, even as a child, preferring pictures to words, although I read like a fiend as a child! I’d spend hours trying to imagine what it would be like to be a part of whatever image, in whatever part of the world, I was looking at. A typical kid thing to do I would imagine, but that’s the thing, it never really stopped at childhood.
My grandfather took heaps of photographs, as well as film movies. Sure there were lots of family photos and movies, but he’d also get creative with composition and depth of field. Back then there was no digital, and he mostly shot slide film and some of the results were very cool. I’d always look forward to seeing his slide shows at family dinners. Oddly enough, he never shot black and white.
I got my first camera when I was just a kid, shooting black and white 126 film and then when I was a teen I saved for my first 135mm camera, a Pentax K1000, which I later upgraded for the Nikon FM2. I’ve always been drawn to shadows and shapes, like the old black and white ‘film noir’ movies. I liked the idea of mystery, of the image not being absolutely clear in meaning and left to many different conclusions. But I must say, in all honestly, I took pictures of my friends, family and the family dog just as most kids do, at the beginning.

Alessandro: A photographer grandpa! Is there something cooler than that? Talk about deep roots in passion for Photography!
Now, a question you’ll probably hate: if you could only save THREE of your pictures, which ones would you choose? And why?

Sharon: That’s a tough one as most of my images have some sort of meaning to me in one way or another. Some of the ones that are extra special to me tend to be the least viewed, isn’t that often the case though?

“The message”
When I took this shot it was so windy, to the point that I was hanging onto trees to stay standing upright and not get blown over. I had been out walking the seawall and had just about had enough when I spotted this woman drawing a heart in the sand. I grabbed onto a tree with one hand and held my camera in the other and got the shot. There was just something really touching and poignant about her being there drawing a heart in the sand.


“Journey”
I had been wanting to capture long shadows of a few people on the street for sometime. Capturing a mood that reminded me of some of the old film noir movies I used to watch as a kid. I stood in this one spot for a long time, it was a cold day one December…so I froze for a good 30 or 40 minutes before I got the people in the sort of position I was waiting for. I was actually lucky as the afternoon sun was gone quickly after I took this.


“Sometimes”
Lost Lagoon is one of my favorite spots to lose myself. When I took this I was going through some life altering changes, and the reason this is a favorite is because I was able to capture what I was feeling inside so perfectly. Now when I see this image it’s bittersweet, always a reminder of that particular time.

Alessandro: Regardless of the particular photos you chose, your answer speaks volumes about the love for what you do and the passion you pour in… Really inspiring and motivating, Sharon!
Now to some geeky details: what equipment do you use? Are there some cameras or lens you’re currently ogling? Would you swap your Nikon for two Canons? :)

Sharon: Well…I have an assortment of cameras, but my main camera is my Nikon D70. It’s seen me through a lot of years and will always be my favorite, although I am hoping to upgrade by the end of this year. I also have a Nikon Coolpix 995 which still to this day is awesome for macro work, and my Nikon FM2, a great film SLR camera. For a point and shoot I use a Canon Powershot A640, and I love it for just wandering around the streets, and it’s the camera I always carry with me as I commute back and forth to work.
I have a love of toy cameras and have a Holga 120N, Holga Pinhole and a Diana+, the latter of which I’ve not gotten the hang of due to an insane light leak. I really need to look further into this as that camera is pretty amazing from some of the shots I have seen from others.
Now the Polaroid cameras…a 340 Land Camera which is a tank and weighs a ton but I just love it. A Square Shooter that is missing a part at the moment, a 600 Business Edition and a One Step Close Up. I’d shoot way more Polaroids if only I could get my hands on some film without having to take out a small loan.
I’ve got a Lomo lc-a that I am anxiously awaiting to arrive, and time will tell how that goes.
Would I trade my Nikon for 2 Canons? No way…I’m loyal through and through! But I will admit to not wanting to trading my Canon point and shoot for 2 Nikon point and shoots, as I do think Canon is much better in that regard. Nikon, Canon…it’s really about what you are able to achieve as a photographer, and not about the camera itself.

Alessandro: You do have a fetish for “strange” cameras, don’t you? :) But you’re definitely right when it comes to Nikon vs. Canon: I am a Canonian, and I do think Canon should really come up with a solid DSLR offer which can compete with D700 and D3… But I digress.
Sharon, this has been an enlightening talk. We do know it took A LOT to get this finished, but I feel it’s worth it. I’m sure you don’t need help in winning fans, but if only one people reads this and decides to start following your work, my mission is accomplished.
Ciao and thanks again!

Laura e il suo splendido figlio. C’è qualcosa di irreale nell’ incontrare dopo tanto tempo un’amica con la quale –tra le altre cose– hai fatto l’asilo insieme e poter immortalare un momento di felicità così pieno, puro. Questa è una delle ragioni che mi fanno amare la Fotografia.

Laura and her gorgeous son. There’s something almost unreal in meeting again a friend who –amongst other things– went to your same kindergarten and, after all those years, being able to freeze a moment of sheer joy. This is one of the many reasons why I love Photography.

Il mio scatto migliore –senza nulla togliere agli sposi– dal matrimonio del mio vecchio amico Alberto (che ora si sta godendo un viaggio di nozze coi fiocchi in Australia, beato lui!). Lei è Anna, una piccola, deliziosa invitata.

My best shot –no offense meant to the bride and groom– from the wedding of my old friend Alberto, who now is enjoying a top notch honeymoon in Australia (fat bastard!). She is Anna, a little gorgeous guest.

Cosa fai quando la luce è poca e non puoi permetterti una di quelle macchine formidabili agli alti ISO? Semplice, filtri anti-rumore. Che però non fanno certo miracoli.

What do you do when there’s little available light and you can’t afford one of those formidable-at-high-ISO-but-terribly-expensive cameras? Denoise filters. Which, as you can see, don’t operate miracles.

EXIF: Canon EOS 50D - 55mm, 1/80 sec at f/10.0, ISO 125.

Parigi, Estate 2009. Sono piuttosto orgoglioso di questa foto.

Paris, Summer 2009. I am pretty proud of this one.

EXIF: Canon EOS 50D - 42mm, 1/6 sec at f/5.0, ISO 1600.

Parigi, Estate 2009.

Paris, Summer 2009.

EXIF: Canon EOS 400D - 36mm, 1/250 sec at f/7.1, ISO 400.

Late last night and the night before,
Tommyknockers, Tommyknockers, knocking at the door.
I want to go out, don’t know if I can,
‘Cause I’m so afraid of the Tommyknocker man.

EXIF: Canon EOS 400D - 24mm, 1/400 sec at f/7.1, ISO 400.

Tell me if, you want to see
A world outside your window
A world outside your window isn’t free
And tell me if you wanna catch that feeling of redemption
That feeling of redemption doesn’t do much for me

Tanita Tikaram, World Outside Your Window.

(Also on Facebook. Why don’t you become a fan?)

EXIF: Canon EOS 50D - 100mm, 1/80 sec at f/2.8, ISO 1600.

La gatta dei miei suoceri.

My in-laws’ cat.

EXIF: Canon EOS 50D - 100mm, 1/60 sec at f/2.8, ISO 3200.

Questa foto risale alla notte in cui la pineta della Verruca è bruciata. L’oggetto in primo piano è una sirena dei pompieri.

This photo dates back to the night when the Verruca pinewood was set on fire. The object in the foreground is the siren of a firemen truck.

EXIF: Canon EOS 50D - 49mm, 1/640 sec at f/5.6, ISO 400.

Dedicato a tutti i miserabili che pensano che un animale sia qualcosa di cui poter disporre a proprio piacimento.

Dedicated to all the heinous people who think animals are “things” at their disposal.

EXIF: Canon EOS 400D - 100mm, 1/1600 sec at f/9.0, ISO 200.

Uno scatto dell’ anno scorso fatto al matrimonio del mio migliore amico, rivisto e corretto “come se fossi un vero fotografo di matrimoni”. O almeno ci ho provato. Sotto trovate la versione originale (spostate il mouse sopra l’ immagine per vedere quella modificata).
Che ne pensate? (Un grazie al grandissimo Mr. David Nightingale di Chromasia per i suoi preziosissimi tutorial!)

. . .

A shot from last year, taken at my best friend’s wedding, revisited and enhanced “like I was a true wedding photographer”. Well, at least I tried :) Below you’ll find the original version (mouse over for the modified one).
What do you think? (A big thank you to the great Mr. David Nightingale of Chromasia for his invaluable tutorials.)

EXIF: Canon EOS 400D - 100mm, 1/200 sec at f/5.0, ISO 400.

Sergio!

EXIF: Canon EOS 50D - 100mm, 1/250 sec at f/14.0, ISO 400.

Baby geco. Non è adorabile?

Baby geckos! Aren’t they cute?

EXIF: Canon EOS 50D - 100mm, 1/125 sec at f/2.8, ISO 1600.

8 e 9 Settembre 2009: un incendio sicuramente doloso distrugge buona parte della meravigliosa macchia del Monte Serra vicino alla Verruca e a Caprona. Il fuoco arriva a circa 500 metri dalla mia abitazione.

8 and 9 September 2009: a forest fire, undoubtedly started on purpose, destroys the vast majority of the wonderful vegetation of Mt. Serra, near Caprona and La Verruca. The fire was stopped circa 500 yards from where I live.

EXIF: Canon EOS 50D - 100mm, 1/25 sec at f/2.8, ISO 3200.

http://www.associazioneartemide.org/

EXIF: Canon EOS 50D - 100mm, 1/320 sec at f/3.5, ISO 400.

Insect porn.

EXIF: Canon EOS 50D - 100mm, 1/500 sec at f/2.8, ISO 400.

Niente Photoshop, nessun tipo di post-produzione, questa foto è così come l’ho scattata. Quella “striscia” è la ristrettissima zona a fuoco ottenuta scattando con il EF-S 100mm USM f/2.8. Il fatto che il mio nero protagonista sembri “tagliare” con la sua unghia la foto, è puro cul indice della grande maestria del sottoscritto. :-)

No Photoshop, no post-processing whatsoever. That sharp band is the very thin in-focus zone you get when you shoot with the EF-S 100mm USM f/2.8. The fact that my black buddy seems to cut the photo with its nail is me being a fat bastar great photographer. :-)

EXIF: NIKON D200 - 34mm, 1/60 sec at f/4.5, ISO 1250.

Esattamente un anno fa.

Exactly one year ago.

EXIF: Canon EOS 400D - 18mm, 1/125 sec at f/11.0, ISO 400.

Hawaii.

[Audio clip: view full post to listen]

EXIF: Canon EOS 50D - 100mm, 1/125 sec at f/3.5, ISO 3200.

Questi sono davvero Artisti con la A maiuscola. Immensi, ascoltateli sul loro sito ufficiale o su myspace. Trovate altre foto del concerto sulla mia gallery.

These guys are true Artists, with a capital A. Awesome, just listen to them on their official website or myspace. You’ll find more pictures of the show on my gallery.

EXIF: Canon EOS 50D - 100mm, 1/250 sec at f/4.5, ISO 250.

Più fotografo bambini e più mi piace. Sarà l’ orologio biologico o la scoperta di una vocazione fotografica?

The more i take pictures of children, the more I like it. Maybe it’s my biological clock or maybe I’m just finding my niche. Who knows.

EXIF: Canon EOS 50D - 18mm, 1/13 sec at f/3.5, ISO 1600.

So many things, so little time.

EXIF: Canon EOS 50D - 300mm, 1/320 sec at f/5.6, ISO 1600.

Dopo le catacombe, un po’ di allegria! Disneyland sarà anche un ipermercato del divertimento, ma è un paradiso per bambini di ogni età… chiedetelo alla simpatica sconosciuta qui sopra!

After the creepy catacombs, a lil’ more happiness! Disneyland may also be the Wal-Mart of entertaining, but it’s definitely heaven for children of any age… Ask this funny stranger!

EXIF: Canon EOS 50D - 20mm, 1/10 sec at f/5.6, ISO 800.

“All that live must die, passing through nature to eternity” — William Shakespeare

Il nostro tour di Parigi è incominciato qua: le Catacombe sono un luogo incredibilmente macabro e affascinante. Pile di ossa e teschi umani ti circondano da ogni parte, l’illuminazione è ridotta al minimo e l’aria è umida e gelida.
I teschi sono spesso disposti a formare cuori, croci, arcate. A volte sono deformi, a volte buchi e spaccature tradiscono una morte violenta. Ci sono, ovviamente, anche i resti di molti bambini.
La morte ti circonda e ti opprime da ogni parte, la quantità di ossa è inimmaginabile, le cataste sembrano non aver mai fine. E quella visitabile è solo una piccola parte della reale estensione delle catacombe e dell’ ossario…
Come qualcuno ha già detto, le Catacombe sono una vera e propria “Città delle Ombre” sotto la “Città della Luce”.

Our tour of Paris begun here: the Catacombs are an incredibly macabre and fascinating place. Piles of human bones and skulls surround you, lighting is kept to the bare minimum and the air is moist and cold.
Skulls are often arranged to form hearts, crosses and arcs. Sometimes they’re deformed, sometimes holes and cracks reveal a violent death. Many bones, of course, clearly belonged to children.
Death is everywhere, the piles of bones seem to go on forever, and then you remember that the one you’re visiting is only a small part of the actual catacombs.
As someone already said, this is really a “City of Darkness” beneath the “City of Light”.

(Thanks to the lovely BlueChameleon for the Shakespeare quote ;) )

Finalmente ho avuto modo di provare la mia nuovissima Canon 50D, e fino ad ora ne sono davvero rimasto colpito! È una dannata mitragliatrice, anche se uso una vecchia e “lenta” CF 120X da 8GB, è robusta, il mirino è straordinario e quell’ LCD da 920000 pixel è fuori dal mondo (non serve? me lo ridici quando fai macro spinta e devi mettere a fuoco al mezzo millimetro, vai…)

Ho letto di gente che si lamenta del rumore agli alti ISO e della effettiva risoluzione del sensore da 15mpx. Secondo me si deve usare un’ ottima lente, altrimenti è inutile. Questo sopra è uno scatto fatto col mio adorato EF 100mm f/2.8 macro a f/8, 1/250, ISO 400. Fate click per scaricare l’ originale, senza elaborazioni di sorta, e poi fatemi sapere che ne pensate.

I finally had some time to test my brand new Canon 50D, and so far I can say that I am impressed. It’s a damn machine gun, even with a “slow” 120X 8GB CF, it’s sturdy, viewfinder is great and that LCD is pure awesomeness.

I read people complaining about the noise & actual level of detail that the 50D is able to resolve… Well, I say “use a damn good glass!”. Here’s a shot made with the 50D & my beloved EF 100mm f/2.8 macro lenses at f/8, 1/250, ISO 400. Click to download the original, straight out from DPP, and let me know what you think.

EXIF: Canon EOS 400D - 100mm, 1/800 sec at f/8.0, ISO 400.

EXIF: Canon EOS 400D - 18mm, 3/10 sec at f/5.0, ISO 200.

EXIF: Canon EOS 400D - 50mm, 1/500 sec at f/1.8, ISO 200.

Il figlio di una coppia di amici che non rivedevo da tanto tempo. Non è splendido?

The son of a couple of friends I met the other day after a long time. Isn’t he gorgeous?

EXIF: Canon EOS 400D - 50mm, 1/400 sec at f/1.8, ISO 200.

Follonica (GR), Tuscany, Italy.

EXIF: Canon EOS 400D - 70mm, 1/250 sec at f/6.3, ISO 400.

EXIF: Canon EOS 400D - 170mm, 1/1600 sec at f/9.0, ISO 400.

Questo è uno scatto preso dalla mia imminente foto-storia sulle cave di marmo di Carrara. Certo, non sembra entrarci nulla… Ecco perché è qui e non sarà lì :)

A proposito, ho smesso di “marchiare” le mie foto. Penso che non ne valga la pena.

This is one of the shots from my upcoming photo story on Carrara marble caves. Yeah, apparently it has nothing to do with them… This is why it’s here and won’t be there :)

On a side note, I stopped watermarking my photos. I just think it’s not worth it.

EXIF: Canon EOS 400D - 18mm, 1/320 sec at f/9.0, ISO 200.

EXIF: Canon EOS 400D - 100mm, 1/320 sec at f/9.0, ISO 200.

Ahhh l’ Estate :)

Ahhh, Summer :)

[Audio clip: view full post to listen]