View allAll Photos Tagged Develope
Castellanza - Scorcio Urbano
Gennaio 2024
Rolleiflex 3.5C
Zeiss Planar 75mm f3.5
FomaPan 100
R09 Studio 1+31 x 10min
Samarate - Scorcio Urbano
Gennaio 2025
Rolleiflex 2.8 C
Schneider-Kreuznach Xenotar 80mm f2.8
FomaPan 400
R09 Studio 1+30 x 12 min
Ottobre 2021
Voigtlander VF101 + Color-Skopar 40mm f2,8
Rollei SuperPan 200 @ 200 asa - Bellini Hydrofen 1+30 x 10 min
Twitter: @brobphoto
Nikon D300 12mm F/4 1/40s +0EV ... and consider to watch it in B L A C K
No pude resistirme a fotografiar este auto. Me gusta de siempre. La foto la tomé en Utrecht, de la que subiré un par de fotos según vaya teniendo tiempo.
El Volkswagen Sedán, denominado también Volkswagen Tipo 1, es un automóvil de bajo costo producido por el fabricante alemán Volkswagen entre los años 1938 y 2003, exceptuando la época de la Segunda Guerra Mundial. Fue el primer automóvil de la marca, y se construyeron 21 millones de unidades, superando al Ford T como el modelo único más vendido en la historia (modelos como el Volkswagen Golf y Toyota Corolla abarcan varias generaciones).
Aunque inicialmente se llamó "Volkswagen Sedán" o "Volkswagen Tipo 1", recibió numerosos apodos que luego fueron adoptados por Volkswagen en su publicidad y nomenclatura: Escarabajo en Argentina, Perú, Venezuela, Chile, España, El Salvador,Colombia y Paraguay, Vocho en México y algunos paÃses de Centro América, Cucaracha en Guatemala y Honduras, Poncho en Panamá, Pichirilo en Ecuador, Fusca en Brasil y Uruguay, Käfer en Alemania, Coccinelle en Francia, Volky en Puerto Rico, Maggiolino en Italia, Cepillo en República Dominicana, Peta en Bolivia, Garbus en Polonia (jorobado), y Beetle o Bug en los paÃses angloparlantes.
Adolf Hitler, por entonces canciller de Alemania, ideó una red de autopistas diseñadas para unir a todo el paÃs por carretera rápidamente (después el sistema se extenderÃa hasta Suiza y Austria). En principio se pensó que la velocidad máxima debÃa ser de 160 km/h, aunque finalmente se optó por que fuera ilimitada. Esta red, que se llamarÃa Autobahn, estarÃa compuesta por calzadas de tres carriles a cada sentido, con una anchura mÃnima de unos 2,5 metros cada carril; 60 centÃmetros de cemento bajo la capa de asfalto; curvas bien peraltadas; barreras a ambos lados de la calzada, y un larguÃsimo etcétera. Pero se encontró con el inconveniente de que la mayorÃa de la población germana carecÃa de automóvil. El nombre que se adoptarÃa en principio para el modelo serÃa KdF-Wagen, que significa algo asà como "A la fuerza por la alegrÃa", o Fuerza por medio de la alegrÃa.
Para ampliar información, yo he mirado en la Wikipedia y como habréis comprobado, me gusta el hecho de fotografiar autos en la calle… lo hice aquà y aquÃ.
I couldn’t help shooting this car. I’ve always loved it. Picture is taken in Utrecht, from where I will post some pictures in coming days.
The Volkswagen Type 1 is an economy car produced by the German auto maker Volkswagen (VW) from 1938 until 2003. The car was originally known as Käfer, the German word for "beetle," from which the popular English nickname originates. It was not until August 1967 that the Volkswagen corporation itself began using the name Beetle in marketing materials in the US.
In Britain, VW never used the name Beetle officially. It had only been known as either the "Type I" or as the 1100, 1200, 1300, 1500, or 1600 which had been the names under which the vehicle was marketed in Europe; the numbers denoted the vehicle's approximate engine size in cubic centimetres. In 1998, many years after the original model had been dropped from the lineup in most of the world (production continued in Mexico until 2003), VW introduced the "New Beetle" (built on a Volkswagen Golf Mk4 platform) which bore a cosmetic resemblance to the original.
In 1933, Adolf Hitler gave the order to Ferdinand Porsche to develope a "Volks-Wagen" (the name means "people's car" in German, in which it is pronounced [ˈfolksvagən]), a basic vehicle that should be capable of transporting two adults and three children at a speed of 100 km/h (62 mph). The People's Car would be made available to citizens of the Third Reich through a savings scheme at 990 Reichsmark, about the price of a small motorcycle at the time (an average income being around 32RM/week).
Erwin Komenda, Porsche's chief designer, was responsible for the design and styling of the car. Production only became financially viable, however, when it was backed by the Third Reich. War broke out before the large-scale production of the "People's Car" could commence, and manufacturing capacity was shifted to producing military vehicles. Production of civilian VW automobiles did not start until after the post-war occupation began.
For further information, I’ve taken it from Wikipedia and as you checked out, I love to take pictures from cars. I’ve done it, here and here.
Milano Gallaratese - Scorcio urbano
Giugno 2025
Canonet G-III QL17
Canon 40 mm f1,7 + filtro giallo -1
Fomapan 100
R09 Studio 1+31 x 10 min
...whatever we do....we´re a part of the development!!!!
these are the cameras of my grandfathers robert and josef...
all my passion for photography is developed by them and so this is dedicated to them...
Busto Arsizio - Scorcio urbano
Marzo 2026
Canon P
Voigtlander 21mm f4 LTM
Kentemere 200
Bellini Euro HC 1+39 x 5,5 min
Forte di Fenestrelle
09-09-2018
Oltre alla serie digitale ( flic.kr/s/aHsmsnW9Lv ) propongo la versione analogica che, secondo me, rende meglio la sensazione di oppressione mista ad appagamento per gli splendidi paesaggi.
Olympus OM-2n
OM Zuiko 21 f3,5 - OM Zuiko 35 f2,8 - OM Zuiko 50 f1,8 - OM Zuiko 100 f2,8
Fomapan 100
Dev. STudional 1+30 x 9 min
Busto Arsizio - Scorcio urbano
Luglio 2025
Rolleiflex 3,5E
Schneider-Kreuznach Xenotar 75mm f3.5 + yellow filter -0,5
Rollei Retro 400S
Bellini Hydrofen 1+15 x 8,5 min
IN ENGLISH BELOW THE LINE
Foto presa amb una Voigtländer Bessa II del 1951; objectiu Color-Skopar f3.5 de 105mm; rodet Ilford Delta 100, revelada amb HC110 i escanejada amb un Epson V800.
L'església de Sta. Maria dels Àngels de Cotlliure és una de les més espectacularment situades no ja de Catalunya, sino de tota la Mediterrania, tota ella envoltada directament pel mar i amb el campanar sucant-hi els peus. No és d'extranyar, ja que abans de ser campanar, aquesta torre ja era el far medieval de Cotlliure. De fet, l'església substituà la medieval situada prop del castell quan Vauban fortificà la vila, just en caure en mans franceses pel maleit tractat dels Pirineus del 1659.
ca.wikipedia.org/wiki/Santa_Maria_dels_%C3%80ngels_de_Cot...
ca.wikipedia.org/wiki/Cotlliure
======================
Picture taken with a Voigtländer Bessa II made in 1951, lens Color-Skopar f3.5, 105mm; Ilford Delta 100, developed with HC110 and scanned with an Epson V800.
This is the wonderfully placed and unmistakable church of Sta. Maria dels Àngels de Cotlliure. It's placed in the middle of the sea, almost surrounded by it. And it's bell-tower has it's feet on the water. In fact that's no surprise as this tower is a former medieval lighthouse. The church itself was built here in the XVII century as the older one was demolished by the French army to make space for new fortifications. This was done after all northern Catalonia was surrendered to France in the Treaty of the Pyrenees of 1659.
My sense of humor came back a little today...
Freud says we develope wit and humor to disempower negative circumstances and the permanent effect they can have on our soul.
I can see that and, I say,
some shit is just funny.
Busto Arsizio
Cimitero Monumentale - Ampliamento 1970 arch. Ciapparella
Settembre 2022
Hasselblad SWC (1968)
Zeiss Biogon 38 mm f4,5
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 13 min
Busto Arsizio - Scorcio Urbano
Rolleicord Vb
Schneider-Kreuznach Xenar 75mm f3.5
Fomapan 100@100
R09 Studio 1+31 x 10 min
A shot from last nights sunset. I knew that low tide would coincide with sunset and the sky looked good from home so I shot to the beach on the off chance that something might develope , and oh yes it did.
It was just as well there was nobody else on the beach as I was hooting and hollering at my LCD screen after each shot.
Yes I loved it at sunset last night , it`s all overcast and grey tonight so i`m feeling quite pleased with myself . Bri..
View large View On Black
Maremma
Marina di Alberese
Giugno 2022
Olympus 35 RD
F.Zuiko 40mm f1,7
Agfa APX 100 @100 + filtro giallo -1 Stop
R09 Studio 1+30 x 9 min
Story here is:
Otters were eating on a couple fish at the ice edge, when the eagle grabbed one from them.
Then the coyote arrived and stole one of the fish. The otters were gone at that point.
Light was limited here [dusk] and I had to develope and crop it a lot to make it work as a documentary shot.
Busto Arsizio - scorcio urbano
Giugno 2023
Leica M5
Leica Summicron-c 40mm f2
Leica Elmarit-m 28mm f2,8 ASPH
Kodak Eastman double-x 5222 250 asa@200 asa
R09 Studio 1+31 x 7 min
Castellanza - Scorcio Urbano
Aprile 2025
Rolleiflex 2.8 C
Schneider-Kreuznach Xenotar 80mm f2.8
Rollei Retro 80
Bellini Hydrofen 1+30 x 9 min
Roma - scorcio urbano
Maggio 2023
Olympus 35 RD
F.Zuiko 40mm f1,7
Kentmere 400@640
R09 Studio 1+30 x 10 min
All the different colored buds , some red, some white, some will be yellow, and some will have a brown color along with all the different shades of green found in the leaves is making for a color fest.
Varese - Scorcio urbano
Aprile 2026
RolleiFlex 2,8C
Schneider-Kreuznach Xenotar 80mm f2,8 + yellow Filter -1 stop
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
Busto Arsizio - Scorcio urbano
Dicembre 2025
Nikon FA
Nikkor AIs 28-50 mm f3,5
Kodak Eastman 5222 double-x
R09 Studio 1+31 x 7 min
Black Bear (Ursus americanus) having his pick of Chum Salmon (Oncorhynchus keta) that have been trapped in a shallow pool by the outgoing tide at Neets Bay, Alaska. The Chum or Dog Salmon drow teeth and develope those maroonish stripes during their final run in life, the spawn.
Salmon carcasses litter the shoreline where a satiated Bear, still wanting to fish, will taste a fish to see if it is a female with roe. If not, it will let it go. This results in wounded fish that then become prey for the many Bald Eagles that gather for this food source.
Busto Arsizio - Aprile 2021
Rolleiflex Planar F 3.5
Zeiss Planar 75mm f3.5 + yellow filter
Fomapan 100
Bellini Hydrofen 1+39 x 8 min
Milano Centro - Scorcio Urbano
Marzo 2025
Hasselblad SWC
Biogon 38mm f4,5
Kodak TMax 100
R09 Studio 1+30 x 10 min
Released: 12.27.17
Bandcamp:
avirtualmemory.bandcamp.com/album/item-05-sakawa-ep
Soundcloud:
soundcloud.com/avirtualmemoryofficial/sets/item-05-sakawa-ep
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
Atri 2022 (Film bw)
FujiFilm GA645W + Super EBC Fujinon 45mm f4
Fomapan 100@100 - Bellini Hydrofen 1+31 x 9 min
Busto Arsizio - Scorcio Urbano
Gennaio 2024
Nikon FE
Nikkor AI 35mm f2
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 10 min
Busto Arsizio - scorcio urbano
Gennaio 2023
RolleiFlex 3,5F
Zeiss Planar 75mm f3,5 + Yellow filter -1.5
Kentmere 100-120
R09 Studio 1+30 x 9 min
IN ENGLISH BELOW THE LINE / BETTER SEEN LARGE
La foneria d'acer CELSA, de Castellbisbal, deu ser de les fà briques més voluminoses de l'entorn de Barcelona. Penseu que per dins d'aquestes canonades hi passaria un cotxe!
Placa de col•lodió sec, mètode Major Russell (col•lodió-tanÃ), en format 4x5; realitzat amb una Graflex Speed Graphic fabricada cap al 1949; objectiu Kodak Anastigmat f4.5; col•lodió Mammut Lea-3 i tanÃ; 10 minuts a f11 (EV entorn 13).
Mentre anava fent proves de plaques seques de col•lodió, vaig trobar un nou video de Borut Peterlin mostrant aquest procediment, però amb variacions. Vaig adaptar-les al meu sistema de treball i ara les plaques son molt més netes i homogenies.
Bà sicament, el sistema mostrat en aquest video implica una més clara neteja del nitrat de plata i sobretot revelar per inmersió, el que millora el detall i la uniformitat. Les plaques cobertes amb co•lodió (i anteriorment albuminades, part essencial del procés) es preparen com per a una placa humida usual. En el moment de treure-les del bany de plata, comença la diversió. Cal rentar la placa, sota llum roja, en dues safates d'aigua destilada, i seguidament, submerir-la en una sol•lució d'aigua, tanà i etanol. Son uns 10 minutes per placa, en total. Un cop feta la exposició, encara més important el revelat també és per inmersió. Primer s’humidifica la placa seca amb aigua i etanol, i després es submergeix 5 minuts en una solució d’acid pirogalic i citric, amb unes gotes de nitrat de plata. Amb això s’inicia el revelat, però cal afegir més nitrat de plata passats els cinc minuts i usualment fins als 10-12 minuts.
Les plaques de col•lodió sec son força desconegudes però es varen fer servir en paral•lel al més famós col•lodió humit. Eren molt prà ctiques per eliminar la necessitat de portar a sobre tots els quimics i una cambra fosca portatil, però com les exposicions son molt llargues, de diversos minuts com a mÃnim, en queden exclosos els retrats.
cool.culturalheritage.org/albumen/library/monographs/monc...
www.youtube.com/watch?v=zjxNoTjOZrc&t=2941s
============================================================================================================
CELSA steel works, in Castellbisbal, Must be one of the largest factories arround Barcelona. A car could run inside those pipes.
Dry collodion plate, Major Russell process (tannin-collodion) in 4x5 format; taken with a Graflex Speed Graphic, made c. 1949; Kodak Anastigmat f4.5 lens; Mammut Lea-3 collodion and tannin; exposed for 10 minutes at f11 (EV 13).
While testing collodion dry plates, I found a new video by Borut Peterlin showing this procedure, but with variations. I adapted them to my work system and now the plates are much cleaner and homogeneous.
Basically, the system shown in this video involves a much intense cleaning of the silver nitrate and especially developing by immersion, which improves detail and uniformity. Plates covered with collodion (and previously albuminized, an essential part of the process) are prepared as for a usual wet plate. The moment you take them out of the silver bath, the fun begins. The plate must be washed, under red light, in two trays of distilled water, and then immersed in a solution of water, tannin and ethanol. It's about 10 minutes per plate, in total
Once the exposure is made, even more important is to develope also by immersion. First, the dry plate is moistened with water and ethanol, and then immersed for 5 minutes in a solution of pyrogallic and citric acid, with a few drops of silver nitrate. This starts the development, but it is necessary to add more silver nitrate after five minutes and usually up to 10-12 minutes.
The dry collodion is a quite convenient "evolution" from the wet collodion, as it allows to go out there without any box of chemicals and a dark box following you. But it never gained more popularity due to it's own problems, like even more complex manipulations and specially much less sensibility, with expositions in the minutes range, limiting it to landscape photography.
cool.culturalheritage.org/albumen/library/monographs/monc...
Pescina - Scorcio urbano
Agosto 2025
Rolleiflex 3,5E
Schneider-Kreuznach Xenotar 75mm f3.5 + filtro giallo -1
Kentmere 100
R09 Studio 1+30 x 9 min
A test shot from yesterday with the Polaroid back on the RB67. A little underexposed, not sure if that is due to a cheap light meter or if I let the polaroid develope too long. Does any polaroid expert have any tips on how to pull the film thru. I seem to get these streaks (not on all the prints). This time I pulled the film thru a bit slowely, but as you can see it did some funky thing in the corners (which I kind of like). Really fun stuff....I will try to shoot a roll of 120 this weekend.
edit: for those of you that don't know, here is how this film works. You pull it thru rollers which pops a pack of some development cream...as you pull is spreads over the images between 2 layers. It takes 30sec to 3minutes for developement. Then you remove the back layer. I think that if you pull it off too soon, it under developes...too long and over developes. That's it in a nutshell.
People have been asking about my blog. I still plan to launch it soon. I just need to fine tune it a bit still.
I'm on Twitter: @isayx3
Varese - Scorcio urbano
Aprile 2026
RolleiFlex 2,8C
Schneider-Kreuznach Xenotar 80mm f2,8 + yellow Filter -1 stop
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
negative scanned::Kiev 88::Arsat 80mm f2.8mc::Fujifilm Neopan Acros 100 [ self - develope ] :: Ilfotec DD-X 1+4 :: Megan Avenue Kuala Lumpur ::
model : Farah
Stresa - Isola dei Pescatori
Ottobre 2022
Olympus OM-4
Zuiko OM 21 f3,5 - OM 50 f1,8 - OM 100 f2,8
Rollei Retro 400@400
Bellini Hydrofen 1+30 x 17 min
The decision to start 365 was a total spur of the moment thing. I, as most of those who start 365, had seen people in Flickr doing it and thought it would be a great way to keep a daily journal and get better at photography in the mean time. I have been in Flickr for some years, which for most of the time has meant logging in once every couple of months to see if I had new comments (zero). I went to UK as an pair two three years ago and started getting more feedback on my pictures. I still feel it was the turning point, I got properly interested of photography and marveled other people's work more often. When you're a complete beginner who doesn't trust their skills at all getting feedback and encouragement from a real person standing next to you is SO important that I can't highlight it enough. Unfortunately I lost my enthusiasm for a year or so after I got back to Finland but at some point I picked up the camera again. I had decided to apply to an art school and while doing the photographic pre tasks I started taking all kind of pictures again. Soon after that I started the 365. It became more of a project of trying to find my own style instead of a documentation sort of thing and I'm kind of glad it did. I can't belive how much I've learnt this past year!
As you can see from here the beginning was not that great. ;) But every shot throughout the way means something to me, and looking at this first shot really reminds me of how quickly this year passed by even though it sometimes felt like it would never end.
A big thanks (accompanied with an even bigger IRL hug) to my boyfriend Niko for putting up with me and my project. Countless are the evenings and nights he had to witness me being glued to my chair, my ears closed from everything else except the soft lullaby like sound of the keyboard and eyes focused on my cheap laptop screen and the screen alone. At one point it even started to seem like my Flickr affair was starting to develope into a romance of a lifetime, but even then he stood by me regardless of my fidelity and let me keep my own thing because he knew it made me happy. And for that I am grateful! Niko also deserves the bonus marks for being such a champ and posing for me, especially when the poses in question were perhaps as boring as to walk as far away as possible and to stand there as long as I need him to and then to walk back. Or wearing angel wings in the graveyard which still makes his cheeks go red...and for that matter, mine as well. What was I thinking?
Thank you so much to every single one of you for sharing this year with me (or even a part of it!) I know I might not have always been there for you and that has sometimes made me sad. It's common knowledge I've got Flickr fatique more often than the word 'often' really even stands for. During these last few weeks and months it's been more of a rule than an exception that I've been very tired of carrying on with this project. But I am stubborn, what can I say! All you 365'ers know it's a love/hate relationship. The end part of the project has worn me down quite a lot, but I am ***so*** glad I made it to the end! :) Nothing feels better than setting a goal, reaching it and then being able to salute the freedom again.
From photography I have found the perfect medium to express myself and I am so happy about that. I've always felt artistically and creatively inclined but for a long time it seemed like I just didn't hold much talent in any particular area.
I'm not gonna say things that you usually say after projects like these. I haven't learnt to understand myself better. Instead I have learnt to accept the fact that I will probably never understand myself...always when I think I do, I'm in for a surprise the next day.
But I've decided to cherish the adventure from now on and open my eyes to new things. I've also understood I can't take as many things for granted as I have so far. It's time for me to be grateful about certain things, get more indipendent and get out of my little comfort zone that I sometimes also like to call as 'apartment'. I can't sit at home anymore and wait for the perfect opportunity to appear, I have to go out in search of it.
What will I do from now on? Some of you have asked if I'm gonna disappear from Flickr - worry not, you guys! I'm still gonna upload whenever I feel like it. Old shots, new shots, whatever strikes my fancy. At first I thought I would only upload 'great' shots once the project is over but now I've decided I'm just gonna do whatever feels good. If I take even Flickr too seriously the road ahead with everything else is gonna be very dark. So I'm planning to lighten up a little and not always see the negative side of everything. My god, how negative I've felt lately! Also I have been asked if I could do a second year of 365. I'm sorry to inform, but at the moment I don't see it as an option. I started to take this all too seriously as I already said, put it on a pedestal and felt lousy so often when I didn't reach my somewhat high standards. There are more important things than 365, Flickr or even photography - and I've been blind for too long now. It's time to have fun, reach out for things I really want and give real value to things I want to keep in my life.
I've got so much encouragement during this year, I never thought I would get to be in such a privileged spot.
All I can really say is...