View allAll Photos Tagged Develope
Monza - Scorcio urbano
Maggio 2025
Canonet G-III QL17
Canon 40 mm f1,7
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
2020 Giugno
Milano - quartiere Gallaratese
Voigtlander VF101 - Color-Skopar 40mm f2,8
Kodak Tmax 100
Hydrofen 1+39 x 6min
Salyut-c - vega 90mm f/2.8 - 120 film 6x6 camera
ilford fp4 125iso - develope rodinal 1+50 at 20°
lungolago a lecco
Busto Arsizio 08-202 - Test Distagon 60
Hasselblad 500 c/m (1973)
Zeiss Distagon 60mm f3.5 C T* (1981)
Ilford Delta 100 (expired 2017)
Studional 1+30 x 12 min
Scatti estivi 2018
Olympus OM2n
Zuiko 35mm f2.8
Zuiko 21mm f3.5
Kentmere 100
Studional 1+31 x 9 min
il resto in questo album
www.flickr.com/photos/domenicocichetti/albums/72157700787...
Busto Arsizio 2018-05-12
Leica M2 + VC 35 f1.4 Nokton Classic
Kentmere 100 @ 100
Studional 1+30 x 9 min
Rotazioni 30 sec + 10 sec ogni minuto
Busto Arsizio 2018-05-12
Leica M2 + VC 35 f1.4 Nokton Classic
Kentmere 100 @ 100
Studional 1+30 x 9 min
Rotazioni 30 sec + 10 sec ogni minuto
2020-01-12
Galliate - Nosate - Cascina Malpaga
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Fomapan 200@160 asa
Studional 1+31 x 8min
Altre in questo album flic.kr/s/aHsmKFJ1Cj
I Took a photo with the Pentax K1000, but i'll get that when i finish the roll of film and develope it.
Busto Arsizio 2020-02-09
(test Olympus Pen-D3)
Scorci Urbani
Olympus Pen D3
F.Zuiko 32mm f1.7
Fomapan 200@200 (expired 07-2018)
R09 oneshot 1+50 x 9 min
The SA1 was an unfortunately failed attempt to develope a light twin piston aircraft, intended to be produced outside the UK. The company went bust before the protoype (shown here) was completed, let alone flew.
2020 Luglio
Legnano
Fujica ST801 - Fujinon EBC 35mm f2,8 - 55mm f1,8 - 200mm f4
Kodak Tmax 100
Hydrofen 1+39 x 6min
R2A+ 35mm f1.4 SC, Ilford pan 400 in T-max (1+4), 6 3/4 mins
Double exposure.
Bangkok, Thailand.
June, 2009
Photographer [Ray]
Date [2011/06/12]
Location [屏東縣東港鎮 Donggang Township, Pingtung County]
Camera [Olympus OM-1n]
Lens [E.Zuiko Auto-T 100mm f2.8]
Film [Fujifilm X-TRA 400]
Develope [屏東采玲]
Scanner [Epson Perfection V600 Photo]
Ottobre 2021 - Milano Gallaratese
Nikon S2 + Jupiter 12 35mm f2.8 + Nikkor - S.C Nippon Kogaku Japan 50mm f1,4
Ilford HP5+ @ 400 asa - Rollei Supergrain 1+15 x 7 min
Luke Clennell (1781–1840) was one of Thomas Bewick's apprentices from 1797 and one of his most gifted pupils. He moved to London in 1804 and he married a daughter of the copper-engraver Charles Turner Warren (1762–1823). Sadly in 1814 he had a mental breakdown and was admitted to the Salisbury Mental Asylum. He spent most of his last years from 1817 as an inmate of the lunatic asylum on Bath Lane, Newcastle.
"CLENNELL, LUKE (1781–1840), artist and wood engraver, was born at Ulgham, near Morpeth, Northumberland, on 8 April 1781. He was the son of a farmer. Placed as a youth with his uncle, Thomas Clennell, a grocer and tanner of Morpeth, he continued to develope an early manifested taste for art until, upon the recommendation of a nobleman who saw one of his drawings, he was transferred from the counter to the care of Bewick, the Newcastle engraver [see Bewick, Thomas]. This was in April 1797. With Bewick he remained seven years, during which time he copied on the block, and subsequently engraved, several of the designs of Robert Johnson [see Johnson, Robert], which were used as tail-pieces for Bewick's 'Water Birds,' 1804. By the time his apprenticeship expired he had become an expert draughtsman and designer, with something of his master's love of, and feeling for, nature and natural history. His apprenticeship must have ended early in 1804, about which time he executed a number of cuts for the third edition of Solomon Hodgson's 'I live of Ancient and Modern Literature,' 1800. Probably the majority of the illustrations to this book, some of which bear his initials, were by him, the rest being by Thomas Bewick. He afterwards worked for Bewick on Wallis and Scholev's 'History of England,' but, finding that his old master received the greater portion of the money, he came to London in the autumn of 1804, after having opened direct communications with the publishers. In May 1806 he received the gold palette of the Society of Arts for 'an engraving on wood of a Battle.' Among other engraved work he was employed upon the 'Scripture Illustrated ' of Craig [see Craig, William Marshall], and Thurston's designs for Beattie's 'Minstrel,' 1807. Another volume of this period was Falconer's 'Shipwreck,' 1808, which contains a well-known picture of a ship in a gale of wind. In 1809 he took part in Ackermann's 'Religious Emblems,' his colleagues being Nesbit, lira 11st on, and Hole. The designs for this book were by Thurston. Clennell's work was unequal, his best cuts being the 'Call to Vigilance' and the 'Soul Encaged.'
After he settled in London he married a daughter of Charles Warren, the copper-plate engraver, a connection which introduced him to the society of Raimbach, Finden, and the little knot of talented men who emulated each other in producing those delicate book embellishments published by Sharpe, Du Rovery, and others, at the beginning of the century. After Ackermann's 'Emblems,' his next work of importance was a large block for the diploma of the Highland Society after a design by Benjamin West. For this, in 1809, he received the gold medal of the Society of Arts. His last work of any moment as a wood engraver was the series of cuts which illustrate Rogers's 'Pleasures of Memory, with Other Poems,' 1810, a volume which has a deserved reputation with collectors for the excellence of its rendering of Stothard's pen-and-ink sketches. Towards 1810 Clennell seems virtually to have relinquished wood-engraving for painting, in which direction he had probably for some time been preluding, since he had prepared many of the sketches for Scott's 'Border Antiquities,' and there is an engraving after one of his designs as far back as 1803. In the Kensington Museum there is, besides other sketches, a water-colour drawing called the 'Sawpit,' dated 1810 ; and the Art Library contains a number of lightly washed designs, afterwards engraved for a series of 'British Novelists,' published by Sherwood, Neely, & Jones, which show considerable vigour and force of realisation. In 1812 he contributed to the Royal Academy a lively picture of 'Fox-hunters regaling,' which was twice engraved. Henceforth he continued to exhibit at the Academy, the British Institution, and the Exhibition of Painters in Water Colours. The 'Baggage Waggons in a Thunderstorm,' 1816, the 'Day after the Fair,' 1818, and the 'Arrival of the Mackerel-Boat,' are good specimens of his work. In fishing scenes and marine subjects he specially excelled.
His two most important pictures, however, were the 'Waterloo Charge,' and the 'Banquet of the Allied Sovereigns in the Guildhall.' The former, which is his masterpiece, gained one of the premiums awarded by the British Institution for finished oilsketches of the British successes under Wellington. It is a most spirited composition, full of fire and furious movement, and was engraved in 1819 by W. Bromley. The latter was a commission from the Earl of Bridgewater. So much fatigue, vexation, and disappointment was experienced by the artist in assembling the materials for this picture that he became insane, and, with brief lucid intervals, continued so until his death. Under the pressure of this misfortune his wife's mind also gave way, and she died, leaving three children. Friends interested themselves for the father and young family. The ' Waterloo Charge' was engraved for their benefit, and they were also assisted by the Artists' Fund, to which institution Clennell had belonged.
From 1817 until 9 Feb. 1840, when he died, Clennell never wholly recovered his reason. In his milder moments he amused himself by strange, half-articulate verses, and half-intelligible drawings, specimens of which, dated from one or other of his asylums or temporary retreats, are still preserved. Some of his poems were published in the 'Athenæum' for 7 March 1840, in Chatto's 'Treatise on Wood Engraving,' 1839, and elsewhere. In many of them the inborn love of nature is still discernible through the disjointed imagery and wandering words. In 1831, becoming dangerous, Clennell was placed permanently in an asylum. Four years after bis death a tablet by a local sculptor, R. Davies, was erected to him in St. Andrew's Church, Newcastle. As an engraver, he ranks, after Nesbit, as the best of Bewick's pupils. As a water-colour artist it is probable that he had not reached his highest point when his faculties failed; but he had already exhibited a distinct ability for landscape and rural scenes. Fineness and delicacy are less conspicuous in his work than breadth, spirit, and rapidity of handling.
[Chatto's Treatise on Wood Engraving. 1839; Chatto's History and Art of Wood Engraving, 1848; Memoirs of Dr. Robert Blakey, 1879; Thomas Bewick and his Pupils, 1884, by the writer of this article.]" Dictionary of National Biography 1885.
en.wikisource.org/wiki/Dictionary_of_National_Biography,_...
Busto Arsizio - Dicembre 2020
Scorcio Urbano
Leica M5
Summicron M 40mm f2
Elmarit M 28mm f2.8 ASPH
Kodak Tmax 100
Studional 1+30 x 9.30 min
This bike paramedic was obviously in a hurry to develope his photos, hope he wasnt on his way to an emerency. LOL
Busto Arsizio - Gennaio 2021
Scorcio Urbano
Rolleicord Vb
Schneider-Kreuznach Xenar 75mm f3.5
Ilford HP5+
Hydrofen 1+39 x 5,25 min
Milano Gallaratese - Scorcio Urbano
Marzo 2025
Nikon FA
Nikkor 28-50mm f3,5 AIS
Fomapan 100
R09 Studio 1+31 x 10 min
Silvi Marina (Te) Aprile 2019
Leica CL
Summicron-C 40mm f2
Voigtlander 21mm f4
Kodak T-max100 @ 100 asa
Studional 1+30 x 10 min
Le altre in questo album flic.kr/s/aHsmAMBDxz
Busto Arsizio - Gallarate
Gennaio 2019
Leica M5
Summicron-c 40mm f2
Kodak Eastman Double-x 5222
Studional 1+31 x 7 min
Album flic.kr/s/aHsmwTUVDV
Atri 2022 (Film bw)
Olympus OM-2n + Zuiko OM Zoom 28-48 mm f4,0
Kentmere100 135/36 @ 100 - Bellini Hydrofen 1+31 x 9 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
Legnano - scorcio urbano
Aprile 2023
Hasselblad 500 CM
Zeiss Planar 100 mm f3.5 CT*
Zeiss Distagon 50 mm f4 CT*
Kentmere 100
R09 Studio 1+30 x 9min
2018-10-07
Lago Maggiore - Isola dei Pescatori
Leica M2
Canon 35mm f2 LTM
VC 21mm f4
Agfa APX100
Dev. Studional 1+30 x 9 min
The other images in this album:
02 ph Orazio Mascioli
Fujica ST 705
SMC Takumar 50 1,4
MIR 20 3,5
Kentmere 100
R09 1+50 x 15'
Discussione in qTp
www.flickr.com/groups/qtp-project/discuss/72157670993993637/
Milano Bonola
2019-02-13
Olympus XA2
Ilford FP4 - dev.Studional 1+31 x 8 min
Le altre in questo album: flic.kr/s/aHskNsF2ap