View allAll Photos Tagged Develope
Busto Arsizio - Gennaio 2022
Scorcio Urbano
Leica IIIG
Leitz Elmar 50 f3.5 LTM (1947)
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 13 min
Milano 2019-09
Scorci Urbani
Leica CL
Elmarit 28mm f2.8 ASPH
Summicron 40mm f2
Agfa APX100
Studional 1+30 x 9 min
Busto Arsizio - Dicembre 2022
Scorcio Urbano
Olympus 35 SP
G.Zuiko 42mm f1,7
Rollei SuperPan200
Hydrofen 1+30 x 13 min
IN ENGLISH BELOW THE LINE / BETTER SEEN LARGE
L'església de Santa Maria d'Ullastrell, del 1908, té un lleuger aire modernista, sobretot al campanar.
Placa de col•lodió sec, mètode Major Russell (col•lodió-taní), en format 4x5; realitzat amb una Graflex Speed Graphic fabricada cap al 1949; objectiu Kodak Anastigmat f4.5; col•lodió barreja i taní; 7 minuts a f5.6 (EV entorn 12).
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.
Bàsicament, 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, taní 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 pràctiques 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 mínim, en queden exclosos els retrats.
cool.culturalheritage.org/albumen/library/monographs/monc...
www.youtube.com/watch?v=zjxNoTjOZrc&t=2941s
ca.wikipedia.org/wiki/Santa_Maria_d%27Ullastrell
============================================================================================================
The rather new church of Santa Maria d'Ullastrell, in Catalonia, built in 1908 with a slight patina of art noveau in it.
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; recicled collodion and tannin; exposed for 7 minutes at f5.6 (EV 12 or less).
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...
"READ" create my fanpage on facebook i would love you support [www.facebook.com/ronnygarciaphotography]
Instagram _ronnygarcia
Have been really difficult shot those days, but i'm trying to make the time to do it! Have some ideas that hope to develope in those days!
I had this idea for so long, i think that everybody had said good bye to someone who really loved in his life, and isn't a easy thing at all.
Hope u like it!
Busto Arsizio - Scorcio Urbano
Aprile 2025
Rolleiflex 2.8 C
Schneider-Kreuznach Xenotar 80mm f2.8
(double-exposition)
Kentemere 100
R09 Studio 1+30 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
Milano - Dicembre 2022
Scorcio Urbano
Leica IIIF (1951)
Leitz Elmar 50 f3.5 LTM (1947)
Fomapan 200
R09 Studio 1+31 x 9 min
Porsche NSU Type 32 Concept (1933)
One of the earliest commissions for the new Porsche design company came from German motorcycle manufacturer Zundapp in 1932 for the design of a small aerodynamic affordable car. The project was very much based on an earlier project for Wanderer and involved Czech designer Hans Ledwinka who had worked on a simular design, albeit for a larger car, on behalf of Tatra. Unfortunately, Zundapp lost interest after early testing. Porsche was allowed to keep all the development work done with Zundapp and, shortly thereafter, he approached another motorcycle company, NSU.
The NSU project took on the Type 32 designation, syled by Erwin Komenda, under the direction of Ferdinand Porsche it retained the rounded back of the Zundapps, but this time, the front was rounded as well.powered by an air-cooled, horizontally-opposed engine at the rear, rather than the water-cooled radial engine of the Zundapp The absence of a radiator meant that there did not need to be a grille and airflow
As is the way with many projects the a contract between NSU and Fiat halted development of the car. However Porsche continued to refine and develope the project which was in turn a starting point for the developement of the Volkswagen Beetle
Many thanks for a fantabulous
49,141,923 views
Shot 25.05.2009 at the Autostadt, Wolfsburg, Germany REF 113-067
Fagnano Olona - Scorcio urbano
Giugno 2025
Rolleiflex 3,5E
Schneider-Kreuznach Xenotar 75mm f3.5 + filtro giallo -1
Fomapan 100
R09 Studio 1+31 x 10 min
Milano Gallaratese - Scorcio urbano
Maggio 2025
Canon P
Jupiter-12 35mm f2,8
Agfa APX 100
Bellini Hydrofen 1+31 x 8 min
Monza - scorcio urbano
Luglio 2023
Olympus 35 RD
F.Zuiko 40mm f1,7 + Yellow filter -1
Kodak Eastman 5222 double-x 250 asa
R09 Studio 1+31 x 7 min
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
Busto Arsizio - Scorcio Urbano
Aprile 2023
Nikon F2A
Nikkor AI 35mm f2
Rollei SuperPan 200@200
Bellini Hydrofen 1+30 x 13 min
Milano Centro - Scorcio Urbano
Marzo 2025
Hasselblad SWC
Biogon 38mm f4,5
Kodak TMax 100
R09 Studio 1+30 x 10 min
Castellanza - Maggio 2021
Rolleiflex Planar F 3.5
Zeiss Planar 75mm f3.5 + yellow filter
Bergger 400
R09 Studio 1+31 x 12 min
One of the delightful and welcome windfalls that we enjoy is the emergence of the occasional stag beetle from the many large logs that we have placed around our small garden .
We use the logs as feeding stations for the garden birds but occasiobally the logs we bring in have beetle larvae. They can take up to six years to develope before emerging as adult beetles.
This morning while cutting the lawn I spotted the fine fellow so grabbed my camera and took a few shots.
We also had a lesser stag beetle emerge so we have been well rewarded.
Here are a few images of the male stag beetle showing his large mandibles.which they use when fighting other males.
Malcesine
Olympus OM2n
Zuiko OM 35 f2.8
Zuiko OM 21 f3.5
Kodak T-max100
R09 1+50 x 12 min
Altre nell'album flic.kr/s/aHsmAebvta
IN ENGLISH BELOW THE LINE / BETTER SEEN LARGE
Placa de col•lodió sec, mètode Russell (col•lodió-taní), en format 4x5; realitzat amb una Graflex Crown Graphic fabricada cap al 1949; objectiu Kodak Anastigmat f4.5; col•lodió barreja i taní; 6 minuts a f5.6 (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.
Bàsicament, 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, taní 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 pràctiques 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 mínim, en queden exclosos els retrats.
cool.culturalheritage.org/albumen/library/monographs/monc...
www.youtube.com/watch?v=zjxNoTjOZrc&t=2941s
============================================================================================================
Dry collodion plate, Russell process (tanine-collodion) in 4x5 format; taken with a Graflex Crown Graphic, made c. 1949; Kodak Anastigmat f4.5 lens; re-used collodion and tannin; exposed for 6 minutes at f5.6 (ev c. 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...
Summer Shots 2022 (Film bw)
Silvi Marina
Voigtlander VF101 + Color-Skopar 40mm f2,8
Fomapan 100@100 - Bellini Hydrofen 1+31 x 9 min
Milano City Life
2019-02-04
Olympus XA - F.Zuiko 35mm f2.8
Fomapan 100
Studional 1+31 x 10 min
Le altre in questo album: flic.kr/s/aHsmApmaV6
Scorcio Urbano - Aprile 2019
Urban vision - April 2019
Yashica Mat 66 (1971)
Fomapan 100 @ 100asa
Studional 1+31 x 10min
Busto Arsizio - Scorcio urbano
Maggio 2025
Rolleiflex 3,5F
Zeiss Planar 75mm f3,5 + yellow filter -1
Fomapan 200
R09 Studio 1+31 x 9 min
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
Milano - Dicembre 2022
Scorcio Urbano
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Kodak T-max 100
R09 Studio 1+30 x 10 min
Busto Arsizio - Febbraio 2021
Scorcio Urbano
Hasselblad 500 CM
Zeiss Distangon 50 mm f4 CT*
Rollei SuperPan 200
Hydrofen 1+30 x 8 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
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
This is a fine Arts Macro project.
I have been asked a few times on the important of snapping Macro shoots, especially Roses. My reply is that there is no secret after all. You must remember that the word "Freedom"!!
Freedom To Create
Freedom To imagine
Freedom To innovate
Freedom To express
Freedom To dream
It is very important for all to form a vivid impression of the subject's you suppose to shoot 1st, then plan ahead the step need ed to achieve your goal.
Picaso or Andy Warhol or the Xu Bei Hong 俆悲鸿 or Zhang Da Chien 张大千just self create individual. I strong believe; you have your own mind set & characters. Therefore, you need to bring out your very best.
I totally disagreed with the saying of "Empowerment". My explanation is that, you are the master of your own destiny; you don't need other people to empower you in order for you to excel.
I careless what people say... so long that I know deep down in my heart that my art is truely the best creation, that is great enough.
Looking @ the Rose above; I grown it ; I did A..Z!! I converse with it... Then I wait for the sun at the right angle & then I snap over 50 shots. There are a few time some european photographers group said why my work blur & .... I just ignor them.
But I always tell my fans' & students' that all of you must develope your own style & characters, I am sure someday you too can surpass Picaso....
My rathional for the above is that, if you just want to see the flower, go to the garden or buy some from the shop & look @ it. But here, I am exhibiting my works of art rather then just a rose.
You would discover the various details & beauty of this image like I do.
Anyway, do enjoy....
Thank you for your continueing support & inspiration.
I deeply appreciate it.
Milano Centro - Scorcio Urbano
Marzo 2025
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Kodak TMax 100
R09 Studio 1+30 x 10 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
Baiedo - Val di Nava (Valsassina) - Maggio 2021
Leica CL
Leica Summicron-c 40mm f2
Agfa APX 100
R09 Studio 1+30 x 9 min
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
Busto Arsizio
Dicembre 2021
Rollei-Magic II - full Auto
Schneider-Kreuznach Xenar 75mm f3.5
Fomapan 100@100 + filtro giallo -1.5
R09 Studio 1+31 x 10 min
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 - scorcio urbano
Gennaio 2023
RolleiFlex 3,5F
Zeiss Planar 75mm f3,5
Kentmere 100-120
R09 Studio 1+30 x 9 min
Monza - Scorcio urbano
Maggio 2025
Canonet G-III QL17
Canon 40 mm f1,7
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
Legnano - Scorcio Urbano
Aprile 2024
Hasselblad SWC
Zeiss Biogon 38 mm f4.5
Rollei Retro 80 S
Bellini Hydrofen 1+30 x 9 min
Busto Arsizio - Scorcio Urbano
Aprile 2024
Olympus OM-4
OM Zuiko 50mm f1.2
Kentmere 100
R09 Studio 1+31 x 8 min
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