View allAll Photos Tagged Outdated
B&W Scans of Darkroom Prints done on 2001 outdated Ilford Delta 100 processed in RODINAL 1+50 for 14 mins @ 20oC -- I bit over-developed but I had some Old ILFOSPEED Glossy Grade 1 whole-plate size to print them on and I used dish of Potassium Ferricyanide after the Fixer to clear the 'Base Fog Level' I used a RED filter on a couple . Fyfield St Nicholas Church with RED FILTER
VW1818 (BF10LTA) Route 207 showing Shepherd's Bush Destinations at White City Bus Station. Sorry about terrible photograph.
Tests with my 'gift' AF NIKKOR 70-210mm f4-5.6 zoom on different NIKON bodies for close-up and distant shots . Very poor outdated FUJI SUPERIA 200 rated 100 ASA so colours not all 'Good'
Minolta Dynax 9 and Tamron 28-300 AF zoom / outdated (2010) Agfaphoto APX 400 film / lab develop and scan
Oh please don't tell me this has never happened to you. The furrowed brow in the right corner is me trying to set the self timer only to have the darn camera fire. For some reason this image cracks me up, so many errors. Self Timer FAIL.....oh yes blame it on the camera.
In all the lovely underexposure were 4 gentleman waiting patiently, Mark Dazell, Mike Raso, Mark O'Brien and Mat Marrash.
Film: Incredibly outdated Kodak 800 consumer negative film. Even with exposure compensation it was still underexposed.
Camera: Olympus OM4t, Tamron 24mm.
Image by: Leslie Lazenby
Ann Arbor, MI during a FPP recording session at Mark O'Briens.
Auburn, NY. June 2020.
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If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
Testing outdated 2/2007 dated FUJI ACROS 100 in my Home-Made DIAFINE 2-bath formula, 5 mins in each bath, film rated 250 ASA These are all with a ZUIKO auto-S 50mm f1.8 lens . Some with a TAMRON zoom to follow. Developer worked well! Electric Cars in High Chelmer Mall, CHELMSFORD Essex (UK at full Aperture f1.8
.... for a magic tale where magic is all around
in the heart of the lake, where a soft breeze blows and the fresh air is all around... where the scent of many plants is in the air and delicious exotic fruits are on the trees...
form where you can admire the lake towards each cardinal point and dream...
where everything is imagination...
imagine to be here....
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Isola del Garda or Isola di Garda or Isola Borghese is the biggest island on Lake Garda. It is part of the comune of San Felice del Benaco, in the Province of Brescia, Lombardy, Italy. The island has a long and varied history, having been used as a Roman burial ground, pirate lair, a site for a Franciscan monastery, border fortification and as a residential villa. The island has been visited by numerous famous people over the centuries, reportedly including Francis of Assissi, Anthony of Padua and Dante Alighieri. Today, it is covered by a park and is dominated by the Venetian neogothic Villa Borghese Cavazza. Although privately owned by the Cavazza family, Isola del Garda has been open to visitors since 2001.
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The Garda Island is at present owned by the Cavazza family, but over the centuries it had various names which were nearly always linked to the different owners: insula Cranie, island of Monks, Lechi island, Scotti island, de Ferrari island and later Borghese island.
130 Gallic-Roman tombstones found on the island prove the inhabitance of it during Roman times. Abandoned to its own ends during the centuries of the decline of the Roman Empire, it became a game reserve at the end of 879. he first historical mention can be found in a decree by Carloman in 879 which documented the donation of the island to the monks of San Zeno of Verona. Around 1220 St. Francis of Assisi visited many areas of northern Italy including Lake Garda, which in ancient times was called Benàco, on his return from the Orient through Albania and Dalmatia.
St.Francis believed it to be an ideal place for his monks as it was so far from the world and made a simple hermitage in the rocky part to the north. The island became an important ecclesiastic centre for meditation which hosted illustrious religious personalities, such as father Francesco Licheto from the noble Lechi family from Brescia, who in 1470 instituted a theology and philosophy school on the island.
The death of Father Francesco Licheto marked the beginning of a period of decadence for the religious community of the island. From 1685 to 1697 it was a convent for novices where the monks went into retreat.
In 1797 the by now outdated monastery was suppressed definitively by Napoleon and it later became the property of the state and in the following years had various owners including Count Luigi Lechi from Brescia (1817). Luigi Lechi ordered important restoration and construction work to then pass it on twenty years later to his brother Teodoro, ex general of the Napoleonic army, who made further alterations with the added to the terraces on the front of the villa.
In 1860 it was dispossessed by the State and given to the army. The idea to build a fortress was though abandoned and was sold at auction; the property was awarded to Baron Scotti who sold it to Duke Gaetano de Ferrari of Genoa and his wife, the Russian Archduchess, Maria Annenkoff. Between 1880 and 1900 the new owners dedicated their time to planning and realizing the park, building containment walls towards the lake and importing fertile earth and exotic plants. The palace was enriched by Italian garden terraces with elaborately designed hedges and flowering bushes. Before the Duke’s death in 1893, the two of them together conceived the project of a palace to be built on the site of the old Lechi villa. The villa in Neogothic-Venetian was built between 1890 and 1903, on the project by architect Luigi Rovelli.
The extremely complex building has its own stylistic unity and a rare stateliness. The façades are decorated by acutely arched windows and in the south-west corner stands a tower crowned with crenellation in stone with flowered neo-gothic style decorations. After the death of the Archduchess, the island passed in inheritance to her daughter Anna Maria, wife of Prince Scipione Borghese of Rome. Anna Maria loved the island very much and made it her home until the end of her life, taking care of the park and the family memories.
In 1927, on the death of the Prince, the Island passed down to her daughter Livia, married to Count Alessandro Cavazza of Bologna who kept it in an excellent state to leave it to his son Camillo who in turn left it to his wife Charlotte and their seven children. Today they continue to passionately look after the park and the palace where they live.
for more informations:
www.isoladelgarda.com/lakegarda/History-Garda-Island.html
en.wikipedia.org/wiki/Isola_del_Garda
FOR THE PLACE:
wikimapia.org/#lang=it&lat=45.592833&lon=10.58707...
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“It is an illusion that photos are made with the camera…
They are made with the eye, heart and head.”
Henry Cartier Bresson
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Please don't use any of my images on websites, blogs or other media without my explicit written permission.
© All rights reserved
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So, after almost two months I am here again, missed you all SPT people! I am sorry but my pc broke down and still is not working properly and then things were happening at the same time and were on my mind, things that took me off my route and kept me from doing anything nice or even decent, I hate to admit. I feel terrible about leting myself get in a situation like that, this is not me at all... I feel totally consumed. This is still going on in some ways, but it has to stop and it will, that's my autumn resolution!
Anyway, despite all that I did try to take a couple of self portraits during that period that were meant to be SPT, so if you don't mind here is one of them, though totally out of season!
Testing outdated 2/2007 dated FUJI ACROS 100 in my Home-Made DIAFINE 2-bath formula, 5 mins in each bath, film rated 250 ASA These are all with a ZUIKO auto-S 50mm f1.8 lens . Some with a TAMRON zoom to follow. Developer worked well! -- A Store in High Chelmer Mall, CHELMSFORD Essex (UK) at full Aperture f1.8
seoul, korea - - -
canon ae-1p
canon nfd 50mm f1.4
kodak colorplus 200 film - outdated (october 2018)
seoul, korea - - -
canon ae-1p
canon nfd 50mm f1.4
kodak colorplus 200 film - outdated (october 2018)
Etsy's New Treasury no longer includes stars. You can Search now to find yourself.
Leaving this here, to remember legacy Etsy.
======================
To see the star(s), you must be logged in. Gold displayed when you are one of the 12 featured. Silver is when you are one of the 4 alternates.
the rooftop of a parking buidling.
the 9th floor seems to have been avoided for quite some time.
the fuji film is outdated and it shows, but it seems to work for the lack of color found on the sun-bleached rooftop.
nikon fa
nikkor 50mm f2 ai
fujicolor superia x-tra 400 (outdated)
Yey, Outdated MOCs. This MOC HAS been updated since these pictures have been taken, but I might as well share them here.
Find me also:
YouTube: www.youtube.com/channel/UCYngpb4j8jujXL0q5JgRKyw
MOCpages: www.moc-pages.com/home.php/114840
Enjoy!
RT~
Few more of TESTS of my 'Gift' NIKON F65 on old outdated KODAK GOLD 200 rated 100ASA by sticking paper over the DX coding . Here I used the Manual 55mm f2.8 Micro-NIKKOR lens at f11 and 1/30th
A little bit ago, I came up with a way to brick-build the red stripe on the back of the official Speed Champions 1970 Charger. Not content with a simple modification, I wanted to build a whole new MOC! Not sure I'll post instructions for this because 1) those yellow fenders are stupid rare/expensive, and 2) this is a particularly parts intensive and somewhat un-fun build. The tail in particular is just jammed full of tiny parts.
no camera meter (not working..yet), so i used a hand-held light meter...takes forever, but you get better results.
i love film...i rarely have to change the original image.
canon ae-1
canon fd 50mm f1.4
ilford 50 pan f (outdated film-oct 2005)
A shot from the Outdated Polaroid Show that took place on the 15th and 16th of August. 150 artists, 900 Polaroids. The gallery was directly under Steve's apartment, that was a pleasant coincidence. Anyway, it was amazing to see so many Polaroids together and Rik (the guy who put it all together) was super nice. You can see a few of my shots in there...
Canon AE-1 agfa apx 100 outdated rodinal 1+100 semistand 90'
“A girl could never have too much jewelry or too much weaponry.”
― Laurell K. Hamilton, A Kiss of Shadows
Oxford
Konica FC-1
Konica Hexanon AR 50mm f/1.4
Outdated Kodak Color Plus 200
Boots scan + LR adjustments
Por esta vez y sin que sirva de precedente, NO voy a aclarar si el título se refiere a determinado tipo de sesiones fotográficas o a personas de sensibilidad pasada de moda.
Y es que me parece mucho más interesante que cada cual, en función de las dos imágenes, del conocimiento del autor y sus gustos, y del análisis personal e íntimo, decida si estas nocturnas y otras tantas con el aura de misterio, de nostalgia, de romanticismo y de una sensibilidad y espiritualidad determinada, le inspiran o le transportan a algun lugar recóndito e íntimo de ese yo escondido, de ese ser que todos llevamos dentro y que todos, en mayor o menor medida, protegemos un poco ante los demás, quizá porque lo creemos vulnerable.
Y la verdad es que NO lo es. Estoy convencido de que el romántico que cada uno llevamos dentro es un ser de acero impenetrable, indestructible, seguro de sí mismo y poseedor de las más íntimas y duraderas alegrías para quienes, no solo no lo esconden, sino que lo lucen, lo pasean y hacen de él su bandera.
Quizá la mejor manera de resumir un texto que, me temo, puede resultar algo rebuscado y críptico, sea con palabras vulgares (de vulgo, NO de vulgaridad)...
SÍ, romántico empedernido, trasnochado, pasado de moda y con el sentimiento a flor de piel, pero sin ninguna vergüenza ni temor ni timidez... ¿Pasa algo?
Música recomendada: "Melancholy Man". The Moody Blues.
The outdated film gives a little warmer tonality here =)
Contax Aria – Zeiss Planar 50mm f/1.4 - Konica Pro 160 exp long time ago.
Söderåsen 2017.12.18
i finally got my outdated 2005 FUJI PROVIA 100F processed from a trip to ' Paper Mill Lock' here in ESSEX England with my Great Camera Club / FLICKR Mate RAY who also is kind enough to carry my HEAVY PENTAX 6x7 outfit as he does not want me to get another HERNIA ! SMC Takumar 200mm f4
The Catherine Palace (Russian: Екатерининский дворец) was the Rococo summer residence of the Russian tsars, located in the town of Tsarskoye Selo (Pushkin), 25 km south-east of St. Petersburg, Russia.
The residence originated in 1717, when Catherine I of Russia engaged the German architect Johann-Friedrich Braunstein to construct a summer palace for her pleasure. In 1733, Empress Anna commissioned Mikhail Zemtsov and Andrei Kvasov to expand the Catherine Palace. Empress Elizabeth, however, found her mother's residence outdated and incommodious and in May 1752 asked her court architect Bartolomeo Rastrelli to demolish the old structure and replace it with a much grander edifice in a flamboyant Rococo style. Construction lasted for four years and on 30 July 1756 the architect presented the brand-new 325-meter-long palace to the Empress, her dazed courtiers and stupefied foreign ambassadors.[citation needed]
During Elizabeth's lifetime, the palace was famed for its obscenely lavish exterior.[citation needed] More than 100 kilograms of gold were used to gild the sophisticated stucco façade and numerous statues erected on the roof. It was even rumoured that the palace's roof was constructed entirely of gold. In front of the palace a great formal garden was laid out. It centres on the azure-and-white Hermitage Pavilion near the lake, designed by Zemtsov in 1744, overhauled by Rastrelli in 1749 and formerly crowned by a grand gilded sculpture representing The Rape of Persephone. The interior of the pavilion featured dining tables with dumbwaiter mechanisms. The grand entrance to the palace is flanked by two massive "circumferences", also in the Rococo style. A delicate iron-cast grille separates the complex from the town of Tsarskoe Selo.
Although the palace is popularly associated with Catherine the Great, she actually regarded its "whipped cream" architecture as old-fashioned. When she ascended the throne, a number of statues in the park were being covered with gold, in accordance with the last wish of Empress Elizabeth, yet the new monarch had all the works suspended upon being informed about the expense. In her memoirs she censured the reckless extravagance of her predecessor:
"The palace was then being built, but it was the work of Penelope: what was done today, was destroyed tomorrow. That house has been pulled down six times to the foundation, then built up again ere it was brought to its present state. The sum of a million six hundred thousand rubles was spent on the construction. Accounts exist to prove it; but besides this sum the Empress spent much money out of her own pocket on it, without ever counting".
In order to gratify her passion for antique and Neoclassical art, Catherine employed the Scottish architect Charles Cameron who not only refurbished the interior of one wing in the Neo-Palladian style then in vogue, but also constructed the personal apartments of the Empress, a rather modest Greek Revival structure known as the Agate Rooms and situated to the left from the grand palace. Noted for their elaborate jasper decor, the rooms were designed so as to be connected to the Hanging Gardens, the Cold Baths, and the Cameron Gallery (still housing a collection of bronze statuary) - three Neoclassical edifices constructed to Cameron's designs. According to Catherine's wishes, many remarkable structures were erected for her amusement in the Catherine Park. These include the Dutch Admiralty, Creaking Pagoda, Chesme Column, Rumyantsev Obelisk, and Marble Bridge.
Upon Catherine's death in 1796, the palace was abandoned in favour of the Pavlovsk Palace. Subsequent monarchs preferred to reside in the nearby Alexander Palace and, with only two exceptions, refrained from making new additions to the Catherine Palace, regarding it as a splendid monument to Elizabeth's wealth and Catherine II's glory. In 1817, Alexander I engaged Vasily Stasov to refurbish some interiors of his grandmother's residence in the Empire style. Twenty years later, the magnificent Stasov Staircase was constructed to replace the old circular staircase leading to the Palace Chapel. Unfortunately, most of Stasov's interiors - specifically those dating from the reign of Nicholas I - have not been restored after the destruction caused by the Germans during World War Two.[citation needed]
When the German forces retreated after the siege of Leningrad, they had the residence intentionally destroyed,[1] leaving only the hollow shell of the palace behind. Prior to World War II, the Russian archivists managed to document a fair amount of the contents, which proved of great importance in reconstructing the palace. Although the largest part of the reconstruction was completed in time for the Tercentenary of St Petersburg in 2003, much work is still required to restore the palace to its former glory. In order to attract funds, the administration of the palace has leased the Grand Hall to such high-profile events as Elton John's concert for the elite audience in 2001 and the 2005 exclusive party which featured the likes of Bill Clinton, Tina Turner, Whitney Houston, Naomi Campbell, and Sting.
In Twentieth Century Fox's 1997 animated feature, "Anastasia", the Catherine Palace is depicted inaccurately as the home of the last imperial family.Although Stasov's and Cameron's Neoclassical interiors are superb manifestations of the late 18th-century and early 19th-century taste, the palace is best known for Rastrelli's grand suit of formal rooms known as the Golden Enfilade. It starts at the spacious airy ballroom, the "Grand Hall" or the "Hall of Lights", with a spectacular painted ceiling, and comprises numerous distinctively decorated smaller rooms, including the reproduced Amber Room.
The Great Hall, or the Light Gallery as it was called in the 18th century, is a formal apartment in the Russian baroque style designed by Bartolomeo Rastrelli between 1752 and 1756. The Great Hall was intended for more important receptions such as balls, formal dinners, and masquerades. The hall was painted in two colors and covers an area of approximately 1,000 square meters. Occupying the entire width of the palace, the windows on the eastern side look out onto the park while the windows of the western side look out to the palace plaza. In the evening, 696 lamps are lit on 12-15 chandeliers located near the mirrors. The halls sculptural and gilded carvings and ornimantation were created according to sketches by Rastrelli and models by Johann Franz Dunker.
Beyond the Great Hall is the dining room for the courtiers in attendance (the Courtiers-in-Attendance Dining Room). The room was designed by Rastrelli in the mid-18th century. The small room is lit by four windows which look out into the formal courtyard. The architect placed false windows with mirrors and mirrored glass on the opposite wall, making the hall more spacious and bright. Decorated in the typical baroque interior style, the hall is filled with gilded wall-carvings, complex gilded pieces on the doors, and ornamental patterns of stylized flowers. The ceiling mural was painted by a well known student of the Russian School from the mid-18th century. It is based on the Greek myth of the sun god Helios and the goddess of the dawn, Eos.
Across from the Courtiers-in-Attendance Dining Room, on the other side of the Main Staircase, is the White Formal Dining Room. The hall was used for the empresses' formal dinners or "evening meals". The walls of the dining hall were decorated with the utmost extravagance with gilded carvings. The furnishings consist of gilded carvings on the consoles. The painted mural, The Triumph of Apollo is a copy of a painting completed in the 16th century by Italian artist, Guido Reni.
The Portrait Hall is a formal apartment that covers 100 square meters of space. The room's walls boast large formal portraits of Empress Catherine I, Empress Elizabeth Petrovna, as well as paintings of Natalya Alexeyevna, sister of Peter the Great, and Empress Catherine II. The inlaid floors of the hall contain precious woods. The Drawing Room of Alexander I was designed between 1752 and 1756 and belonged to the Emperor's private suite. The drawing room stood out from the rest of the formal rooms in the palace due to the fact that the walls were covered in Chinese silk. Other decor in the room was typical for the palace's formal rooms, a ceiling mural, gilded carvings. The elegant card-tables and inlaid wood commode display Japanese, Chinese, and Berlin porcelain.
The Green Dining Room, which replaced Rastrelli's "Hanging Garden" in 1773, is the first of the rooms in the northern wing of the Catherine Palace, designed by Cameron for the future Emperor Paul and his wife. The pistachio-coloured walls of the room are lined with stucco figures by Ivan Martos. During the great fire of 1820 the room was seriously damaged, thus sharing the fate of other Cameron's interiors. It was subsequently restored under Stasov's direction.
Other Cameron's interiors include the Waiters' Room, with the inlaid floor of rosewood, amaranth and mahogany and stylish Chippendale card-tables; the Blue Formal Dining-Room, with white-and-blue silk wallpapers and Carrara marble chimneys; the Chinese Blue Drawing Room, a curious combination of Adam style with the Chinoiserie; the Choir Anteroom, with walls lined in apricot-colored silk; and the columned boudoir of Alexander I, executed in the Pompeian style.