View allAll Photos Tagged digitalisation
Digitalisation in companies has far-reaching effects. If companies use digitalisation in a targeted way, it enables cost reductions, optimised processes, flexible forms of organisation, more customer orientation, new market opportunities and high information transparency.
Last but not least, the raw material wood is conserved.
Orléans / Val de Loire / France
Album of France (the north): www.flickr.com/photos/tabliniumcarlson/albums/72157713208...
Leica M8, Elmar (collapsible) 90/4. Previous generations, in fact, almost all of humanity from its beginnings hundreds of thousands of years ago, did not only face death, as we all do, but also the extinction of their memory. With the invention of writing, things improved for a small minority. Today, however, with the digitalisation of all personal data, books, invoices, messages, biographical records and images included and, importantly, their storage across the world in electronic memory banks, parts of what constitutes our memory and what used to be our "paper trail" will now in all likelihood, as long as there is humanity, survive. And since AI will be around with its ability to search through billions of billions of data, we can be sure that remnants of the memory of us will be "harvested", processed and re-appropriated by the living. We will continue to be "around" somehow, just like ghosts, just like the dead in Hades visited and interrogated by Odysseus. It is a strange feeling.
On Tour together with:
and Marion.
This Picture was shot at late blue hour in Berlin / Germany.
Event: FoL - Festival of Lights
Location: Berlin / Germany
Motive: Bode Museum
This year’s festival motto “Creating Tomorrow” intensively illuminates our responsibility for the sustainable preservation of our home planet. The light art installations and video mappings play with this theme in an incredible variety. Inspiring visions are shown and the coming tasks are thematised, such as sustainability, e-mobility, measures for more CO2 neutrality, renewable energies and digitalisation. As always, we are locating the productions in prominent places in Berlin, on landmarks and buildings steeped in history, on squares, on the facades of the participating companies and organisations, as well as in all of Berlin’s districts and many neighbourhoods.
The FESTIVAL OF LIGHTS 2021 is a call for more sustainability, more WE feeling, humanity and mindfulness as well as the preservation of cultural diversity.
All illuminations at the approximately 70 locations will light up between 8.21pm and midnight every day from 03rd-12th of September 2021, unless otherwise stated in the program. The currently known festival locations are listed below. Further details on the individual illuminations, times, partners and individual events will be added here gradually.
For more informations please refer to FoL
Charlie's "ride on the cogs", trying to keep up with digitalisation...
Macro Mondays #Cogwheel
In a steampunk future computers would run like vintage clockworks - with cogwheels. Why steampunk? I did not want to capture the clockwork of my old pocketwatch, the can-opener's cogwheel was just ugly, ugly, ugly, and I couldn't find any other interesting looking "real" cogwheels at home. So I bought a small pouch (sold by weight) of small metal deco cogwheels meant for steampunk costumes and stuff. This time I decided to stick to my very first idea and try to make it work: a macro world rendition of Charle Chaplin's "Modern Times" with a connection to our digital world today. Which is why the, admittedly rather busy, background is an old, broken mainboard (the backside of it). Since I didn't have one lying around at home I walked into a small computer shop around the corner who are mostly doing repair work and asked if they had an old mainboard or other throwaway circuit board, and they had ;-) It seems that my steampunk machine / computer consists entirely of inoperable parts. Broken mainboard, un-functional cogwheels... So while it has less states than a modern computer ("0" only), it probably has way more states than a future quantum computer will have, because these inoperable parts can be anything I want them to be in a future macro world, depending on the theme...
Processed in Luminar and ON1. The upper cogwheel is handheld which explains the motion blur (which I rather like). This had to be monochrome, of course, because "Modern Times" is a black and white movie. Though I toyed with the idea to leave a little colour there at first, because I have seen Modern Times film posters with some colour in them, but in the end decided against it, because it would have been too much with all that is going on here. I added "that frame again" in Nik's Analog Efex as a finishing touch.
I wish you a Happy Macro Monday, and a relaxed week ahead, dear Flickr friends!
Charlies "Ritt auf dem Zahnrad", die Digitalisierung sitzt ihm schon im Nacken...
In einer "Steampunk"-Zukunft würden Computer vermutlich von Zahnrädern angetrieben... Da ich nicht das Uhrwerk meiner alten Taschenuhr fotografieren wollte und der Dosenöffner einfach nur hässlich aussieht und ich außerdem feststellen musste, dass "richtige" Zahnräder auch richtig teuer sein können, habe ich einfach ein kleines Tütchen voll mit Deko-Metall-Teilen gekauft, die wohl für Steampunkkostüme gedacht sind. Ich habe hier mal versucht, bei meiner allerersten Idee zu bleiben und sie halbwegs ansprechend umzusetzen: die berühmte Szene aus Modern Times, in der Charlie / der Tramp von der riesigen Maschine verschluckt wird und sich durch die Zahnräder kämpft. Da ich auch einen Bezug zur heutigen Zeit haben wollte, habe ich als Hintergrund ein altes, kaputtes Mainboard verwendet, das ich bei einer auf Reparaturen spezialisierten Computerklitsche abstauben konnte.
Das obere Zahnrad habe ich einfach über die Figur gehalten, mir gefiel die Bewegungsunschärfe, und im Original ist der Tramp ja auch zwischen den Zahnrädern gefangen. SW war hier natürlich gewissermaßen Pflicht, da auch der Film in SW ist; allerdings hatte ich zunächst versucht, ein wenig Farbe im Bild zu lassen, weil es entsprechende Filmplakate gibt, mich dann aber dagegen entschieden, weil es hier sowieso schon so viel zu sehen gibt, da wäre Farbe zu viel gewesen, denke ich. Entwickelt in Luminar und ON1 und als Abschluss musste mal wieder mein Lieblingsrahmen aus Analog Efex herhalten.
Ich wünsche Euch eine schöne Spätsommerwoche, liebe Flickr-Freunde!
Another Batmobile for the unnamed universe. This one belongs to Batwoman. I figure that as she's the official heir to the Bat cowl, she'd get to use the Wayne tech/corp/whatever assets. As the main portion of this universe takes place in the future, it makes sense that they have Blade Runner-esque flying cars. Well, by "they" I of course mean the well off people. Everyone else has to slum it with ground cars.
I've not made it all too original, it's pretty much exactly the same as a spinner from BR, just black and with actual wheels. It can function as a ground car as well as a hover car, so that's nice. It's only feature is that the back wheel can flip up and be concealed in the back of the vehicle. You can't really see it, but trust me, it's flipped up.
And just like the Cyberpunk Batmobile, this one also exists physically. Same reason as before for the digitalisation, I can't do photography. Or rather, I couldn't be bothered to do the photography, and building it digitally took me about 10 minutes, so y'know. Also just like the Cyberpunk Batmobile, you can't fit a minifig inside. I've decided that when it comes to vehicles, it's easier to get them at a decent scale if I sacrifice putting minifigs in them. Which is fine, as that's not really high on my priorities. It's a nice feature, but it means a lot of compromise and extra work. And because I skimped on that extra work, the Spinner Batmobile and Cyberpunk Batmobile are the same scale, so can be shown off together if I choose. They won't be, but it's nice to have the option.
And I think that just about wraps it up. As always, lemme know what you think :D
On Tour together with:
and Marion.
This Picture was shot at late blue hour in Berlin / Germany.
Event: FoL - Festival of Lights
Location: Berlin / Germany
Motive: Bode Museum (Background: TV Tower)
This year’s festival motto “Creating Tomorrow” intensively illuminates our responsibility for the sustainable preservation of our home planet. The light art installations and video mappings play with this theme in an incredible variety. Inspiring visions are shown and the coming tasks are thematised, such as sustainability, e-mobility, measures for more CO2 neutrality, renewable energies and digitalisation. As always, we are locating the productions in prominent places in Berlin, on landmarks and buildings steeped in history, on squares, on the facades of the participating companies and organisations, as well as in all of Berlin’s districts and many neighbourhoods.
The FESTIVAL OF LIGHTS 2021 is a call for more sustainability, more WE feeling, humanity and mindfulness as well as the preservation of cultural diversity.
All illuminations at the approximately 70 locations will light up between 8.21pm and midnight every day from 03rd-12th of September 2021, unless otherwise stated in the program. The currently known festival locations are listed below. Further details on the individual illuminations, times, partners and individual events will be added here gradually.
For more informations please refer to FoL
20210909_FoL_2
Cube Berlin, completed in February 2020, is the sculptural centerpiece of one of the most prominent squares in Berlin. It was intended to be the first office built specifically to support 21st century workplace trends with multi-tenant occupancy, cross-organisational communication, activity-based work stations, shared facilities, and dynamic office layouts. It is also integrating 'Internet of Things' - ideals into the design that allow optimization of everything from access and indoor climate control to maintenance and energy supply - and even the behavior of the users.
Size: 19.500 m2
Collaborators: Architect Souterrain: Maedebach & Redeleit Architekten, Berlin; Structural Engineers: Remmel + Sattler Ingenieurgesellschaft, Frankfurt/Berlin; Façade Engineering: DS-Plan, Stuttgart; Façade Maintenance Consultant: TAW Weisse, Hamburg; Digitalisation: CA Immo, Thing-it, and Drees & Sommer; Fire Engineering: hhpberlin, Berlin; M&E Engineers: DS-Plan, Berlin, Frankfurt
Schloss Moritzburg, fotografiert im Oktober 2003 mit einer Nikon F4. Das Negertiv habe ich mit einem Nikon Coolscan IV ED digitalisiert und das Bild mit Lightroom bearbeitet.
Moritzburg Castle, captured with my Nikon F4. Digitalisation was done with a Nikon Coolscan IV ED. I did the postproduction with lightroom.
On Tour together with:
and Marion.
Event: FoL - Festival of Lights
Location: Berlin / Germany
Motive: Berlin Cathedral (Background: TV Tower)
This year’s festival motto “Creating Tomorrow” intensively illuminates our responsibility for the sustainable preservation of our home planet. The light art installations and video mappings play with this theme in an incredible variety. Inspiring visions are shown and the coming tasks are thematised, such as sustainability, e-mobility, measures for more CO2 neutrality, renewable energies and digitalisation. As always, we are locating the productions in prominent places in Berlin, on landmarks and buildings steeped in history, on squares, on the facades of the participating companies and organisations, as well as in all of Berlin’s districts and many neighbourhoods.
The FESTIVAL OF LIGHTS 2021 is a call for more sustainability, more WE feeling, humanity and mindfulness as well as the preservation of cultural diversity.
All illuminations at the approximately 70 locations will light up between 8.21pm and midnight every day from 03rd-12th of September 2021, unless otherwise stated in the program. The currently known festival locations are listed below. Further details on the individual illuminations, times, partners and individual events will be added here gradually.
For more informations please refer to FoL
20210909_FoL_220210909_FoL_420210909_FoL_620210909_FoL_7
On Tour together with:
and Marion.
This Picture was shot at late blue hour in Berlin / Germany.
Event: FoL - Festival of Lights
Location: Berlin / Germany
Motive: TV Tower
This year’s festival motto “Creating Tomorrow” intensively illuminates our responsibility for the sustainable preservation of our home planet. The light art installations and video mappings play with this theme in an incredible variety. Inspiring visions are shown and the coming tasks are thematised, such as sustainability, e-mobility, measures for more CO2 neutrality, renewable energies and digitalisation. As always, we are locating the productions in prominent places in Berlin, on landmarks and buildings steeped in history, on squares, on the facades of the participating companies and organisations, as well as in all of Berlin’s districts and many neighbourhoods.
The FESTIVAL OF LIGHTS 2021 is a call for more sustainability, more WE feeling, humanity and mindfulness as well as the preservation of cultural diversity.
All illuminations at the approximately 70 locations will light up between 8.21pm and midnight every day from 03rd-12th of September 2021, unless otherwise stated in the program. The currently known festival locations are listed below. Further details on the individual illuminations, times, partners and individual events will be added here gradually.
For more informations please refer to FoL
20210909_FoL_220210909_FoL_3
My 2nd top viewed style in 2020. I honestly don't know, what was the reason - fishnet stocking or a wonderful long hair...
If to continue to summarise the 2020:
It was the year of digitalisation - starting from internet shoppings, and going to zoom calls and home-office working...📞💻⌨️
The whole world suddenly has made a step into the future! 🔮
I can't say if it is good or bad, and what consequences will come, but in one I am sure - that was a starting point for a new generation - children studying online, virtual conferences and webinars...even virtual exhibitions. I have a strong feeling VR and AI will be pushed now to the market, bringing new level of developments in that direction...
A positive part of those changes we can already mark in the nature - reduced air pollution by less traffic and flights as an example.
From another hand it is obvious, that human is a social creature - we all need hugs, communication and possibility to have a freedom to meet others - friends, relatives, colleagues...can that be replaced by virtual platforms? Time will show...
Happy upcoming 2021 my friends❤️😘🎉
Cube Berlin, completed in February 2020, is the sculptural centerpiece of one of the most prominent squares in Berlin. It was intended to be the first office built specifically to support 21st century workplace trends with multi-tenant occupancy, cross-organisational communication, activity-based work stations, shared facilities, and dynamic office layouts. It is also integrating 'Internet of Things' - ideals into the design that allow optimization of everything from access and indoor climate control to maintenance and energy supply - and even the behavior of the users. Size: 19.500 m2
Collaborators: Architect Souterrain: Maedebach & Redeleit Architekten, Berlin; Structural Engineers: Remmel + Sattler Ingenieurgesellschaft, Frankfurt/Berlin; Façade Engineering: DS-Plan, Stuttgart; Façade Maintenance Consultant: TAW Weisse, Hamburg; Digitalisation: CA Immo, Thing-it, and Drees & Sommer; Fire Engineering: hhpberlin, Berlin; M&E Engineers: DS-Plan, Berlin, Frankfurt
A windmill in Werder/Havel. This is a nice place in Brandenburg/Germany. I took this photo with my Nikon F4. Digitalisation was done with my Nikon Coolscan IV ED.
On Tour together with:
and Marion.
Event: FoL - Festival of Lights
Location: Berlin / Germany
Motive: Old Museum (Background: Berlin Cathedral)
This year’s festival motto “Creating Tomorrow” intensively illuminates our responsibility for the sustainable preservation of our home planet. The light art installations and video mappings play with this theme in an incredible variety. Inspiring visions are shown and the coming tasks are thematised, such as sustainability, e-mobility, measures for more CO2 neutrality, renewable energies and digitalisation. As always, we are locating the productions in prominent places in Berlin, on landmarks and buildings steeped in history, on squares, on the facades of the participating companies and organisations, as well as in all of Berlin’s districts and many neighbourhoods.
The FESTIVAL OF LIGHTS 2021 is a call for more sustainability, more WE feeling, humanity and mindfulness as well as the preservation of cultural diversity.
All illuminations at the approximately 70 locations will light up between 8.21pm and midnight every day from 03rd-12th of September 2021, unless otherwise stated in the program. The currently known festival locations are listed below. Further details on the individual illuminations, times, partners and individual events will be added here gradually.
For more informations please refer to FoL
20210909_FoL_8
On Tour together with:
and Marion.
Event: FoL - Festival of Lights
Location: Berlin / Germany
Motive: Hackescher Markt Station (Background: TV Tower)
This year’s festival motto “Creating Tomorrow” intensively illuminates our responsibility for the sustainable preservation of our home planet. The light art installations and video mappings play with this theme in an incredible variety. Inspiring visions are shown and the coming tasks are thematised, such as sustainability, e-mobility, measures for more CO2 neutrality, renewable energies and digitalisation. As always, we are locating the productions in prominent places in Berlin, on landmarks and buildings steeped in history, on squares, on the facades of the participating companies and organisations, as well as in all of Berlin’s districts and many neighbourhoods.
The FESTIVAL OF LIGHTS 2021 is a call for more sustainability, more WE feeling, humanity and mindfulness as well as the preservation of cultural diversity.
All illuminations at the approximately 70 locations will light up between 8.21pm and midnight every day from 03rd-12th of September 2021, unless otherwise stated in the program. The currently known festival locations are listed below. Further details on the individual illuminations, times, partners and individual events will be added here gradually.
For more informations please refer to FoL
20210909_FoL_220210909_FoL_4
Location: World-Wide House, Central, Hong Kong
Leica M5
Leitz Noctilux-M 50mm 11821 (E60)
Rollei Retro 80s @50
Semi-stand development
R09 One Shot (1+100)
1 hr @ 20˚C
Rolleicord Vb Kodak TriX-400
Rodinal 1:50, 14mn @ 20°C
Digitalisation Fuji X-E1 Nikkor 105mm f/2.5+extended rings
Web site : www.dup1.net
On Tour together with:
and Marion.
Event: FoL - Festival of Lights
Location: Berlin / Germany
Motive: Hackescher Markt Station (Background: TV Tower)
This year’s festival motto “Creating Tomorrow” intensively illuminates our responsibility for the sustainable preservation of our home planet. The light art installations and video mappings play with this theme in an incredible variety. Inspiring visions are shown and the coming tasks are thematised, such as sustainability, e-mobility, measures for more CO2 neutrality, renewable energies and digitalisation. As always, we are locating the productions in prominent places in Berlin, on landmarks and buildings steeped in history, on squares, on the facades of the participating companies and organisations, as well as in all of Berlin’s districts and many neighbourhoods.
The FESTIVAL OF LIGHTS 2021 is a call for more sustainability, more WE feeling, humanity and mindfulness as well as the preservation of cultural diversity.
All illuminations at the approximately 70 locations will light up between 8.21pm and midnight every day from 03rd-12th of September 2021, unless otherwise stated in the program. The currently known festival locations are listed below. Further details on the individual illuminations, times, partners and individual events will be added here gradually.
For more informations please refer to FoL
20210909_FoL_220210909_FoL_420210909_FoL_6
cc creative commons - Ausstellung Heimatlied, Bilder aus der Landeshauptstadt - koi nudelbar: 06.07.2010-06.10.2010
Kontakt: marfis75@yahoo.de
analog - brave old world
The sculpture was discovered in 1736 at Hadrian's Villa in Tivoli. The delicate and laborious restoration work was entrusted to Clemente Bianchi and Bartolomeo Cavaceppi. Numerous additions in garnet red marble, with evident greyish veins, have not particularly changed the ancient structure or image. The sculpture aroused the admiration of travellers and museum cataloguers since 1746, when it was purchased for the Capitoline collections. The figure is supported on the right leg, while the left, in keeping with the original, is advanced and shows the foot rotated outwards, to indicate the rhythm of the dance. The idea of movement is conveyed both by the slight rotation to the right, and by the musculature that presents very contracted masses along the back and in the buttocks, placed on oblique planes, in the centre of which is inserted a tufted tail resting on the left buttock. The upper part of the torso, characterised by the presence of the nebris (deer skin) knotted on the right shoulder, has well-defined muscle masses with digitalisation of the ribs.
The face, framed by long sideburns separated into locks, has prominent cheekbones, a half-open mouth in a smile that leaves the crown of the teeth visible. The empty orbital cavities were probably filled with the insertion of metals or semiprecious stones. The fauns had, among their properties, that of fertilizing the flocks and of defending from the attacks of wolves and were associated with the idea of abundant harvests, being, in many cases, represented with rich cornucopias. These creatures, connected to the cult of Dionysus, were probably part of the procession of the god and are depicted in a state of drunkenness, in the act of dancing, according to the iconography of the "joker" and the "drunkard" companion of Dionysus, closer to the human image and well detached from the distant demonic origins. This type of image was probably used in decorative contexts of horti, coinciding with the exaltation of bucolic motifs, and spread in Roman sculptures that took up themes of mature Hellenism, of the late 2nd century BCE.
Although it's called a 'faun', it's really a satyr and should be referred to as one. 'Faun' was mostly a made-up term in the modern era, in reference to Faunus, a nature spirit or god, who was the equivalent of the god Pan and was rendered with horns.
This sculpture has given its name to the room, known as the Hall of the Faun. The walls feature a series of inscriptions, including the famous bronze table with the Lex de imperio Vespasiani, with which the Senate authorised the transfer of power to the Emperor Vespasian in 69 CE.
Roman, 2nd century CE. From an original of the late Hellenistic period. Found at Hadrian's Villa in Tivoli in 1736.
Size: 167.5 cm/65.94 in (5'6").
Musei Capitolini, Palazzo Nuovo, Rome (inv. MC0657)
The Rochdale Pioneers Museum is housed in the building where the Rochdale Equitable Pioneers Society started trading on 21 December 1844. The museum is regarded as the birthplace of the modern co-operative movement.
The museum is a recreation of the original shop, containing its rudimentary furniture, scales, items that were sold at the store, etc. Moreover, the museum transmits the influence of the co-operative movement on issues such as women's rights, poverty, education, fair trade and social reform. The museum is owned by the Co-operative Heritage Trust, and managed by the Co-operative College.
In the last few years, the museum has been refurbished to make it more accessible to all. The improvements carried out in the museum include reinterpretation of the collection, an education space available for schools and social activities, digitalisation of the materials and a new website.
I went all the way to Foam in Amsterdam for this:
"Erik Kessels (KesselsKramer, Amsterdam) | Photography in abundance
"Through the digitalisation of photography and the rise of sites such as Flickr and Facebook, everyone now takes photos, and distributes and shares them with the world - the result is countless photos at our disposal. Kessels visualises 'drowning in pictures of the experiences of others', by printing all the images that were posted on Flickr during a 24-hour period and dumping them in the exhibition space. The end result is an overwhelming presentation of a million prints."
And those mounds are fake: there are built mounds underneath them, and the photos are stuck to them, a thin layer that is nowhere near a million photos. This is sad. We don't know how many photos are actually uploaded each day, and this is a totally unreliable visualisation, undermining its entire point.
Oh well.
Another image that has come to life for the first time, the original tranny being badly over-exposed and whose colour had turned to a muddy red. The digitalisation has opened a veritable time capsule, it being several decades since I last viewed this scene.
Against a backdrop of Paisley’s Sheriff Court House, a couple walk past with their three infants. The Billy Fury lookalike in his suit seems anachronistic in his early-1960s style, while the lady herself looks like a refugee from a kitchen sink drama of the same era - think ‘Cathy Come Home’, perhaps. Their wee bairns in the battered push-chair would now be aged in their mid-50s. It’s a reminder that life was tough for many people back then. Paisley was historically a textile town, and this industry was undergoing its final throes then.
The bus in the background was my primary source of interest when I pressed the shutter. It is an Alexander-bodied Daimler Fleetline of the local independent, McGill’s of Barrhead. The company ceased operations during the 1990s.
The white car following the bus appears to be a Hillman Imp Estate. It came off the Rootes Group/Chrysler production line just a couple of miles away, at the troubled Linwood plant, opened in 1963 to alleviate local unemployment but closed just 18 years later. No trace of the factory remains.
I am unsure if the ‘Hole in the Wa’ bar survives: Google Maps shows a tattoo parlour at this corner of Old Sneddon Street. McEwan’s beer survives as a brand, today part of the Carlsberg Marston’s brewing giant. Its malty beers are no longer brewed in Edinburgh but in Bedford, England.
April 1971
Zorki 4 camera
Boots ASA50 film.
This is La tour Éve - a residential building at the rim of La Défense, looking in the direction of the Puteaux quarter.
I guess I finally found the secret to the Bialobrzeski look, it has just been a small nudge on the curve - and is even doable with a chrome, given a good basis with low contrast. Quite happy with the result :) - Now the only mystery that remains is if he is doing it on the computer, or if there is a way to achieve this kind of contrast curve manipulation with an enlarger in a real darkroom. This would be amazing, since I think even with the best scanner you still loose detail in the digitalisation process. Maybe I get the chance to ask him in person one day.
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become a fan on facebook and see behind the scenes shots: www.facebook.com/ThomasBirkeUrbanPhotography
January - Introduction of a camera :o
February - 'No Disintegrations' finished
March - Drawings to celebrate Episode 1 in 3D
April - Contest/ Introduction of 'People' theme
May - Introduction of 'Super Heroes' theme/ iPad received
June - First iPad drawings
July - 'Avengers Project' gets completed
August - Digitalisation of 'No Disintegrations' / Adventures of The Boer War drawn for KTV/Studio282
September - Start of the 'Huge Collaboration'
October - My interpretations of HighonBricks' work
November - 1st Year anniversary
December - Advent Calendar - 24 days - 24 Uploads
I don't know exactly what 2013 will bring but I have teased a couple of things - I also don't want to spoil it for some other people who want to be surprised though
Feel free to add yourself/notes to your favourite and if I've added you to hte photo you are either a friend or and inspiration - and if you're amazing, you're probably both :D
left ; Georges River,Casula ,Sydney,NSW,Australia
Rigth;Río Bergantes,comarca de Los Puertos de Morella,Castellón, Comunidad Valenciana, España
Rolleicord Vb Kodak TriX-400
Rodinal 1:50, 14mn @ 20°C
Digitalisation Fuji X-E1 Nikkor 105mm f/2.5 + extended rings
Web site: www.dup1.net
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
©Lauri Heikkinen
Alexanderplatz, television tower;
MP Studio / Bulgaria;
The concept „NatUre“ aims to her and him, you and they, to us all – people that strongly believe that nature needs us and we still have the power to save it. The nature shows beauty, clarity and wildness. 13.8 billion years pass by till today since the big bang. We are here – urbanisation, digitalisation, connection. We call everything smart. In the meantime we focus again on the destruction of the nature. The future is here – everything consists of metal, even a frightening beautiful butterfly. Time cannot be stopped and everything rusts and collapses into darkness. The human and the nature were always connected. Hope starts growing inside the humans and nature is reborn. The nature finds always a way, but in the end everything depends on you.
A second film with my newly-arrived FOCA Universel "R", a French range-finder 35mm camera of the 50's.
The camera was loaded with an IlfordFP4+ 36-exposure film. It was exposed for 125 ISO using an Autometer III Minolta lightmeter fitted with a 10° finder for selective measurements privileging the shadow areas. The Oplarex lens was equipped with a Foca AUV push-on 42mm protective filter and a generic cylindrical shade hood.
April 15, 2023
69004 Lyon
France
After exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+25 and 20°C for 9min. The film was then digitalized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. The RAW files obtained were processed without intermediate files in LR and edited to the final jpeg pictures.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
About the camera :
The Foca Universel "R" is the late series (circa 1956-1962) of the Foca Universel 35mm range-finder camera appeared in 1950 and produced until 1956. The Universel model of FOCa was fitted with a bayonet mount instead of the 36mm screw mount of other Foca PF (PF standing for "Petit Format"). Foca camera's were constructed in France by the company "Optique & Precision de Levallois" (OPL) in the OPL factory of Chateaudun (Eure) starting from 1947. This factory still exists under the name of SAFRAN a French company producing aerospace devices and systems. This exemplary of Foca Universel R was likely manufactured in 1959 or 1960.
The camera is equipped with the collapsible OPLAREX lens 1:1.9 f=5cm with the OPL bayonet mount.
An Ilford HP5+ exposed for 800 ISO film with my Zorki 1 type D (year 1955), Lyon, France, February 5, 2023.
The Zorki camera was loaded with a 36-exposure Ilford HP5+ film, with its leader trimmed for old Leica's. During operations the Industar-22 lens was equipped with a 36mm push-on 1A filter and a generic metal cylindric shade hood.
Expositions were determined for 800 ISO using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas.
Typically the shutter exposure time was 1/200s with diaphragm of F/5.6 to f/11 for a quite cloudy weather.
Place Saint-Jean, February 5, 2023
69005 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 8 min according to development data for pushing the HP5+ film to 800 ISO. The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.
About the camera and the lens:
This camera is a practically mint sample of Zorki 1 arrived to me in Lyon, France, January 10, 2023.
The camera looked exiting from the KMZ factory in USSR almost 70 years later spent in a time capsule ... with almost no traces of use. According to a custom receipt of July 28, 1955, signed in Vienna, Austria, the camera body and lens are the original matched ones. As for the original FED, FED-Zorki and Zorki's ("ФЭД", "ФЭД-Зоркий", „Зоркий“), the Zorki 1 was a straight legal copy of the Oskar Barnack Leica II after the cancelation of German camera patents following the end of WWII.
This Zorki 1 is a type D model PM1115 (year 1955 according sovietcams.com/index7584.html). Type D Zorki's were produced from 1953 to 1955 in about 250.000 units with serial numbers ranging from #470.000 to (in 1955) #55 45.000. The original lens of this Zorki units is an collapsible lens Industar-22 1:3.5 f=5cm.
In the rear pocket of the ever-ready leather bag was still deposited the Austrian custom receipt from 1955 and a film label of Agfa negative-color CN17 likely from the 60's.
With more than 700 000 refugees Ethiopia hosts the most refugees on the African continent. This requires a humongous effort providing food assistance, water and basic services such as health care but also protection. The European Commission provides humanitarian assistance in all 24 refugee camps across the country. In Tigray and Afar regions, aid organisations are welcoming a constant stream of young Eritreans who are fleeing their country. ©EU/ECHO/Anouk Delafortrie
WIP G20 Roundtable on digitalisation with German Minister Zypries, co-hosted by W20: www.womenpoliticalleaders.org/g20-german-minister-economi...
Leksikonlenestol
Old collections of knowledge are collecting dust while the information hungry are using Wikipedia, Clarify, Google etc. I will glue this together and use the spare shelfspace for novels.
An Ilford HP5+ exposed for 800 ISO film with my Zorki 1 type D (year 1955), Lyon, France, February 5, 2023.
The Zorki camera was loaded with a 36-exposure Ilford HP5+ film, with its leader trimmed for old Leica's. During operations the Industar-22 lens was equipped with a 36mm push-on 1A filter and a generic metal cylindric shade hood.
Expositions were determined for 800 ISO using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas.
Typically the shutter exposure time was 1/200s with diaphragm of F/5.6 to f/11 for a quite cloudy weather.
Pont de la Feuillée, February 5, 2023
69005 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 8 min according to development data for pushing the HP5+ film to 800 ISO. The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.
About the camera and the lens:
This camera is a practically mint sample of Zorki 1 arrived to me in Lyon, France, January 10, 2023.
The camera looked exiting from the KMZ factory in USSR almost 70 years later spent in a time capsule ... with almost no traces of use. According to a custom receipt of July 28, 1955, signed in Vienna, Austria, the camera body and lens are the original matched ones. As for the original FED, FED-Zorki and Zorki's ("ФЭД", "ФЭД-Зоркий", „Зоркий“), the Zorki 1 was a straight legal copy of the Oskar Barnack Leica II after the cancelation of German camera patents following the end of WWII.
This Zorki 1 is a type D model PM1115 (year 1955 according sovietcams.com/index7584.html). Type D Zorki's were produced from 1953 to 1955 in about 250.000 units with serial numbers ranging from #470.000 to (in 1955) #55 45.000. The original lens of this Zorki units is an collapsible lens Industar-22 1:3.5 f=5cm.
In the rear pocket of the ever-ready leather bag was still deposited the Austrian custom receipt from 1955 and a film label of Agfa negative-color CN17 likely from the 60's.
An Ilford HP5+ exposed for 800 ISO film with my Zorki 1 type D (year 1955), Lyon, France, February 5, 2023.
The Zorki camera was loaded with a 36-exposure Ilford HP5+ film, with its leader trimmed for old Leica's. During operations the Industar-22 lens was equipped with a 36mm push-on 1A filter and a generic metal cylindric shade hood.
Expositions were determined for 800 ISO using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas.
Typically the shutter exposure time was 1/200s with diaphragm of F/5.6 to f/11 for a quite cloudy weather.
Quai Romain Rolland, February 5, 2023
69005 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 8 min according to development data for pushing the HP5+ film to 800 ISO. The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.
About the camera and the lens:
This camera is a practically mint sample of Zorki 1 arrived to me in Lyon, France, January 10, 2023.
The camera looked exiting from the KMZ factory in USSR almost 70 years later spent in a time capsule ... with almost no traces of use. According to a custom receipt of July 28, 1955, signed in Vienna, Austria, the camera body and lens are the original matched ones. As for the original FED, FED-Zorki and Zorki's ("ФЭД", "ФЭД-Зоркий", „Зоркий“), the Zorki 1 was a straight legal copy of the Oskar Barnack Leica II after the cancelation of German camera patents following the end of WWII.
This Zorki 1 is a type D model PM1115 (year 1955 according sovietcams.com/index7584.html). Type D Zorki's were produced from 1953 to 1955 in about 250.000 units with serial numbers ranging from #470.000 to (in 1955) #55 45.000. The original lens of this Zorki units is an collapsible lens Industar-22 1:3.5 f=5cm.
In the rear pocket of the ever-ready leather bag was still deposited the Austrian custom receipt from 1955 and a film label of Agfa negative-color CN17 likely from the 60's.
An Ilford HP5+ exposed for 800 ISO film with my Zorki 1 type D (year 1955), Lyon, France, February 5, 2023.
The Zorki camera was loaded with a 36-exposure Ilford HP5+ film, with its leader trimmed for old Leica's. During operations the Industar-22 lens was equipped with a 36mm push-on 1A filter and a generic metal cylindric shade hood.
Expositions were determined for 800 ISO using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas.
Typically the shutter exposure time was 1/200s with diaphragm of F/5.6 to f/11 for a quite cloudy weather.
Rue Saint-Etienne, February 5, 2023
69005 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 8 min according to development data for pushing the HP5+ film to 800 ISO. The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.
About the camera and the lens:
This camera is a practically mint sample of Zorki 1 arrived to me in Lyon, France, January 10, 2023.
The camera looked exiting from the KMZ factory in USSR almost 70 years later spent in a time capsule ... with almost no traces of use. According to a custom receipt of July 28, 1955, signed in Vienna, Austria, the camera body and lens are the original matched ones. As for the original FED, FED-Zorki and Zorki's ("ФЭД", "ФЭД-Зоркий", „Зоркий“), the Zorki 1 was a straight legal copy of the Oskar Barnack Leica II after the cancelation of German camera patents following the end of WWII.
This Zorki 1 is a type D model PM1115 (year 1955 according sovietcams.com/index7584.html). Type D Zorki's were produced from 1953 to 1955 in about 250.000 units with serial numbers ranging from #470.000 to (in 1955) #55 45.000. The original lens of this Zorki units is an collapsible lens Industar-22 1:3.5 f=5cm.
In the rear pocket of the ever-ready leather bag was still deposited the Austrian custom receipt from 1955 and a film label of Agfa negative-color CN17 likely from the 60's.