Yuliy Vasilev - Photographer

Yuliy Vasilev - Photographer Urban and culinary photographer
Bulgaria 🇧🇬 Yuliy is an urban and culinary photographer, born in 1985 in Bulgaria. Art became his life and love.

Since a young age, he has been very keen on travelling and discovering new places and cultures, which led him to study in the field of hospitality. He is the holder of a Master's degree in Business Management diploma. On a trip to London at the beginning of 2012, he discovered that photography was his real passion. He has been devoted to urban and street photography ever since. Ever since, Yuliy h

as shot in over 40 countries across four continents. At first he never really intended to pursue a career in photography; instead, he continued with his career in the hospitality industry. This gave him the ability and time to develop his own artistic style. His work in the culinary industry inevitably led him to experiment in the field of culinary photography, where he quickly established his name, and his projects are well known all over the world. He is currently one of the most prominent creative culinary photographers, with a distinctive style and technique. Yuliy’s talent for spotting the details and seeing the world from a different perspective made his pictures stand out very quickly. Yuliy has participated in numerous exhibitions worldwide and has been published in many print and digital editions, including Forbes. His photographs have won more than 470 awards on six continents, most notably:

Advertising Photographer of the Year – IPA International Photo Awards 2023

Photographer of the Year – One Eyeland Photography Awards 2022

Fujifilm Award for Innovation Winner - Pink Lady Food Photographer of the Year 2022

Food & Beverage Category Winner - Siena Creative Photo Awards 2022

Advertising Discovery of the Year - PX3 Prix de la Photographie Paris 2022

Advertising Category Winner – BIFA Budapest International Foto Awards 2022

Advertising Category Winner – TIFA Tokyo International Foto Awards 2023

Advertising & Commercial Photographer of the Year - The Society of Photographers 2024

Overall Winner – One Eyeland World’s Top 10 Street Photographers 2022

Overall Winner - One Eyeland World's Top 10 Black & White Photographers 2023

Winner – 14th Annual The Taste Awards 2023

Food & Drink Category Winner, reFocus Awards One Shot Contest 2022

Still Life Category Winner, 1839 Awards Color Contest 2024

Still Life Category Winner - Chromatic Photography Awards 2023

Winner, HIPA Instagram Competition November 2024

Winner, HIPA Instagram Competition June 2024

Winner, 13th FIAP World Cup for Clubs 2018

EFIAP/s

05/06/2026

"Step Up"
2025
London, UK

Maker: Franke & HeideckeModel: Rolleicord IIcYear: 1939Country: GermanyType: 120 Film TLR Camera (6x6cm)Lens: Carl Zeiss...
03/06/2026

Maker: Franke & Heidecke
Model: Rolleicord IIc
Year: 1939
Country: Germany
Type: 120 Film TLR Camera (6x6cm)
Lens: Carl Zeiss Jena Triotar 75mm/f3.5

While Reinhold Heidecke was working as a production manager at Voigtländer in Braunschweig around 1916, he got the idea to manufacture a new type of roll-film camera. However, the company rejected his proposal because they thought there would be problems keeping the film perfectly flat. Besides, their current camera range, which used conventional photographic plates, was selling well. Heidecke tried unsuccessfully to secure financing to start his own company, so, at the insistence of his wife, he presented his concept to Paul Franke, a salesman and former colleague at Voigtländer. Franke was so enthusiastic he put up 75 000 Marks of his own money and went looking for more capital. After he secured additional funding of 200 000 Marks, they resolved to go into business together. In November 1919, they filed an application to register the company, named “Werkstatt für Feinmechanik und Optik, Franke & Heidecke”. In need of factory space, they rented several rooms in a house at Viewegstraße 32, which became the company's first headquarters. To get the company going, Franke and Heidecke decided to manufacture a stereo camera in the short term. Cameras of this type were popular, and Reinhold Heidecke was very familiar with them. The Heidoscop was a tremendous success, exceeding all expectations. In 1923, the company introduced a Heidoscop for 117 format roll film. It was from this product, the roll-film Heidoscop, that the name Rollei was derived, which later became the name of the company. The company achieved its definitive breakthrough in 1928 with the introduction of the twin-lens reflex (TLR) Rolleiflex camera. To reach a broader market, the company introduced the more affordable Rolleicord series in 1933, making professional-grade optics accessible to amateur photographers. By the 1950s and 1960s, Franke & Heidecke had earned a legendary reputation worldwide, cementing the Rolleiflex as a cult instrument favoured by the press, fashion, and documentary photographers. The company celebrated a massive milestone in 1956 with the production of its one-millionth Rolleiflex camera. The company was renamed in 1962 to Rollei-Werke Franke & Heidecke GmbH to emphasize the globally recognized Rollei brand. Seeking to diversify beyond TLR designs, they launched the revolutionary Rollei 35 in 1966, which earned immense popularity as one of the smallest high-end compact cameras of its era. The company was renamed to Rollei-Werke Franke & Heidecke GmbH in 1972 and again to Rollei-Werke Franke & Heidecke GmbH & Co. KG in 1979. The company faced severe financial hardships in the late 1970s and early 1980s due to high German manufacturing costs and intense competition from Japanese camera manufacturers. This led to a bankruptcy filing, corporate restructuring, and a new name change to Rollei Fototechnic GmbH & Co. KG in 1982. The original Braunschweig production factory permanently closed after a final bankruptcy in 2009, following several decades of changing ownership, including a period under Samsung. Today, the legendary Franke & Heidecke legacy lives on through the vintage collector market and the continued licensing of the Rollei brand name.

The Rolleicord is a medium-format twin lens reflex camera produced by Franke & Heidecke between 1933 and 1976. It was a simpler, less expensive version of the high-end Rolleiflex TLR, aimed at amateur photographers who wanted a high-quality camera but could not afford the expensive Rolleiflex. Several models of Rolleicord were made; the later models generally had more advanced features and tend to be valued higher in today's market. The Rolleicord IIc, also known as type 4 or model K3-542, was manufactured between February 1939 and October 1949. About 16 000 units were produced during that period. The IIc returns to using the Rolleicord cast nameplate, and the company then continues using it for the rest of the camera model line. The IIc is the first Rolleicord made by Franke & Heidecke to have a serial number, as is the entire Rolleiflex model line which Franke and Heidecke began manufacturing a year before in 1937. The only number which can be found on earlier model Rolleicords is the serial number for its Zeiss lens. The focusing k**b is marked in meter or feet and includes a depth-of-field calculation guide. An exposure determination chart is on the camera back. This was the first Rolleicord to feature accessory bayonets on both the viewing and taking lenses. The taking lens is a 75mm Carl Zeiss Jena Triotar, while the viewing lens is a 75mm Heidoscop-Anastigmat. The Rolleicord IIc is the last Rolleicord made having a red window (in the bottom) for locating the start position on a roll of film.

According to the serial number, this particular example was probably produced somewhere between 1939 and 1941. Even though it was not well kept and cared for by its previous owners, after some cleaning and maintenance, now it is back in working condition. A beautiful camera, which I am proud of having in my collection.

Maker: AgfaModel: Billy-Clack No. 51Year: 1934Country: GermanyType: 120 Film Strut-Folding Camera (4.5x6cm)Lens: Agfa Ig...
23/05/2026

Maker: Agfa
Model: Billy-Clack No. 51
Year: 1934
Country: Germany
Type: 120 Film Strut-Folding Camera (4.5x6cm)
Lens: Agfa Igenar 70mm/f8.8

In 1867, chemists Paul Mendelssohn Bartholdy and Carl Alexander von Martius founded Gesellschaft fĂĽr Anilinfabrikation mbH in Rummelsburg near Berlin. The company produced aniline colours. In 1887, chemical scientist Momme Andresen drove the company to enter photochemistry. In 1925, Agfa was one of the companies that merged to form Interessen-Gemeinschaft Farbenindustrie (IG Farben), a huge corporation covering many dye, photographic and chemical industries. As part of the merger, Agfa obtained the Rietzschel camera works in Munich from Bayer and badged all Rietzschel products with its Agfa rhombus. In 1926 the first real Agfa camera was introduced, the Standard, in both plate/film pack and roll film models. In 1928, the US division of Agfa entered a merger with Ansco, and many models from the two companies were sold under the joint name Agfa Ansco. In 1930 the first Agfa Box camera for 6Ă—9 cm exposures on roll film was produced. In 1937 Agfa brought out its first camera for 35mm film. After WWII Agfa improved its prewar camera models and introduced many new ones. Agfa gave up camera production in 1983 after having been taken over by Bayer in 1981.

Agfa Billy-Clack are two models of strut-folding cameras for different picture formats on 120 film, made by Agfa from about 1934 to 1940. On both, the front panel is decorated with glossy black enamel between raised chrome strips. The name “Clack” was used for simple cameras made by Rietzschel before they and Agfa merged. In some countries they were sold with the name Speedex. The Billy-Clack No. 51 (or Speedex No. 51) takes sixteen 4.5×6cm pictures on 120 film. It has an f/8.8 Igenar (written “Jgenar”, as in German both letters are pronounced like “I”) lens, a periscopic doublet lens with three Waterhouse stops (f/8.8, f/11, and f/16). It has a simple “I” and “B” shutter, brilliant finders for landscape and portrait orientation, and a built-in yellow filter. Like many folders of its age, it has a winding key, not a k**b, and it has two red windows on the camera back cover. Early examples have conventional leatherette covering; the cameras made from 1938 onwards are covered with robust herringbone-textured covering. The Billy-Clack No. 74 takes eight 6×9cm pictures on 120 film. It has an f/11 Bilinar achromat lens with f/16 or f/22 Waterhouse stops. Like the No. 51, it has an “I” and “B” shutter and two brilliant finders for both orientations. It also has a folding frame finder on the camera body. Instead of the yellow filter, this camera has a portrait lens. Again, early examples are covered with leatherette, as pictured here, with vertical stripes impressed above the Agfa rhombus logo. Later cameras have herringbone covering.

This particular example is the Agfa Billy-Clack No. 51, an earlier model covered in leatherette. It is in very good condition and is fully functioning. A beautiful Art Deco camera.

20/05/2026

"Elevated 2"
2019
Belfast, Northern Ireland

Model: Box 54 (Box I)Year: 1930Country: GermanyType: 120 Film Box Camera (6x9cm)Lens: MeniscusIn 1867, chemists Paul Men...
17/05/2026

Model: Box 54 (Box I)
Year: 1930
Country: Germany
Type: 120 Film Box Camera (6x9cm)
Lens: Meniscus

In 1867, chemists Paul Mendelssohn Bartholdy and Carl Alexander von Martius founded Gesellschaft fĂĽr Anilinfabrikation mbH in Rummelsburg near Berlin. The company produced aniline colours. In 1887, chemical scientist Momme Andresen drove the company to enter photochemistry. In 1925, Agfa was one of the companies that merged to form Interessen-Gemeinschaft Farbenindustrie (IG Farben), a huge corporation covering many dye, photographic and chemical industries. As part of the merger, Agfa obtained the Rietzschel camera works in Munich from Bayer and badged all Rietzschel products with its Agfa rhombus. In 1926 the first real Agfa camera was introduced, the Standard, in both plate/film pack and roll film models. In 1928, the US division of Agfa entered a merger with Ansco, and many models from the two companies were sold under the joint name Agfa Ansco. In 1930 the first Agfa Box camera for 6Ă—9 cm exposures on roll film was produced. In 1937 Agfa brought out its first camera for 35mm film. After WWII Agfa improved its prewar camera models and introduced many new ones. Agfa gave up camera production in 1983 after having been taken over by Bayer in 1981.

In September 1930, the following announcement appeared in the German press: "Agfa IG Farbenindustrie AG is now launching a small, box-style camera for the 6x9 format, offered at the low price of 13 Reichs Marks." The announcement went on to describe a fast lens (though the claim was an exaggeration), a durable aluminum body, and a spring-loaded film pressure plate. This camera was the Agfa Box model 54 (known also as Box I). It is a basic box camera for 6x9 exposures on 120 film (Agfa's film size B2). The body was made entirely of sheet metal with leatherette covering. This was the first all metal Agfa box camera. The Box 54 has two shutter speeds - Instant and Bulb (marked “M” and “Z”). There is no cable-release socket. Some models have two tripod screw sockets on the bottom and left side, while others don't. The camera has a meniscus lens (the brochure states the lens and shutter are protected behind a 'special protective lens' at the front) and two Watson-type viewfinders, with a small ground-glass screen rather than the condenser lens of a brilliant finder, for vertical and horizontal use. There is a pull-out tab above the lens, which selects one of three fixed apertures (f12.5, f16, or f22). There is a ridge projecting from the camera's right side, protecting the shutter controls from accidental use. The Agfa logo is situated under the lens, colored in orange. There is also an Agfa logo embossed on the back cover leatherette. The camera has a leather carrying strap; on some specimens it is plain, but on others there is also either the Agfa logo or “Agfa Box" embossed on it. Agfa also launched an upgraded version, known as Box 64 (or Spezial Box), identifiable by the silver-colored decorative frame on the front panel, which, for less than 2 Reichs Marks more, offered significantly better features: a two-blade shutter, a couple of brilliant viewfinders, a faster lens, and a distance setting. The new cameras sold exceptionally well during the Christmas season, with both models reaching a total sales volume of 44 000 units by the end of 1930.

This particular example is the Agfa Box 54, which is actually the first Agfa box camera model ever produced. It has two screw sockets for tripod mounting. The camera is fully working. Unfortunately, the leather carrying strap is missing, but apart from that, the camera is in excellent cosmetic condition.

11/05/2026

"McChilies"

Cabinet of Curiosities

06/05/2026

"Thoughts"
2019
Dublin, Ireland

Address

Plovdiv

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