View allAll Photos Tagged Absorption
Fluorescing Coral- Fluorescence is the absorption of one wavelength of light and the re-emission of another, a totally different colour. A fluorescent object under near UV light, it absorbs the blue and re-emits a fluorescent colour, brightly glowing in a totally different colour. - Raja Ampat, Dampier Strait, West Papua, Indonesia.
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A montage of Cassini images, taken in four different regions of the
spectrum from ultraviolet to near-infrared, demonstrates that there is
more to Saturn than meets the eye.
The pictures show the effects of absorption and scattering of light
at different wavelengths by both atmospheric gas and clouds of differing
heights and thicknesses. They also show absorption of light by colored
particles mixed with white ammonia clouds in the planet's atmosphere.
Contrast has been enhanced to aid visibility of the atmosphere.
Cassini's narrow-angle camera took these four images over a period of
20 minutes on April 3, 2004, when the spacecraft was 44.5 million
kilometers (27.7 million miles) from the planet. The image scale is
approximately 267 kilometers (166 miles) per pixel. All four images
show the same face of Saturn.
In the upper left image, Saturn is seen in ultraviolet wavelengths
(298 nanometers); at upper right, in visible blue wavelengths (440
nanometers); at lower left, in far red wavelengths just beyond the
visible-light spectrum (727 nanometers; and at lower right, in
near-infrared wavelengths (930 nanometers).
The sliver of light seen in the northern hemisphere appears bright
in the ultraviolet and blue (top images) and is nearly invisible at
longer wavelengths (bottom images). The clouds in this part of the
northern hemisphere are deep, and sunlight is illuminating only the
cloud-free upper atmosphere. The shorter wavelengths are consequently
scattered by the gas and make the illuminated atmosphere bright, while
the longer wavelengths are absorbed by methane.
Saturn's rings also appear noticeably different from image to image,
whose exposure times range from two to 46 seconds. The rings appear dark
in the 46-second ultraviolet image because they inherently reflect little
light at these wavelengths. The differences at other wavelengths are
mostly due to the differences in exposure times.
The Cassini-Huygens mission is a cooperative project of NASA, the
European Space Agency and the Italian Space Agency. The Jet Propulsion
Laboratory, a division of the California Institute of Technology in Pasadena,
manages the Cassini-Huygens mission for NASA's Office of Space Science,
Washington, D.C. The Cassini orbiter and its two onboard cameras, were
designed, developed and assembled at JPL. The imaging team is based at
the Space Science Institute, Boulder, Colo.
For more information, about the Cassini-Huygens mission visit, saturn.jpl.nasa.gov/ and the Cassini
imaging team home page, ciclops.org/.
credit: NASA/JPL/Space Science Institute
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With the Mask of Absorption and his weapon, the Omnihammer, he set off on a journey to find the Toa and help them find Ekimu.
The Omnihammer was made from the very same element as his mask, which disintegrated into his face.
“Motion is everywhere we look, resulting in the absorption and expulsion of massive amounts of energy. In essence, motion is a visualization of the energies all around us. That’s the major theme of my work: the visualization of the energies in our city. Our city is alive with movement and the exchange of energy. With my photos I hope to convey but a small sense of that. I always strive to capture something more than just colours and sights with my photos, because I think there’s always something more beneath the surface. And in Toronto there’s always something more.”
TECHNICIANS OPERATING THE ATOMIC ABSORPTION SPECTROPHOTOMETER IN THE ANALYTICAL LAB BUILDING
For more information or additional images, please contact 202-586-5251.
“Motion is everywhere we look, resulting in the absorption and expulsion of massive amounts of energy. In essence, motion is a visualization of the energies all around us. That’s the major theme of my work: the visualization of the energies in our city. Our city is alive with movement and the exchange of energy. With my photos I hope to convey but a small sense of that. I always strive to capture something more than just colours and sights with my photos, because I think there’s always something more beneath the surface. And in Toronto there’s always something more.”
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On December 24, 2024, I picked up my venerable Leica M3 year 1956 (see below for details) for a photowalk in Lyon city, France. I went to Fourvière, enjoying a not too cold (6°C) and clear sunny weather.
My Leica was loaded with a 36-exposure Ilford HP5+ film. I equipped the Summicron 2/5cm lens with a Hoya HMC AUV screw-on 39mm protective filter plus the Leitz shade hood for all indoor scenes, and outdoor I mounted a push-on 42mm FOCA (France) Yellow x2.5 filter and a generic cylindrical stainless steel hood that, unfortunately, induced some vignette if not perfectly aligned, that should be corrected during the processing). I should find a 39mm screw-on filter more safe to use with my Summicron 2/5cm,
Expositions were determined for the indicated 400 ISO (28 DIN) using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas and erected for the filter absorption if any.
The outside temperature was about 6°C with a bright sunny weather in the afternoon. Typically exposures outdoor were made at 1/250s with apertures ranging from f/8 to 11 and 1/50s or 1/25s at full aperture f/2 or f/2.8 indoor.
Basilique Notre-Dame de Fourvière***, December 24, 2024
69005 Lyon
France
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*** The Basilica of Notre-Dame de Fourvière is the work of the architects Bossan and Sainte-Marie Perrin. It was built from a public subscription in 1870 and consecrated in 1896. From the top of “the hill that prays”, the basilica dedicated to the Virgin Mary is classified as a historical monument. It is part of the Lyon site registered as a UNESCO World Heritage Site. Today, the emblem of the city of Lyon, the basilica welcomes more than 2.5 million pilgrims and visitors each year.
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After exposure, the film was processed in Adox Adonal (Agfa Rodinal) developper at dilution 1+25 and 20°C for 6 min. The film was then digitized 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 and the lens :
This Leica M3 circa 1956 (Ref. Leitz ISUMO), double stroke, was sold to me with a Leitz Wetzlar Summicron collapsible normal lens 1:2 f=5cm of the same period equipped with a 39mm screw-on protective filter, a 42mm push-on Leica lens cap and an original Leitz shade hood (Ref. Leitz IROOA).
The camera was serviced in Paris, France, in 2018 by Gérard Métrot at Photo-Suffren, (a Leica boutique) who worked on the maintenance of camera's of famous French photographers as Henri Cartier-Bresson and Robert Doisneau. The camera was inspected by Odéon-Photo, Paris, another historic Leica place in Paris, in April 2024.
I sourced at the same time in Germany a stunning Leitz Leica leather bag (Ref; Leitz IDCOO) of the same model that appeared on the back cover page go the Leica brochure year 1954. This bag can accommodate the camera and a mounted Leica-Meter type M. The interior in covered with a carmin velvet in perfect condition.
The Leica M3 is one of the most iconic range-finder 35mm camera of the 50's and the 60's. It was produced in Wetzlar, Germany, in different versions at 226178 exemplars, between 1954 (n° 700000) and 1966 (n° 1164865, www.summilux.net/materiel/Leica-M3) . The Leica M3 was the result of the study of a "super-Leica" that was started before WWII and only achieved in the 50'S.
The greater improvement of the M3 compared the classical Leica's was in a magnificent and very complex range-finder combined to the view finder permitting the framing with the two eyes open, integrating the frame in the real and normal vision. The shutter integrates too the normal and the slow speeds in the same barillet. The film advance of this version of Leica M3 is also the typical "double-stroke" advance that was exclusive to the Leica M3 first versions.
The camera was transported to me from Paris to Lyon, France on April 26, 2024 and the bag arrived the day after.
“Motion is everywhere we look, resulting in the absorption and expulsion of massive amounts of energy. In essence, motion is a visualization of the energies all around us. That’s the major theme of my work: the visualization of the energies in our city. Our city is alive with movement and the exchange of energy. With my photos I hope to convey but a small sense of that. I always strive to capture something more than just colours and sights with my photos, because I think there’s always something more beneath the surface. And in Toronto there’s always something more.”
« Caborne » is the vernacular word used in the Lyon city region, France, to name ancient dry-stones huts that could found in the neighboring massif of the Monts d’Or. Dry-stones huts developed in France a lot at the 18th-19th centuries and are no as old as we could first think. This flourishing age is due to the encouragement of the French Kingdom to clear some forestal domains and later to the development of small vineyard and access to the private property for little farming. Those « cabornes » were constructed following empirical rules and know-how of « caborniers », masons and quarrymen. Quarries of limestone in the Monts d’Or are still visible and gave the materials of most of the buildings erected in Lyon in the past.
Today the « cabornes » attract visitors with their ingenuity and rustic charm, often integrated into hiking trails. They evoke a sense of nostalgia and connection to nature, reinforcing regional and cultural identity. Associations of volunteers are organizing initiatives to inventory, restore and rediscovered the ancestral technics of dry-stone construction. Dry-stone huts are also found in Portugal, Spain, Italy, Ireland, Scotland and Finland as temporary shelter for shepherds and their animals, permanent habitations for monks or agricultural workers, storage and cheese making, etc.
For a third visit, I decided to go especially to the « Cabornes Girard » starting from the village of Saint-Romain-au-Mont-d’Or and using some local hiking trails. I brought along with me my brave French TLR 6x6 SEMFLEX Standard 3.5 camera (see below for details) loaded with a film Svema FOTO 100. My SEMFLEX was equipped with the original Semflex squared shade hood with, or wiyhout,a SEMFLEX yellow filter x2. The film was exposed for 100 ISO (no filter) or 64 ISO to compensate the light absorption of the yellow filter. Metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas or an opale dome for incident light integration. .
View n° 5: 1/50s f/4.5 focusing @ 5m, Semflex Yellow filter x2
Les Cabornes Girard, August 28, 2025
69270 Saint-Romain-au-Mont-d’Or
France
After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 7 min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films. The RAW files obtained were inverted witin Adobe LightRoom Classic (14.5 August 2025) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG together with some documentary smartphone pictures.
About the camera and lenses :
My French Semflex TLR year 1959-1960 is equipped with triplet 1/3.5 f=75mm SOM Berthiot lenses as descripted bellow.
The SEM company ("Société des Etablissements Modernes de Mécanique") was founded in France by Paul Royet in 1946, in the small city of Aurec near Saint-Etienne (Loire). The SEM camera's was known essentially for the TLR Semflex that were a great commercial success in France until the 70's. The camera's are constructed around an injected aluminum alloy chassis, very resistant and rigid permitting precise optical alignments. The focusing mechanism is made of a cam system like the Rolleiflex giving an accurate and smooth focusing. SEM constructed their own shutters called Orec with 5 leaves capable of the 1/400s to 1s with B.
Semflex received in majority French optics Berthiot with 3 or 4 lenses (Tessar type). Some camera's were also mounted with Angénieux lenses.
Semflex were trusted TLR camera's used by amateurs and for professional purposes. From 1949 to 1976, 171.000 Semflex were produced in many different types and versions.
My Semflex in a middle grade version Standard 3.5 type-10 (1959-1960). It was the last version mounted with the 3-lens SOM Berthiot 1:3.5 f=75mm. I got the camera with set of accessories and several documents including the user manual of the Semflex Standard 4.5 versions. The accessories include a leather SEM ever-ready bag, a Semflex push-on shade hood, a Semflex push-on yellow filter x2 in its original box, and close-focusing lenses. The 1D one is constructed with a prism for the finder lens that compensates the parallax in the zone 1m to 0.5m.
The decorative ring around each lenses can also receive push-on accessories in 36mm diameter as the FOCA or Leitz 36mm filter series. I adapted two protective lens caps from Kodak film canister snapped covers.
My photo walk of July 13, 2023, Lyon, France with my FOCA Universel "R", a French range-finder 35mm camera of the 50's fitted here with the Oplar wide-angle lens 1:3.5 f=3.5cm.
My leading idea was to test the black-and-white Adox film CHS 100 II. Adox is one of the oldest photographic products brand in Germany since 1860. Adox CHS 100 II is a very technical film composed of a mix of two emulsions, one ortho and another panchromatic. The resulting sensitivity profile is then bit particular with a drop around 500 nm between blue and green colors. The emulsion is coated on a clear 100 micron polyester teraphtalate (PET) base with two different anti-halation layer, a black one on the film back and a violet one between the PET base and the emulsion mix. This anti-halation are removed par two pre-soaking water bathes of 2min at the temperature of the processing (20°C).
For the whole film the Oplar lens was equipped with a 42mm push-on Foca DYMA filter which was an exclusive filter produced by the French company Optique & Précision de Levallois. Its amber color is in fact resulting of a complex absorption spectrum with several minima in the visible domain due to the use of neodymium in the filter glass. The blue sky is attenuated and yellow tone are nicely separated.
It exposed the 100 ISO film for 32 ISO to compensate the recommended DYMA filter absorption (coefficient. x3.5) using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas. The Oplar 35mm lens was equipped with Minolta D42KA cylindrical shade hood.
Since the Foca Universel R has a finder covering the field only of a normal 50mm lens, framing was achieved using the external Foca multi-focal finder that includes miniature lenses on a rotating touret corresponding the 35, 50, 90 and 135 mm fields.
Focusing was done using the body coupled range-finder that is the characteristic of the "Universel" Foca camera's that couple the range finder to any available OPL Foca lenses with the bayonet mount.
Shutter speeds from 1/100s to 1/40s and f/4 to f/8 were used along the session between 2pm and 4PM and a very bright sunlight.
Place des Terreaux, July 13, 2023
69001 Lyon
France
After exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+50 and 20°C for 13 min. 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.
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 normally equipped with the collapsible OPLAREX lens 1:1.9 f=5cm with the OPL bayonet mount and here with an OPLAR 1:3.5 f=3.5cm wide-angle lens.
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“Motion is everywhere we look, resulting in the absorption and expulsion of massive amounts of energy. In essence, motion is a visualization of the energies all around us. That’s the major theme of my work: the visualization of the energies in our city. Our city is alive with movement and the exchange of energy. With my photos I hope to convey but a small sense of that. I always strive to capture something more than just colours and sights with my photos, because I think there’s always something more beneath the surface. And in Toronto there’s always something more.”
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Bnei Menashe farewell event at Nordiya on March 7, 2021 before they leave the absorption center and move to Nof Hagalil
Products Description:
Item No:JA8032/JA8038/JA8039/JA8051
Series Name:Soluble Salt
Water Absorption :below 0.15%
Mohs Hardness:8
Glossy Rate: above 55 degree
Flatness :+-0.15%
Size Tolarance:+-0.5mm
Size Available:600*600mm,800*800mm;
Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.
Price and Package:
600*600MM : 4PCS/CARTON,30G/CARTON;
Ex-Work Price:10.20RMB/PCS,28.36RMB/SQM;
800*800MM:
3PCS/CARTON,45KG/CARTON;
Ex-Work Price:21.60RMB/PCS,33.70RMB/SQM;
NOTE:
1.The price is based on EX-Work which includes the wooden pallets and VAT.
2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;
3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).
4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:
1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)
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“Motion is everywhere we look, resulting in the absorption and expulsion of massive amounts of energy. In essence, motion is a visualization of the energies all around us. That’s the major theme of my work: the visualization of the energies in our city. Our city is alive with movement and the exchange of energy. With my photos I hope to convey but a small sense of that. I always strive to capture something more than just colours and sights with my photos, because I think there’s always something more beneath the surface. And in Toronto there’s always something more.”
Our stainless steel beer filter housing possess properties of lower absorption, no medium shedding, no leakage, acid and alkali Resistance, and corrosion resistance, with high removal rating and flow rate.
In addition, it is easy to wash and function as back flush, and is ideal filtration equipment for your beer industry.
1. Filter cartridge is adopted a folding one ARLIT pleated membrane filter cartridge. Materials are used PP, PES, PTFE, etc. (It can be not only one filter cartridge used in a filter housing, but also three or five together)
2. Connection form is DOE.
3. Filtering precision: 0.2μm, 0.45μm, 0.65μm, 1μm, 3.5μm, 10μm, 20μm, etc.
4. Length: 10 inches.
5. Flow: 0.5t/h ~ 25t/h
6. Material of shell is adopted imported 304, inner surface is processed by polishing and roughness of inner surface is Ra0.2μm.
“Motion is everywhere we look, resulting in the absorption and expulsion of massive amounts of energy. In essence, motion is a visualization of the energies all around us. That’s the major theme of my work: the visualization of the energies in our city. Our city is alive with movement and the exchange of energy. With my photos I hope to convey but a small sense of that. I always strive to capture something more than just colours and sights with my photos, because I think there’s always something more beneath the surface. And in Toronto there’s always something more.”
The leaves are optically green during the growing season because the broad absorption spectra of chlorophylls removed other wavelengths before they could be reflected to your eye.
The yellow, brown and orange (carotenoid) pigments are always present in the plants; they are not produced seasonally. The red and purple (anthocyanin) pigments are produced in late summer, as a sugar metabolite in the presence of falling phosphate levels. An anthocyanin in grape skins, malvidin, is the red in red wine.
As the chlorophyll disappears, these colors are revealed.
For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)
I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.
The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.
View Nr. 10 : 1/500s f/8 focusing @ 12m
Les Quais du Rhône, February 17, 2025
Quai Victor Augagneur
69003 Lyon
France
After completion, the film was rewound and processed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min15 at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The diffuse light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
About the camera :
After several months, my local repair shop gave up to repair my first exemplary of Leningrad camera. I got that GOMZ Leningrad for less than the price of the lens (50€) a year ago (February 24, 2024, flic.kr/s/aHBqjBftyP) at the monthly collector meeting in Saint-Bonnet-de-Mure, near Lyon, France. I looked then again for a working one.
Leningrad’s are fascinating Russian range-finder 35mm camera’s produced in Leningrad (USSR) / Saint-Petersburg, from 1956 to 1968 at about 76.000 units. It is not really a rare camera but appears only from time-to-time in the classical collector’s networks.
The Leningrad camera project was developed by GOMZ company (ГОМЗ, Государственный оптико-механический завод, Ленинград = Gosularstvennyi Optiko-Mekhanicheskii Zavod =State Optical-Mechanical Factory), Leningrad, USSR. The Leningrad ’s were constructed to a very high degree of precision and likely the most advanced rangefinder ever made at that time in Russia. At the 1958 World Exposition in Brussels, the Leningrad was awarded the "Grand Prix de Bruxelles”. Modified Leningrads were also used in the Soviet space program. In addition to a complex parallax-compensated multi-focal (for 3.5, 5, 8.5 and 13.5cm) collimated system, the camera has a built-in spring-powered mechanical motor for an automated film advance after each view taken. The Leningrad mounts the 39mm Leica-type thread lenses, especially of the Jupiter series of lens derived of classical Carl Zeiss lenses designed for the Contax (Biogon 3.5cm and Sonnar’s 5, 8.5 and 13.5cm).
In 1965, GOMZ became LOMO ( ЛОМО, Ленинградское oптико-механическое oбъединение (Leningradskoïe Optiko-Mekhanitcheskoïe Obiedinienie) that is still existing, producing instrumental optical devices (www.lomo.ru).
On eBay, I focused on a LOMO Leningrad year 1965 in working condition but without the original film plate. I got the camera for 130€ including the leather bag and a standard lens Jupiter-8 1:2 f=5cm. The seller adapted cleanly a different film plate that looked to work, but my idea was to use the camera back of my faulty Leningrad. This film plate may a precision glass plate special designed for optimum film transport and optical planarity. I received my new Leningrad on January 31, 2025 in good condition.
After a very careful inspection and a detailled cleaning, I decided to make a test film using a FOMAPAN 200 black-and-white film. On the Leningrad it is said that there is absolutely no way to check the correct film advance during the shooting session. The rewind should not be up since the mechanical forces induced would be too high for the spring-powered spooling barrel. The film should be also in a quality not too tight film cartridge and should be checked before use. This stressful machine should be manipulated with maximum care when not familiar with it.
About the lens Jupiter-9:
New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).
I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.
Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.
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