View allAll Photos Tagged Digitization
(l. to r.) Aaron Hershkowitz and Rick Hale, PhD students in the department of Classics, hold the Badian Coin collection
news.rutgers .edu/ news/rutgers-digitizes-roman-coin-collection-making-it-accessible-world/20180314#.Wq8A_yjwaAv
Digitized from slide. Original image taken on Olympus OM20. Digitized using Nikon D7200 with 60mm macro lens and ES-1 slide adaptor. Capture time and date approximate.
ST200X scanner equipment will scan roll film, slides, etc. and includes a flatbed scanner for photos, papers and book pages. The software includes editing capability, and ability to upload files or save them in several electronic formats.
The equipment takes some practice to learn, and it is easy for occasional users to forget how to manipulate the files.
The New Jersey National Guard’s 3rd Battalion, 112 Field Artillery trains on upgraded, digitized howitzers during an August 2015 live-fire event at Joint Base McGuire-Dix-Lakehurst, New Jersey. Crews can emplace the new, digital howitzer much more quickly, then fire rounds faster and with more accuracy. (Photo by Audra Calloway, Picatinny Public Affairs Office)
Digitized with Negative Lab Pro v2.1.0
Yashica Mat 124 G | Fomapan 400
Digitized with Negative Lab Pro v2.1.0
Rodinal 1-25
Digitized from slide. Original image taken on Olympus OM20. Digitized using Nikon D7200 with 60mm macro lens and ES-1 slide adaptor. Capture time and date approximate.
Digitized Digital Design Conference 2012
September 15th 2012, Athens, Greece
Photo credits:
Chryssa Gagosi bit.ly/gchryssa @chryssa
Panos Georgiou panosgeorgiou.blogspot.gr/ @panosgeor
88764861 :Piction ID--Components attached to panel---Please tag these photos so information can be recorded.---- Digitization of this image made possible by a grant from NEH: NEH and the San Diego Air and Space Museum
The explosion of content on the Internet has many media companies racing to experiment with new forms of media and tackling ever more complex modes of distribution across myriad devices. But a lingering question for many media companies is around how to apply technologies to digitize and exploit archival content. Whether video, photography, or text, many of New York’s biggest media companies are grappling with how to take advantage of what seems a huge opportunity.
To dig deeper and get a sense of how NYC’s major players were contending with this issue, we gathered a panel to share their perspectives during our Internet Week event, The Value in the Vault, hosted at Shutterstock the evening of May 22. The panel included Jim Chou, CTO at Shutterstock; Marc Frons, CIO at The New York Times; Mona Jimenez, Associate Arts Professor and Associate Director, Moving Image Archiving and Preservation Program at NYU Tisch; Owen Rambow, Co-Chair, New Media Center, Institute for Data Sciences and Engineering at Columbia University; and Dirk Van Dall, VP, Multimedia Technology Development at Major League Baseball Advanced Media.
Read our takeaways and favorite tweets from the event at medium.com/@nycmedialab/a123a8245c3e.
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In France,at century 19, the French military strategy included the heavy defense of main cities like Lyon. Lyon was defended by 17 different forts located in two concentric defense lines. This time, on January 28, 2025, I went especially to Dardilly, about 15 km away, north to Lyon to see the Fort du Paillet. However the weather soon degraded and my photo session was shorter than expected. The film was completed the day after in Lyon and along the Saône river going to La Mulatière by bicycle with a more pleasant sunny weather.
I used my Zorki version-1 type-D camera (year 1955, see the details given below)) equipped its Industar-22 1:3.5 f=5cm standard lens. With sunny weather on January 29, 2025, I exchanged the anti-UV 36mm push-on filter by a Yellow x2.5 FOCA filter. For the whole views the lens was also protected of parasite lights with a generic cylindrical stainless steel hood (36mm push-on too).
I had the bad idea to pick up in my fridge a Svema (Свема) FOTO 200 film probably of the same batch as the one done in 2022 (flic.kr/s/aHBqjAsaLd). This batch was badly damaged on the second half of the film and this cartridge too. Here, I succeeded to salvage 20 frames to be presented, the rest is so affected by the degradation of the emulsion (see the contact sheet provided). What is more the cartridge was so hard to unroll that I had to move the spool in a similar reusable 135-format cartridge... Still, I noticed during the photo session that the advance was irregular.
Svema FOTO 200 is a super-panchromatic film coated on a very thin polyester flat base that looks very closed to the aerial film Agfa Aviphot 200. The film an extended sensitization in the red to the near IR at 780 nm, The film was exposed for 160 ISO using a Minolta Autometer III and its 10° finder for selective measurements privileging the shadows zones of the scenes.
Typically, with poor light conditions and AUV filter, exposures were at 1/60s f/4.5. With sunshine, and the yellow filter I exposed for 80 ISO giving 1/100s and f/8 or f/11
Fort du Paillet, January 28, 2025
69570 Dardilly
France
After exposures the film was processed using Adox Adonal (equivalent to Agfa Rodinal) developer at dilution 1+50, 20°C for 14min according to data found on www.digitaltruth.com).
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 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 14.1.1) 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.
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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.
This is the pictures related to the test of my Zenit SLR camera received on June 20, 2023, Lyon, France.
I bought this mint exemplary of Zenit 122 to a French collector for less than 50€ including the original nylon bag, the Zenit neck strap and the normal lens Helios 44M-6 1:2 f=58m with its front cap.
My exemplary of Zenit-122 was produced in 1994 by the Russian company KMZ (Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. Zenit-122 were also manufactured by BeloOMO factory. From 1990 to 2005, about 2 millions of Zenit-122 were overall produced. The camera is built on the tough previous Zenit chassis and uses the same curtain Leica-type shutter with no slow speeds. The body is cased with ABS (Acrylonitrile Butadiene Styren) thermoplastic. Zenit-122 is equipped with a two CdS cells for light metering (25-400 ISO) using a LED indicator in the viewfinder.
The normal lens fitted on the camera using the M42 mount is the multi-coated version 6 of the Helios 44M manufactured at Юпитер, (Оптико-механический завод «Юпитер» , "Jupiter") Valday, Novgorod region.
After initial blank evaluations of the camera, I loaded a Fomapan 100 panchromatic film that I exposed for 100 ISO using either the camera light meter and my Minolta Autometer III with its 10° finder for selective light metering privileging the shadow zones. The indications of the Zenit camera were in good concordance with the Minolta Autometer. The lens was equipped with a Kenko MC UV filter and a normal-lens generic cylindrical 52mm diameter.
Montée de la Grande Côte, June 21, 2023
69001 Lyon
France
After exposures the film was processed using Adox Adonal developer (equivalent to Agfa Rodinal) at dilution 1+50, 20°c for 9min. The film was then digitized at 24MP 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 then 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.
Digitized from slide. Original image taken on Olympus OM20. Digitized using Nikon D7200 with 60mm macro lens and ES-1 slide adaptor. Capture time and date approximate.
Digitized slide from ~1981
Check this baby out on Google Maps (or GE). On the north side, there's a lava flow coming out the base.
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.
Documentary smartphone picture
My Leica fitted with a FOCA yellow filter and a Genaro stainless steel hood (not recommended causing some possible vignette)
December 24, 2024
69005 Lyon
France
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.
weapons: dual long-swords, shoulder mounted digicannon
special abilities: data shield, spiked shoulders, team member digitizer
when fully digitized, all objects can go through him. he uses this ability to break through defenses or avoid heavy damage
Digitized Digital Design Conference 2012
September 15th 2012, Athens, Greece
Photo credits:
Chryssa Gagosi bit.ly/gchryssa @chryssa
Panos Georgiou panosgeorgiou.blogspot.gr/ @panosgeor
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Digitized Digital Design Conference 2012
September 15th 2012, Athens, Greece
Photo credits:
Chryssa Gagosi bit.ly/gchryssa @chryssa
Panos Georgiou panosgeorgiou.blogspot.gr/ @panosgeor
Digitized slide taken in 1973. A view of Finchingfield village green facing north. The double gabled house near the center of the picture was owned by Col. Godfrey Branston (ret) and we were fortunate to rent the annex (old converted stables) just to the left of it. It sat on several acres and had showplace type gardens.
Digitized with Negative Lab Pro v2.1.2
Leica M6 | 28mm f2.8 Elmerit Digitized with Negative Lab Pro v2.1.2 28mm f2.8 Leica | Kodak TriX 400
Scanned with Epson V550 | Lomography
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: Frontier
I visited Yellowstone in the summer of 1993. It was a very beautiful National Park with many geysers and wildlife animals. The pictures I took were slide films. I just digitized them. The digitized copy is not the same quality as original, but at least I have a digital image.
Yellowstone National Park is located in the western United States, with parts in Wyoming, Montana and Idaho. It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. In 1978, Yellowstone was named a UNESCO World Heritage Site.
Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. The park is known for its wildlife and its many geothermal features, especially Old Faithful geyser, one of its most popular. Half of the world's geysers and hydrothermal features are in Yellowstone, fueled by this ongoing volcanism. Yellowstone Park is the largest and most famous megafauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.
Yellowstone National Park spans an area of 3,468.4 square miles comprising lakes, canyons, rivers and mountain ranges. Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest super-volcano on the continent. The caldera is considered a dormant volcano. The park contains 290 waterfalls of at least 15 feet, the highest being the Lower Falls of the Yellowstone River at 308 feet.