View allAll Photos Tagged Digitization
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | Tri-X 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.0 | Lomography
Ilford DDX
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.
The audio digitizing station with an LP player to the left, speakers behind the monitor and the audio stack to the right, inluding a tape deck, an audio to digital converter. The mixer is out of the photo. We used Audacity and Peak 4 on a Mac G4 to digitize most of the audio for our projects. We also did live in-house recording with backup outputs to an external TASCAM CD-writer.
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | Tri-X 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.0 | Lomography
Ilford DDX
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
Digitized with Epson V550 + Negative Lab Pro v2.1.2 | Lomography
Rodinal 1-50
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Digitized with Negative Lab Pro v2.1.2
Leica M6 | 21mm Color Skopar 3.5 Voiglander | Kodak TriX 400
Digitized with Negative Supply
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: Linear + Gamma | WB: None | LUT: Frontier
A photo session at the Gerland Stadium, Lyon, France, on April 2, 2024.
I was equipped of my KW Praktina IIa mounted with the Carl Zeiss Jena Flektogon 35mm lens.The camera was loaded with a 36-exposure Ilford FP4+ film . No filters were used during the whole session. Expositions were determined for 125 ISO using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas.
Shutter speeds of 1/125s or 1/250s were used with aperture from the full aperture f/2.8 to f/16.
Stade de Gerland, April 2, 2024
69007 Lyon
France
After exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+25 and 20°C for 9 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.
History of the stadium (Wikipedia) :
In 1910, the mayor of Lyon, Édouard Herriot, came up with the idea to develop and build a sports stadium with an athletics track and a velodrome in the city. In 1912, the stadium was officially mandated and local architect Tony Garnier was given the reins to designing and constructing it. Construction began in 1914 with hopes that the stadium would be completed before the International Exhibition of 1914. However, due to World War I, construction was temporarily halted, but resumed following the wars conclusion in 1919 with the assistance of a large number of German POWs. By 1920, the stadium was completely functional. In 1926, the Stade de Gerland was inaugurated by Herriot.
The stadium originally had a cycling track, but it was removed in order to increase the seating capacity to 50,000. In 1984, minor renovations were made to the stadium by architect Rene Gagis in order to bring the stadium up to standards for UEFA Euro 1984. This included construction of the Jean Bouin and Jean Jaurès stands. Further renovations were needed to prepare the stadium for the 1998 FIFA World Cup, as by that time FIFA had mandated that all stadiums used for international matches, including the World Cup, had to be all-seated. The north and south stands were completely dismantled and rebuilt, the Jean Jaurès and Jean Bouin side stands were untouched and the athletics track that had remained, even after the cycling track had been removed, was taken out. The renovations were done by architect Albert Constantin. The new incarnation of Gerland had a maximum capacity of 40,500.
From 1950 to 2015 the stadium was home to French professional football club Olympique Lyonnais. Lyon moved into the stadium as a result of splitting from the Lyon Olympique Universitaire sport club, which played at the Stade des Iris. Its record attendance for a Ligue 1 match is 48,552 set during a match between Olympique Lyonnais and Saint-Étienne in 1982.
Today the Stade de Gerland (known for sponsorship reasons as Matmut Stadium de Gerland and otherwise known as Municipal de Gerland or Stade Gerland [stad ʒɛʁlɑ̃]) is a stadium in the city of Lyon, France, which serves as home to Top 14 rugby club Lyon OU. It has a seating capacity of 25,000.
Situated in the Gerland quarter, it was used by French professional football club Olympique Lyonnais, who moved to the newly constructed Parc Olympique Lyonnais in 2016. Local rugby union club Lyon OU moved in beginning of 2017, replacing their much smaller stadium Matmut Stadium. The stadium's capacity was also reduced from 43,000 to a more reasonable 25,000.
The Stade de Gerland is listed as a Category three stadium by UEFA's standards and has hosted matches for the 1954 and 1972 Rugby League World Cups, UEFA Euro 1984, the 1998 FIFA World Cup, and the 2007 Rugby World Cup.
The stadium has hosted concerts by many famous artists, including The Rolling Stones, Michael Jackson, David Bowie, Pink Floyd and Genesis.
About the lens :
This Carl Zeiss Jena Flektogon 1:2.8 f=35mm retrofocus lens has the semi-auto diaphragm preselection system (SB Spring Blende) that is not operated by the IIa version of Praktina camera's but some early preceeding versions of Praktina FX series (see www.praktina.com). However one could operate manually the diaphragm without preselection. This version of the Praktina Flektogon has no filtrer screwing mount and should use push-on filter with a diameter of 51mm.
The Carl Zeiss Jena Flektogon was a first "retrofocus" design specially calculated for SLR camera's (zeissikonveb.de) In France, Pierre Angénieux conceived at the same time and independently the famous "Retrofocus" type-11 (f=35mm) lens solving by this way the problem of wide-angle lenses for SLR including an extra "dead" distance due to the reflex mirror chamber.
About the KW Praktina IIa :
The Praktina IIa followed in 1958 the Praktina FX designed by the prestigious KW (Kamera Werk Niedersedlitz) German company in Dresden.
This specimen is the version 2 (code 110) produced at about 25.000 exemplars from June 1958 to Mai 1960. Praktina camera's were very high grade precision and quality machines much more sophisticated than the Praktica and the Praktiflex also produced by KW. Praktina was a "system" SLR 35 mm camera with a an impressive range of possible accessories and lenses including large capacity 17m film back and several motors.
My camera came with the mechanical 12-view motor and two Carl Zeiss normal lenses : a Tessar 1:2.8 f=50mm and a Flexon 1:2 f=50mm. This later Flexon lens was designed for the Praktina by Carl Zeiss Jena to modernize the old Biotar 1:2 f=58mm and to fulfill a more closer definition of a "normal lens" to the focal of 50mm. The lens is also much more compact. It was soon renamed "Pancolar" by Zeiss later on.
The Praktina has its own bayonet mount that ressemble a bit to the Canon FD mount with a locking ring on the camera body. The mount has a very large diameter. The IIa model has a new fully automatic diaphragm stop down system. With the Zeiss Flexon, the iris preset is indeed like with a modern camera.
Praktina is a completely different camera compared to the Praktica IV. The body is very well equilibrated and more compact not very far for the Olympus OM-1. The design looks particularly modern and the camera is particularly pleasant to manipulate.
The productiotn suddenlty stopped in May 1960 after the governmental decision to drop down the imposed prices of all camera's DDR by 30%! Praktina was then likely too expensive to be produced normally. As consequence, the less expensive and less performant Praktica's continued when KW became part of the VEB Pentacon.
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
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
Digitized with Negative Supply + Negative Lab Pro v2.1.2 | Lomography
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | Tri-X 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.2 | Lomography
Ilford DDX
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | Tri-X 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.0 | Lomography
Ilford DDX
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
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | Tri-X 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.0 | Lomography
Ilford DDX
Carefully holding the copy in the book scanner; the glass goes almost to the edge which allows one to scan books without breaking the binding. My fingertips are also holding the cover so that it does not press down on the fragile spine.
My photowalk of October 22, 2024 down the hill of La Croix Rousse, in Lyon, France.
The Zenza Bronica S2A camera (see details below) was equipped of the Nippon Kogaku (Nikon) wide-angle lens Nikkor-H 1:3.5 f=50mm and loaded with an Ilford HP5+ 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
View Nr. 11 : 1/250s f/8 focusing @ infinite
Montée de l'Amphithéâtre - Mairie du 1er arrondissement, October 22, 2024
69001 Lyon
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 6min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
About the camera :
The Zenza Bronica’s S (ゼンザブロニカ) were often referred to the « Japanese Hasselblad ». Conceived in the year 50’s (Bronica D, 1959) was manufactured in ToKy,o Itabashi-ku, Minami-Tokiwadai with the Japan engineering spirit of that time : « we wlll do as … in better! »; The Bronica (ETR, SQ series) camera’s were progressively discontinued twenty years ago between 2002 and 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. The S2A is still a focal-plane shutter camera with automatic diaphragm and automatic film back coupled to the shutter cocking through a re-arming crank. Bronica were equipped either with Nikon Nikkor lenses, Zenzanon of Komura optics.
I got this exemplary from a French eBay auction for a quite reasonable price, equipped with a Nikkor-P normal lens 1:2.8 f=75mm, a generic 67mm lens cap, and a neck/shoulder Bronica strap. I found at my monthly trade -exchange photo meeting new-old stock 67mm filters (Hoya HMC anti-UV, Yellow K2, and a Zenzza Bronica Skylight 1A) and two shade shade hoods (one generic foldable and a rigid metal Zenza Bronica Japan). I also found a nice storage box 15x20x20cm to store the machine with silica-gel protectant.
The camera fit in my ThinkTank Retrospective 5 usual bag as easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
About the lens:
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
Edited Digitized Sky Survey 2 image of the widefield around the galaxy NGC 2525 (blurry blob near the center) where a supernova recently exploded. Inverted grayscale variant.
Original caption: Pictured here is the region surrounding NGC 2525. Located nearly 70 million light-years from Earth, this galaxy is part of the constellation of Puppis in the southern hemisphere. Hubble has captured a series of images of NGC2525 as part of one of its major investigations; measuring the expansion rate of the Universe, which can help answer fundamental questions about our Universe’s very nature. ESA/Hubble has now published a unique time-lapse of this galaxy and it’s fading supernova. This view was created from images forming part of the Digitized Sky Survey 2.
Pictured here is the region surrounding NGC 2525. Located nearly 70 million light-years from Earth, this galaxy is part of the constellation of Puppis in the southern hemisphere. Hubble has captured a series of images of NGC2525 as part of one of its major investigations; measuring the expansion rate of the Universe, which can help answer fundamental questions about our Universe’s very nature. ESA/Hubble has now published a unique time-lapse of this galaxy and it’s fading supernova. This view was created from images forming part of the Digitized Sky Survey 2.
This is the test film of my recently acquired Praktica IV camera. For the test, I choose the normal lens of my Asahi Pentax Spotmatic that fits perfectly to the Praktica. The lens can be used in its "Auto" mode. The diaphragm is stopped down automatically to the selected aperture value by pressing the shutter release.
The Praktica camera was loaded with a 36-exposure Fomapan Creative 200 and exposed for 160 ISO. Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. The weather was relatively clear (15h-16h30) giving typical exposures of 1/100s at f/8.I tested here the "high-speed" values 1/50s, 1/100s, 1/200s and 1/500s. I used the regular protective Skylight 49mm filter and the original Asahi shade hood specifically designed for the lens.
February 2, 2024
69001 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 5min.
The film was then digitized 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 printing framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
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About the camera :
I got the camera body Praktica IV and a set of related KDH Leipzig accessories from an eBay seller near Paris, France.. The whole arrived to me on January, 31, 2024, in Lyon, France.
The Praktica IV was designed by the prestigious KW (Kamera Werk Niedersedlitz) German company in Dresden on the basis of their previous Praktica FX SLR camera's. The camera was produced first under the KW name starting from June 1959 then in the Kombinat VEB Pentacon after the merge of the company in 1960.
166.800 Praktica IV and V (6 models) were produced until January 1966. Praktica IV essentially incorporates a condenser focusing screen plus a pentaprism. Due to the Praktica FX architecture the Pentaprism looks protruding from the camera body with an unusual style. It fits lenses with M42x1 mount and the mirror has no automatic return. The shutter is made of two horizontal curtains of rubberized fabric giving 1/500s to 1/2s plus B in two registers of slow speeds (1/2s to 1/10s) and high speeds (1/25s to 1/500s). The film is advanced coupled to the shutter cocking using either the right upper button or the rapid lever underneath the body.
The Praktica IV handles the "Auto" M42 lenses with the lever for automatic iris closing upon the release. Sequentially, when pressing the shutter release button, the diaphragm closes to the indicated value, the mirror is lift-off and finally the shutter is erased at the given value. If a non-auto (manual closing) M42 is used the pushing lever could be cancelled (declutched) moving a small red button to the right in the mirror chamber.
The camera camera came without lens but with a body cap and the original ever-ready leather bag with et "Ernermann tower" Pentacon logo. This model is likely the second Praktica IV essentially the same as the initial KW one with a different front plate. The camera was likely art of a collection and is completely preserved without use marks.
The KDH Leipzig (Kurt-Dieter Huffziger Foto- und Kinozubehör) accessories set included:
-A panoramic tripod head
-A set of three extension tubes M42x1)
- A big aluminum shade hood (screw-on 49mm) for wide-angle lens.
- A M42x1 metal body cap in its original box.
- An accessory shoe fitting the the Praktica IV eye piece.
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About the lens :
For the test film I equipped the Praktica IV with a normal lens from Asahi Optical Company (originally (旭光学工業株式会社, Asahi Kōgaku Kōgyō Kabushiki-Gaisha) Super-Takumar 1:1.8 f=55mm (screwing M42 mount). The lens came with my ASAHI PENTAX Spomatic SP (acquired in July 2022) camera produced in Japan from 1964 to 1971.
Condition: New Size: 7.0″ Type: Touch Digitizer
We sell brand new screen touch panel for Samsung Galaxy Tab 4 SM-T230 tablet. It is high quality replacement digitizer. It comes with 1 year warranty and price is very competitive.
On display at the National Audio/Visual Conservation Center (NAVCC), Library of Congress Packard Campus, Culpeper, VA, for members of the Association for Recorded Sound Collections (ARSC).
89416972 :Piction ID--Convair F-106A shelly unit 03/06/1957---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