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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
Place Colbert, January 29, 2025
69001 Lyon
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 ("ФÐД", "ФÐД-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.
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 Deep | WB: None | LUT: Frontier
Digitized with Negative Lab Pro v2.1.2
Olympus Pen F Half Frame | Ilford HP5 400
Digitized with Negative Lab Pro v2.1.2
From back of photo: "Daughter of Jennie Gleeson Wescott. Sister of Charles C. Gleeson, Sr. Mabel Wescott. Cousin of Emma Gleeson."
192--I003
Mabel I. Wescott Applegate, 1904-1972
From back of photo: Uncle Tone and Aunt Emma Campbell lived in Pullman, N.J. Emma Gleeson Campbell, sister of Charles Gleeson, Sr. Aunt of Emma G. DeHart."
189--I007
Anthony B. Campbell, 1854-1929
Emma Gleeson Campbell, 1858-1942
On Saturday November 29, 2024. I went to Saint-Bonnet-de-Mûre, near Lyon, France for the last monthly meeting of camera collectors. I found there a stunning lens AF-Nikkor 1:1.8 f=85mm for my Nikon F4 (year 1989). There was also the same lens in the "D" version appeared in 1995 with the Nikon F5. "D" stands for "Distance" that is coded in this Nikkor lenses series and used for the 3D-matrix metering of the Nikon F5. I choose better the non-"D" significantly less expensive and that match better with the period of my Nikon F4 body. I found also a nice small Nikon shoulder bag all black, that I found discrete enough to carry the heavy and massive Nikon F4 that weight more than a medium-format camera.
After detailing the lens and checking the correct functioning fitted to the camera, I loaded on Monday December 2, 2024 an
Ilford HP5+ with the DX coded nominal 400 ISO film sensitivity. Due to some other businesses that took longer than expected, I had to wait a couple of days before going quietly to the "Parc de la Tête d'Or" for testing the lens.
The AF Nikkor lens 1:1.8 f=85mm was fitted with a protective Hoya Skylight (1A) 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. For focusing I used either the single autofocus mode or the manual mode on complicated scenes inside the tropical green houses. As for my medium-format sessions, I took a bit of time to note on a session ticket the main parameters (shutter speed, aperture, focusing distance, flash control mode, etc). When indicated, I used also my Nikon Speedlight SB-26 in the TTL mode.
Documentary smartphone picture
La Saône au matin, December 2, 2024
Pont. Maréchal de Lattre de Tassigny
69009 Lyon
France
After completion at view 37, the film was rewound using the rewinding motor (lever R1 then lever R2). During the film rewind (manual or auto) the view counter decrements and I switched-off the R2 lever just arrived at -2 to keep the leader out of the cartridge. I then processed the film developed using 300 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 6min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows 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) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
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About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
From back of photo: "Mother's Day, May 1948. Jim, Mother, Kitty (preg)."
James H. Gleeson, 1912-1986
Lydia P. Eastlack Gleeson, 1872-1953
Mary Kathryn (Kitty) Pryor Gleeson, 1927-2015
From back of photo: "Emma Gleeson (DeHart). Age 14."
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Emma Campbell Gleeson DeHart, 1904-1995
My brother has always been much more serious than I... I think he felt I exhibited enough of the 'sillies', that he didn't need to.
I've always loved this picture of Chris because it shows he had a bit of humor, dressing up as one of the Blues Brothers for a Halloween party.
From back of photo: "Florence B. Gleeson. Daughter of Lydia and Charles Gleeson. Syracuse College. Aunt Ted. For Florence."
1924-I005
Florence (Ted) Budd Gleeson, 1901-1980
From back of photo: "Age 24. Summer of 1922. Brother Charles, Uncle to Florence and Dolly. Died August 29, 1950. Husband of Irene W. Gleeson. Father of Pauline G. Hall, Patsy G. Spears. Taken before marriage. Gilbert & Baem. 1922"
1922-I001
1922-I002
Charles C. Gleeson, Jr., 1897-1950
Addition to existing slide duplicator with a series VII adapter & extender for macro lens of digital SLR camera can be also used to digitize 35mm negatives.
[end caps made from modified food jar metal lids]
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 | Leica 35mm f/2.0 SUMMICRON-M Aspherical | Kodak TriX 400
Digitized with Negative Lab Pro v2.1.2
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
Unretouched scan of a negative from my first test roll in a Leica M2 discovered among source material while digitizing photos for the Floyd R. Whitmore Public Domain Photo Archive. I am donating this photo to the public domain in keeping with the spirit of that archive project. This photo was taken near Atlanta, GA in April, 2024.
From back of photo: "Lydia Gleeson (Warrington). 9 months. Aunt Lydia. Original Fowler Studio. 238 N. Eighth St. Philadelphia."
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Lydia Gleeson Warrington, 1899-1988
From back of photo: "Frances Platt, Mildred Allen, Emma Gleeson (DeHart). 1st cousins. This picture is for Emma. -Mother-. J. H. Elton, Pitman, New Jersey."
191--I009
Frances E. Platt DeHart, 1906-1930
Mildred Allen Moore, 1902-1954
Emma Campbell Gleeson DeHart, 1904-1995
Test film of my Carl Zeiss lens Sonnar CF T* 1:4 f=150mm (year 1982) for the Hasselblad.
I received this second jewel lens for my Hasselblad Camera 500 C/M with it the favorite long focal lens for many Hasselblad users. The lens is as a new, in a mint condition both mechanically and optically. It came with its two original caps and the original Hasselblad shade hood 100-250mm. For the test, I equipped the Sonnar with a Hasselblad UV-SKY (1A) multicoated protective filter with B60 mount.
The Hasselblad Camera 500 C/M was fitted with a A-12 film back (year 1977) loaded with a Kodak Professional Tri-X film that I exposed for 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's or by measuring the incident light with the opalescent dome.
View Nr. 2: 1/500s f/8 focusing @ ??m
Parc de la Tête d'Or, September 28, 2024
69006 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 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+50 and the film processed for 14min 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 LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
About my Hasselblad 500C/M:
I remember that somewhere around 2002, I considered to buy a Hasselblad camera. I gave up because I had no more access to a darkroom and I found too complicated to recreate one or to delegate the processing to a service lab. Afterward, I started digital photography that distracted me to operate again with films until more recently. It is only when I could manage in 2022 a reliable and quality way to exploit my negatives in a reasonable time, that I really could enjoy again of analog photography.
On July 17, 2024, I decided to buy "my" Hasselblad in a very traditional way, almost as I could in the 90’s, in a local real photographic store, Lyon, France. The store « Carré Couleur » of Jacques Larger, rue Servient, Lyon, France, is a long-time specialist of professional medium-format camera’s including Hasselblad ones. They had on display several revised and 6-month guaranteed camera’s and a large choice of lenses and accessories.`
I choose a 500 C/M year 1978 and a Carl Zeiss lens Planar T* 1:2.8 f=80mm of the CF series year 1986, plus a small set of little Hasselblad goodies. The 500 C/M is totally mechanical without any electrical nor electronic circuitry. The 500 C/M's were produced in Göteborg, Sweden, from year 1970 to 1994. They followed the production of the 500C camera’s (1957-1970). The latest V-series camera (503 CX, CW, CWI etc) ceased in 2006 and Hasselblad then produced only digital camera’s but also digital camera backs that could fit to the V-series includingbthis 500 C/M (www.hasselbladhistorical.eu/HS/HSTable.aspx)
This CF lens series has central shutter Prontor (Synchro-Compur for the earlier Zeiss series). They are more cylindrical than earlier series and equipped of the proprietary bayonet filter mount B60. The delayed shutter realease was also abandoned. The focusing screen is the « Bright » series with the Dodin stigmometer in the screen centrer and the squared cross-ruling lines. Later 501 and 503 were basically equipped with an even more brighter screen called « Acute-mat ». The camera back could dated from year 1977 is an « A-12 » back « A » standing for « Automatic ». The film advance automatically stops at view 1 with view counter on the right camera side.
After a complete demo by Jacques Larger, I studied the camera manipulation at home with the user manual in hand (an original edition of 1980) before doing the decisive « film d’essai » (test film) on a sunny morning of July 20, 2024.
The results show very high-quality, highly-contrasted negative views, perfectly exposed and spaced proving the good technical state of the camera, film magazine, and the lens/shutter.
On sept. 2, 2024, I received from a French specialist of collection camera's, a second film magazine Hasselblad "A12". This back is in a pristine condition and matches the production year 1978 (Hasselblad letter coding "UR") of the 500 C/M body.
The camera back is like a new with almost no signs of use. It arrived in its original Hasselblad box including the original user manual too. The film insert has latest 3 digits matching the film magazine serial number, that is not the case of the other magazine. Unmatched magazines and inserts, are very common and assumed not to be a technical problem, but Hasselblad maintained the pairing of the insert magazine to ensure to the customers of the best attention to the precision of the film plane.
From back of photo: "Florence Gleeson. Age 18. Woodbury High School Picture."
191--I003
Florence (Ted) Budd Gleeson, 1901-1980
Congressman Glenn Ivey (D-MD) makes remarks at the opening of the new Digitization Lab at the National Archives at College Park, MD on April 12, 2024. National Archives photo by Susana Raab
From back of photo: "Frank Brumsfield, Ben Thomas, Howard Gleeson"
193--I018
possibly Frank Brumfield, 1892-1963
possibly Benjamin Franklin Thomas, Sr., 1900-1984
Howard W. Gleeson, 1904-1967