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I have the feeling the dog's name is Buddy -- but I don't know for sure. I think this picture is from Walkerton Ontario.
From back of photo: "Ernest DeHart. Laura Nonamaker. Home."
Laura L. Rambo Nonamaker, 1898-1955
Ernest R. DeHart, 1903-1991
From back of photo: "Emma G. DeHart. Age 49. Oct. 23, 1953. Mantua Grove School. Mother of Florence D. Burns. Ernestine Ann (Dolly) D. Renaud."
Emma Campbell Gleeson DeHart, 1904-1995
Check out embroidery digitizing samples of the work done by our experienced embroidery digitizers for customers worldwide.
From back of photo: "Ted's last Christmas with us. Died November 16, 1980. Christmas, 1979. At Jim & Kitty's home. Christiane, Aunt Ted, Emma, Florence Burns, Aunt Kitty."
possibly Christiane Brison Pryor, 1924-1987
Florence (Ted) Budd Gleeson, 1901-1980
Emma Campbell Gleeson DeHart, 1904-1995
Florence L. DeHart Burns, 1934-
Mary Kathryn (Kitty) Pryor Gleeson, 1927-2015
Fine detail embroidery designs are becoming refined, improved and also increasingly popular. They turn out pretty great but they also make the process complex for embroiderers and embroidery digitizers.
When you finally get past the Security Theater, the terminal concourse greets you with this nifty mirror sculpture on the wall. Makes for some interesting self-portraiture.
From back of photo: "Florence, 10 yrs. Dolly, 9 yrs. DeHart."
Ernestine (Dolly) DeHart Renaud, 1935-2024
Florence L. DeHart Burns, 1934-
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
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 v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: Frontier
From back of photo: "Florence & Dolly DeHart. Jim Gleeson, Mother Gleeson, Gail Gleeson. June, 1948."
Florence L. DeHart Burns, 1934-
Ernestine (Dolly) DeHart Renaud, 1935-2024
Lydia P. Eastlack Gleeson, 1872-1953
James C. Gleeson, 1939-2012
Gail Gleeson, 1943-
The Chartreuse Mountains (French: "Massif de la Chartreuse" [masif d(ə) la ʃaʁtʁøz]) are a mountain range in southeastern France, stretching from the city of Grenoble in the south to the Lac du Bourget in the north. They are part of the French Prealps, which continue as the Bauges to the north and the Vercors to the south. Chartreuse is one of my preferred site for enjoying a simple excursion in the Alps for a half day coming from Lyon city.
Chartreuse is shared between the Dauphiné and Savoie and the former border between France and Savoie is still observable is some places and monuments in the Entremont area (Les Echelles, Saint-Pierre-d’Entremont).
On June 16, 2025 I decided to return there for the first time with a film camera with my FED-4 (see below for details about) equipped of another standard lens FED Industar-L61 1:2.8 f=53mm (the one of my other FED-4 that has the lens Nr. 8711586). For all the views, the lens was equipped with 42mm push-on FOCA orange filter x3.5, and a Genaco cylindric stainless-steel shade hood conceived for a lens around 45mm focal length.
The film used was a 36-exposure Rollei RPX 100. Expositions were determined for 40 ISO to compensate the absorption of the orange filter, using a Minolta Autometer III lightmeter fitted with a 10° finder for selective metering privileging the shadow areas.
View Nr. 3: 1/60s f/6.3 focusing @ 6.3, FOCA orange filter
Eglise Notre-Dame d'Epernay (constructed from 1844 to 1850), June 16, 2025
Route de l'Eglise
73670 Entremont-le-Vieux
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 9min 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 14.3.1) 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.
About the FED-4 camera :
In the USSR, the first 35 mm camera was the FED, first produced in the 30’s by the F. E. Dzerzhinsky Labour Commune in Kharkov, Ukraine. The FED was a straight reproduction of the pre-war Leica IIc. After WWII the production of camera’s was restarted in Kharkov and FED produced a first completely new model in 1955 with the FED-2 that was produced until 1970 under different versions.
The FED-4 is the fourth model of the FED produced at about 633.000 units in Kharkov from 1964 to 1980. With the FED-3 and the FED-4, the camera inflated in size and weight in a less streamlined and less elegant design. The large-base range finder returned to a narrower basis.
The second version of the FED-4 (1969-1980) , the film is now advanced by a modern lever mechanism instead of a rotating button. The shutter could be now operated in the slow-speed (1/15s to 1s) range. The camera integrated a selenium photo-cell lightmeter with galvanometer. The normal lens Industar-61 1:2.8 f=52mm is also a Tessar type lens, its version « L» includes special glasses with lanthanum improving the lens performances. The FED-4 was largely exported a sold under different brand names as « Revue » the brand of the Photo-Quelle in west Germany.
I found my FED-4 version-2 for 25€ in June 2025 from a French eBay seller, with the Industar lens and the leather bag. After a complete detailing, the camera turned to be « as a new » and in a stunning mechanical and optical conditions. The range finder was still correctly aligned and calibrated and the selenium cell still operating giving correct values compered to my other trusted light meters.
From back of photo: "Ernest, Dolly, Florence, Emma. 1949."
Ernest R. DeHart, 1903-1991
Florence L. DeHart Burns, 1934-
Emma Campbell Gleeson DeHart, 1904-1995
Ernestine (Dolly) DeHart Renaud, 1935-2024
From back of photo: "Taken at Paulsboro. Laura Nonamaker's. Feb. 1950. Emma Gleeson DeHart, Dolly DeHart, Florence DeHart, Ernest R. DeHart."
Ernest R. DeHart, 1903-1991
Florence L. DeHart Burns, 1934-
Emma Campbell Gleeson DeHart, 1904-1995
Ernestine (Dolly) DeHart Renaud, 1935-2024
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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 monts 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.
For all the frames, the Jupiter lens was fitted with a Hoya HMC anti-UV filter (40.5mm). The light metering was done for 160 ISO using my external light meter Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas or the integrating opale dome for incident light metering. The weather was a bit cold (4°C) covered leading to very flat and low-contrast scene outdoor.
February 3, 2025
Parc de la Tête d’Or
69006 Lyon
France
By safety (I don’t what’s happening when the end-of-film blocks the advance), I stopped the session at the frame 35. What is more, for each new views, the Leningrad barrel spool does a fixed half turn. This induces a growing interspace gap as the film advances. Finally, the film was rewound normally and processed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 5min30 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 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.