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From back of photo: "Mother's Day. May, 1948. Florence, Emma, Mother."
Florence L. DeHart Burns, 1934-
Emma Campbell Gleeson DeHart, 1904-1995
Lydia P. Eastlack Gleeson, 1872-1953
From back of photo: "At Woodbury. Party at Esther's. 1946. Ted. Florence (Ted) Gleeson, 1946. Birthday."
Florence (Ted) Budd Gleeson, 1901-1980
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
From back of photo: "Dolly DeHart, Florence DeHart, Jim Gleeson. 1941. Fort of Lake, N.Y."
Ernestine (Dolly) DeHart Renaud, 1935-2024
Florence L. DeHart Burns, 1934-
James C. Gleeson, 1939-2012
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.
Custom decorating services. Embroidery on shirt collar. | logo print | digitized embroidery | bit.ly/19CjKmx
From back of photo: "Florence Gleeson (Aunt Ted). Florence and Dolly DeHart's pictures on table. Age 5 & 4 years."
Florence (Ted) Budd Gleeson, 1901-1980
A film with my year-1951 FOCA Standard (PF1B) camera over two days on April 7 and 8, 2024, Lyon, France.
I loaded a 36-exposure 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).. The lens was equipped with the FOCA metal shade hood 36mm push-on, specific for the FOCA 1* and the regular camera lens Oplar 3.5/3.5cm. A FOCA yellow filter (coefficient. x2.5) was also used for all the views.
To compensate the yellow filter absorption, the exposition were determined for 50 ISO instead of the nominal 100 ISO using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas.
When necessary, I used a laser meter to determine some object distances for correct focusing bellow 5m.
Place de la Croix Rousse, April 7, 2024
69004 Lyon
France
After complete exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+25 at 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 plus some documentary smartphone color pictures.
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About the camera and the lens :
The FOCA Standard was the entry model of PF (French: « Petit Format ») O.P.L. FOCA camera's with 36 mm screw mount lens. The camera is the 1951 evolution of the FOCA PF1B (1 star) with the possibility to interchange lenses with the 36mm OPL screw mount. The regular lens delivered with the FOCA Standard was the Oplar 1:3.5 f=3,5 cm, a wide-angle (non retrofocus) lens more easy to use using zone focusing. The PF1’s, as the Standard’s, had no range finder and was equipped by default with an integrated finder matching the field of the 35 mm lens. The focal shutter is also limited in the range 1/25 to 1/500s plus B. The Foca Standard was a simple, very reliable, and endurant camera that was preferred for intensive uses for industry or by the "photo-filmeurs" in the 50 and early 60's.
This specific camera is a model -2 version 5 of the type PF1B, non synchronized for flash, produced in the year 1951. It cames with a rubber FOCA push-on 36mm lens cap and a FOCA leather ever.
The camera and the lens are both in a very good condition. The lens in particular has still a pristine anti-reflect coating and the time. According to its serial number, the lens would be model-1 version 3 year 1952.
Cabornes
« 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.
Intrigued by these « cabornes », I decided to visit two diffferents trails in the Monts d’Or on August 23 and 25, 2025 where « cabornes » are visible. I was equipped of my French range-finder FOCA PF3 camera (year 1954, see the details about the camera and the lens below) loaded with an Adox Scala 50 film. The Oplar 1/2.8 f=5cm standard lens was equipped for most of the views with a FOCA Orange x4 filter and a cylindrical generic shade hood (Genaco).
Expositions were determined for 25 ISO to compensate the absorption of the Orange filter (not the x4 coefficient due to the enhanced sensitivity of the film in the red). Metering was achieved using a Minolta Autometer III lightmeter fitted with a 10° finder for selective metering privileging the shadow areas, but too much to avoid high-lights saturation, or also in the incident-light mode with the integrating opal dome of the Autometer.
Documentary smartphone picture
Chemin du Chêne, August 25, 2025
69250 Poleymieux-au-Mont-d'Or
France
After completion at view Nr. 38, the film was rewound normally and processed using 400 mL of stock solution of Adox Atomal 49 developer for 8min30 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 14.5 of August 2025) 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 documentary smartphone color pictures taken during my walks.
About the camera and the lens:
This French FOCA camera type « PF3 » or ***, was made in Châteaudun, Eure, France, year 1954.
I got the set from a French dealer on eBay , including the camera and its normal lens OPLAR 1:2.8 f=5cm, a rare ever-ready bag Ref 120-503 « Luxe » with a upper compartment for three 42mm push-on filters. The bag is made of a pork leather and was in 1950 three times more expensive than a normal ever-ready bag. The set also included a FOCA view finder covering the field of a 3,5cm focal lens in its original grey and rd small FOCA box, a soft neoprene FOCA hood, three 42mm FOCA filters yellow x2.5, green x3.5, and orange x4. The kit also included a (used?) roll of Kodachrome-64 (DX-coded canister).
According to the serial number in 401.xxx, this PF3 should be a model-1 (version 5 or 6).
The camera was used very carefully and has been probably well serviced in the past. The OPLAR normal lens 1:2.8 f=5cm is a model-3 version-3 from 1954 too with the "ECD/9" diaphragm graduation 2.8...3.5...9....18.
The camera was originally sold to its first owner by « Photo-Plait » in Paris, France, one of the most important photo store, founded in 1910 and editing a well-know catalog of camera's for mail-order selling in France and overseas. Then the camera could have been sold either in the Photo-Plait store, 35-39, rue Lafayette, Paris 9ème or by mail-order selling.
Digitized with Negative Lab Pro v2.1.0
Pentax K1000 | Ilford HP5 400
Digitized with Epson V550 + Negative Lab Pro v2.1.0 | Lomography
Iford DDX
From back of photo: "Mother's Day, 1948. Woodbury. Dolly, Florence, Emma."
Florence L. DeHart Burns, 1934-
Emma Campbell Gleeson DeHart, 1904-1995
Ernestine (Dolly) DeHart Renaud, 1935-2024
From back of photo: "Emma Gleeson DeHart. Dec. 1944. Our yard, Church St., Thorofare."
Emma Campbell Gleeson DeHart, 1904-1995
This a second film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test the DX ISO coding, the spot metering, and the motorized film rewind. During the first test film I used mostly my external lightmeter Minolta Autometer III to check that the metering of the camera was consistent with. Here, I decided I leave the Autometer at home and to use only the Nikon F4 metering.
The Nikon F4 was loaded with a Rollei RPX100 which is the former Agfa APX100 well-known for the particular large tone range. From view 1 to 24, the AF Nikkor lens 1:1.4 f=50mm was fitted with a Yellow screw-on 52mm filter and from view 25 to the end with a Hoya HMC anti-UV protection filter. A generic cylindric metal shade hood was used all the time.
The film sensitivity was set by the camera automatically from the DX code of the Rollei RPX100 35mm cartridge. The first test film was a Fomapan 200 which is not DX coded. The Nikon F4 allows a manual ISO setting. In the DX mode, if no cartridge is present or if a not DX-coded cartridge is inserted, a red LED is blinking and not action of the shutter is possible.
The spot metering in the Nikon F4 if located behind the mirror in the reflex chamber and combined with the CCD focus sensor. The the matrix and center averaged mode is operated by different photo-diodes in the removable DP-20 photometric viewer. I mostly used the spot metering mode in my usual way, privileging the shadows. I saw that the matrix mode gave very closed results. The measure were usually manually reported to the camera in the "M" mode except for one view (Nr. 3) where I left the Nikon choosing the shutter speed (approx. 1/3000s) according to the aperture (full aperture in this case f/1.4).
As for my medium-format session, I took a bit of time to note on a session ticket the main parameter (shutter speed, aperture, focusing distance). The weather was still very mild and sunny during all the session in the afternoon.
View Nr 9: 1/250s f/8 focus at 5 m
Yellow filter (x2)
Restaurant Chez Pimousse, November 8, 2024
Quai Saint-Vincent
69001 Lyon
France
After completion, 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 zero. I terminated the process manual to keep the film leader outside the cartridge.
I then processed the film developed using 300 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) 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 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.
The results show that the Nikon F4 spot metering is perfectly calibrated and consistent with my traditional way to determine the exposition. The DX coding. is operating correctly but no confirming indication of the ISO value is displayed on the camera (excepted the blinking red LED if the DX code is not correctly detected). As for all SLR's of this generation, a small window on the left-side of the camera back allows the reading of the film characteristics. All the light-tight foams are in perfect order for a camera of this age (35-year old).
Overall this second session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera. It's areal joy to use.
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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.
From back of photo: "Lydia Warrington. August 1949. Thorofare home."
Lydia Gleeson Warrington, 1899-1988