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Synapse 1. Aus der Serie "Membranpotential" 2015
Rotierende Skulptur „Natursack-Sacknatur 014“ aus Plastik Beutel, Laub, Papier, schwarze Tinte und Schwarz Licht
Skulptur, Objekt, Video, Installation, Fotografie
Markus Wintersberger 2015
Parte do laboratório onde são feitas impressões de grande porte, como banners, impressões em tecido, e muito mais (:
Case---5U, 8 slots
Cards:
Composite video matrix,
S-video matrix,
VGA matrix,
HDMI matrix,
DVI matrix,
USB matrix,
Audio PA matrix,
Twisted Pair matrix,
A third study film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test in this session the matrix zone metering in the "A" automation mode (aperture priority). I had too my external lightmeter Minolta Autometer III equipped with the integrating dome for incident light metering. For a single view (Nr 24), I used the "EL" (exposure lock) functions to privilege the shadow area and the last view (Nr 37) was exposed in the incident light metering mode (external metering).
The Nikon F4 was loaded this time with a Kodak Professional 400TX (Tri-X) with the DX coded nominal 400 ISO film sensitivity. The weather was quite darkened with an average afternoon temperature was of 7°C. I exposed the film over two consecutive days on November 12, 2024 from view 1 to 26 and the day after for the rest. The AF Nikkor lens 1:1.4 f=50mm was fitted with a protective Hoya HMC anti-UV 52mm filter plus a generic cylindric metal shade hood.
For focusing I used all the time the single autofocus mode. 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).
View Nr 27 : "A" mode with matrix metering giving 1/45s f/3.5 focus @ 0.85m
Colonne de Pagès (1980)
Parc de la Cerisaie,** November 13, 2024
69004 Lyon
France
** PARC DE LA CERISAIE, WHOSE NAME COMES FROM THE PRESENCE, OLD, OF A CHERRY ORCHARD ALREADY BELONGS TO THE CITY OF LYON: SINCE 1976.
Previously owned by the Gillet family, precursors of silk dyeing at the beginning of the 20th century, the park and the Villa built in 1911 by the architect Joseph Folléa communicated at the time directly with their factory installed on the banks of the Saône. In the 60s, their vast industrial empire merged with the Rhône-Poulenc group of which Renaud Gillet was president from 1973 to 1979.
Very quickly, the City of Lyon chose to open this park to the people of Lyon and to direct its vocation towards the Arts. Thus, during the 2nd and 3rd sculpture symposiums of 1980 and 1982 the park hosted many works. Some of them are still there.
The villa, renovated in 1986, also became a place dedicated to the Arts. Initially, it was the headquarters of the Fonds Régional d'Art Contemporain (FRAC), the organization supporting creation, before it was transferred to the Institut d'Art Contemporain de Villeurbanne.
Today, the villa houses three cultural institutions: La Villa Gillet, which defines itself as a Contemporary Research Unit and is interested in all forms of culture (literature, human, political and social sciences, history, or contemporary arts), the Agence Rhône-Alpes pour le Livre et la Documentation (ARALD) whose objective is to promote the culture of writing and activities related to books, and the Groupe Musiques Vivantes de Lyon which works for the creation and diffusion of acoustic music.
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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 -2 to keep the leader out of the cartridge. I then processed the film developed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 7min30 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.
The results show that the Nikon F4 matrix metering coupled to the automatic shutter timing gives amazingly well-exposed view quite consistent with my traditional way to determine the exposition manually.
Overall this third 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 a real 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.
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.
Front cover concept, the size of the grids represented by squares. Placed in correlation to where they are on a map.
Size: 21 x 29.7 cm
Date: 11/14
Parabrezza Hyundai Matrix 01-05 (Cod. 8401031) accessoricarrozzeria.it/hyundai/55022-parabrezza-hyundai-...