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The aircraft is designated the S102B Korpen in Flygvapnet service the aircraft is used in the SIGINT role. SIGINT is intelligence-gathering by interception of signals, whether between people (COMINT) or involving electronic signals not directly used in communication (ELINT) and can be a combinations of the two. Based at Malmen in the east of the country with 73 SIGINT Squadron, the aircraft were procured in 1995 to replace the outdated TP85 Sud Aviation Caravelle which had been in service since 1971. The Aircraft was finally retiered in 1998 after the S102B gained it Full mission capability. Both aircraft fitted out for the role come under the command of Transport & Special Flights Unit who are responsible for the care and maintenance of the SIS Division aircraft. Flown with a crew of 6 (pilot, co-pilot and four system operators), the aircraft is externally characterised by sensor fairings on either side of its nose and forward fuselage, a canoe fairing below its forward fuselage and an array of hook and blade antennas installed on the lower surfaces of its wings, fuselage centre section and rear fuselage. The S 102B provides intelligence data for the Swedish government's security agency (the FRA), the SF and the Swedish Navy. When operating with the armed services, the Korpen down links data directly to combined air operations centres and navy surface combatants. The two aircraft got the individual names “Hugin” and “Munin” after the Scandiavian ancient God Oden’s two ravens, who saw everything that happened in the world.
no camera meter (not working..yet), so i used a hand-held light meter...takes forever, but you get better results.
i love film...i rarely have to change the original image.
canon ae-1
canon fd 50mm f1.4
ilford 50 pan f (outdated film-oct 2005)
A shot from the Outdated Polaroid Show that took place on the 15th and 16th of August. 150 artists, 900 Polaroids. The gallery was directly under Steve's apartment, that was a pleasant coincidence. Anyway, it was amazing to see so many Polaroids together and Rik (the guy who put it all together) was super nice. You can see a few of my shots in there...
Canon AE-1 agfa apx 100 outdated rodinal 1+100 semistand 90'
“A girl could never have too much jewelry or too much weaponry.”
― Laurell K. Hamilton, A Kiss of Shadows
Polaroid pinhole.
Outdated (2005) 690 film.
©2012. all images property of Bob Merco. Do not use without my permission.
Por esta vez y sin que sirva de precedente, NO voy a aclarar si el título se refiere a determinado tipo de sesiones fotográficas o a personas de sensibilidad pasada de moda.
Y es que me parece mucho más interesante que cada cual, en función de las dos imágenes, del conocimiento del autor y sus gustos, y del análisis personal e íntimo, decida si estas nocturnas y otras tantas con el aura de misterio, de nostalgia, de romanticismo y de una sensibilidad y espiritualidad determinada, le inspiran o le transportan a algun lugar recóndito e íntimo de ese yo escondido, de ese ser que todos llevamos dentro y que todos, en mayor o menor medida, protegemos un poco ante los demás, quizá porque lo creemos vulnerable.
Y la verdad es que NO lo es. Estoy convencido de que el romántico que cada uno llevamos dentro es un ser de acero impenetrable, indestructible, seguro de sí mismo y poseedor de las más íntimas y duraderas alegrías para quienes, no solo no lo esconden, sino que lo lucen, lo pasean y hacen de él su bandera.
Quizá la mejor manera de resumir un texto que, me temo, puede resultar algo rebuscado y críptico, sea con palabras vulgares (de vulgo, NO de vulgaridad)...
SÍ, romántico empedernido, trasnochado, pasado de moda y con el sentimiento a flor de piel, pero sin ninguna vergüenza ni temor ni timidez... ¿Pasa algo?
Música recomendada: "Melancholy Man". The Moody Blues.
The outdated film gives a little warmer tonality here =)
Contax Aria – Zeiss Planar 50mm f/1.4 - Konica Pro 160 exp long time ago.
Söderåsen 2017.12.18
The Catherine Palace (Russian: Екатерининский дворец) was the Rococo summer residence of the Russian tsars, located in the town of Tsarskoye Selo (Pushkin), 25 km south-east of St. Petersburg, Russia.
The residence originated in 1717, when Catherine I of Russia engaged the German architect Johann-Friedrich Braunstein to construct a summer palace for her pleasure. In 1733, Empress Anna commissioned Mikhail Zemtsov and Andrei Kvasov to expand the Catherine Palace. Empress Elizabeth, however, found her mother's residence outdated and incommodious and in May 1752 asked her court architect Bartolomeo Rastrelli to demolish the old structure and replace it with a much grander edifice in a flamboyant Rococo style. Construction lasted for four years and on 30 July 1756 the architect presented the brand-new 325-meter-long palace to the Empress, her dazed courtiers and stupefied foreign ambassadors.[citation needed]
During Elizabeth's lifetime, the palace was famed for its obscenely lavish exterior.[citation needed] More than 100 kilograms of gold were used to gild the sophisticated stucco façade and numerous statues erected on the roof. It was even rumoured that the palace's roof was constructed entirely of gold. In front of the palace a great formal garden was laid out. It centres on the azure-and-white Hermitage Pavilion near the lake, designed by Zemtsov in 1744, overhauled by Rastrelli in 1749 and formerly crowned by a grand gilded sculpture representing The Rape of Persephone. The interior of the pavilion featured dining tables with dumbwaiter mechanisms. The grand entrance to the palace is flanked by two massive "circumferences", also in the Rococo style. A delicate iron-cast grille separates the complex from the town of Tsarskoe Selo.
Although the palace is popularly associated with Catherine the Great, she actually regarded its "whipped cream" architecture as old-fashioned. When she ascended the throne, a number of statues in the park were being covered with gold, in accordance with the last wish of Empress Elizabeth, yet the new monarch had all the works suspended upon being informed about the expense. In her memoirs she censured the reckless extravagance of her predecessor:
"The palace was then being built, but it was the work of Penelope: what was done today, was destroyed tomorrow. That house has been pulled down six times to the foundation, then built up again ere it was brought to its present state. The sum of a million six hundred thousand rubles was spent on the construction. Accounts exist to prove it; but besides this sum the Empress spent much money out of her own pocket on it, without ever counting".
In order to gratify her passion for antique and Neoclassical art, Catherine employed the Scottish architect Charles Cameron who not only refurbished the interior of one wing in the Neo-Palladian style then in vogue, but also constructed the personal apartments of the Empress, a rather modest Greek Revival structure known as the Agate Rooms and situated to the left from the grand palace. Noted for their elaborate jasper decor, the rooms were designed so as to be connected to the Hanging Gardens, the Cold Baths, and the Cameron Gallery (still housing a collection of bronze statuary) - three Neoclassical edifices constructed to Cameron's designs. According to Catherine's wishes, many remarkable structures were erected for her amusement in the Catherine Park. These include the Dutch Admiralty, Creaking Pagoda, Chesme Column, Rumyantsev Obelisk, and Marble Bridge.
Upon Catherine's death in 1796, the palace was abandoned in favour of the Pavlovsk Palace. Subsequent monarchs preferred to reside in the nearby Alexander Palace and, with only two exceptions, refrained from making new additions to the Catherine Palace, regarding it as a splendid monument to Elizabeth's wealth and Catherine II's glory. In 1817, Alexander I engaged Vasily Stasov to refurbish some interiors of his grandmother's residence in the Empire style. Twenty years later, the magnificent Stasov Staircase was constructed to replace the old circular staircase leading to the Palace Chapel. Unfortunately, most of Stasov's interiors - specifically those dating from the reign of Nicholas I - have not been restored after the destruction caused by the Germans during World War Two.[citation needed]
When the German forces retreated after the siege of Leningrad, they had the residence intentionally destroyed,[1] leaving only the hollow shell of the palace behind. Prior to World War II, the Russian archivists managed to document a fair amount of the contents, which proved of great importance in reconstructing the palace. Although the largest part of the reconstruction was completed in time for the Tercentenary of St Petersburg in 2003, much work is still required to restore the palace to its former glory. In order to attract funds, the administration of the palace has leased the Grand Hall to such high-profile events as Elton John's concert for the elite audience in 2001 and the 2005 exclusive party which featured the likes of Bill Clinton, Tina Turner, Whitney Houston, Naomi Campbell, and Sting.
In Twentieth Century Fox's 1997 animated feature, "Anastasia", the Catherine Palace is depicted inaccurately as the home of the last imperial family.Although Stasov's and Cameron's Neoclassical interiors are superb manifestations of the late 18th-century and early 19th-century taste, the palace is best known for Rastrelli's grand suit of formal rooms known as the Golden Enfilade. It starts at the spacious airy ballroom, the "Grand Hall" or the "Hall of Lights", with a spectacular painted ceiling, and comprises numerous distinctively decorated smaller rooms, including the reproduced Amber Room.
The Great Hall, or the Light Gallery as it was called in the 18th century, is a formal apartment in the Russian baroque style designed by Bartolomeo Rastrelli between 1752 and 1756. The Great Hall was intended for more important receptions such as balls, formal dinners, and masquerades. The hall was painted in two colors and covers an area of approximately 1,000 square meters. Occupying the entire width of the palace, the windows on the eastern side look out onto the park while the windows of the western side look out to the palace plaza. In the evening, 696 lamps are lit on 12-15 chandeliers located near the mirrors. The halls sculptural and gilded carvings and ornimantation were created according to sketches by Rastrelli and models by Johann Franz Dunker.
Beyond the Great Hall is the dining room for the courtiers in attendance (the Courtiers-in-Attendance Dining Room). The room was designed by Rastrelli in the mid-18th century. The small room is lit by four windows which look out into the formal courtyard. The architect placed false windows with mirrors and mirrored glass on the opposite wall, making the hall more spacious and bright. Decorated in the typical baroque interior style, the hall is filled with gilded wall-carvings, complex gilded pieces on the doors, and ornamental patterns of stylized flowers. The ceiling mural was painted by a well known student of the Russian School from the mid-18th century. It is based on the Greek myth of the sun god Helios and the goddess of the dawn, Eos.
Across from the Courtiers-in-Attendance Dining Room, on the other side of the Main Staircase, is the White Formal Dining Room. The hall was used for the empresses' formal dinners or "evening meals". The walls of the dining hall were decorated with the utmost extravagance with gilded carvings. The furnishings consist of gilded carvings on the consoles. The painted mural, The Triumph of Apollo is a copy of a painting completed in the 16th century by Italian artist, Guido Reni.
The Portrait Hall is a formal apartment that covers 100 square meters of space. The room's walls boast large formal portraits of Empress Catherine I, Empress Elizabeth Petrovna, as well as paintings of Natalya Alexeyevna, sister of Peter the Great, and Empress Catherine II. The inlaid floors of the hall contain precious woods. The Drawing Room of Alexander I was designed between 1752 and 1756 and belonged to the Emperor's private suite. The drawing room stood out from the rest of the formal rooms in the palace due to the fact that the walls were covered in Chinese silk. Other decor in the room was typical for the palace's formal rooms, a ceiling mural, gilded carvings. The elegant card-tables and inlaid wood commode display Japanese, Chinese, and Berlin porcelain.
The Green Dining Room, which replaced Rastrelli's "Hanging Garden" in 1773, is the first of the rooms in the northern wing of the Catherine Palace, designed by Cameron for the future Emperor Paul and his wife. The pistachio-coloured walls of the room are lined with stucco figures by Ivan Martos. During the great fire of 1820 the room was seriously damaged, thus sharing the fate of other Cameron's interiors. It was subsequently restored under Stasov's direction.
Other Cameron's interiors include the Waiters' Room, with the inlaid floor of rosewood, amaranth and mahogany and stylish Chippendale card-tables; the Blue Formal Dining-Room, with white-and-blue silk wallpapers and Carrara marble chimneys; the Chinese Blue Drawing Room, a curious combination of Adam style with the Chinoiserie; the Choir Anteroom, with walls lined in apricot-colored silk; and the columned boudoir of Alexander I, executed in the Pompeian style.
Екатерининский дворец, Царское Село.
The Catherine Palace (Russian: Екатерининский дворец) was the Rococo summer residence of the Russian tsars, located in the town of Tsarskoye Selo (Pushkin), 25 km south-east of St. Petersburg, Russia.
The residence originated in 1717, when Catherine I of Russia engaged the German architect Johann-Friedrich Braunstein to construct a summer palace for her pleasure. In 1733, Empress Anna commissioned Mikhail Zemtsov and Andrei Kvasov to expand the Catherine Palace. Empress Elizabeth, however, found her mother's residence outdated and incommodious and in May 1752 asked her court architect Bartolomeo Rastrelli to demolish the old structure and replace it with a much grander edifice in a flamboyant Rococo style. Construction lasted for four years and on 30 July 1756 the architect presented the brand-new 325-meter-long palace to the Empress, her dazed courtiers and stupefied foreign ambassadors.
During Elizabeth's lifetime, the palace was famed for its obscenely lavish exterior.[citation needed] More than 100 kilograms of gold were used to gild the sophisticated stucco façade and numerous statues erected on the roof. It was even rumoured that the palace's roof was constructed entirely of gold. In front of the palace a great formal garden was laid out. It centres on the azure-and-white Hermitage Pavilion near the lake, designed by Zemtsov in 1744, overhauled by Rastrelli in 1749 and formerly crowned by a grand gilded sculpture representing The Rape of Persephone. The interior of the pavilion featured dining tables with dumbwaiter mechanisms. The grand entrance to the palace is flanked by two massive "circumferences", also in the Rococo style. A delicate iron-cast grille separates the complex from the town of Tsarskoe Selo.
Although the palace is popularly associated with Catherine the Great, she actually regarded its "whipped cream" architecture as old-fashioned. When she ascended the throne, a number of statues in the park were being covered with gold, in accordance with the last wish of Empress Elizabeth, yet the new monarch had all the works suspended upon being informed about the expense. In her memoirs she censured the reckless extravagance of her predecessor:
"The palace was then being built, but it was the work of Penelope: what was done today, was destroyed tomorrow. That house has been pulled down six times to the foundation, then built up again ere it was brought to its present state. The sum of a million six hundred thousand rubles was spent on the construction. Accounts exist to prove it; but besides this sum the Empress spent much money out of her own pocket on it, without ever counting".
In order to gratify her passion for antique and Neoclassical art, Catherine employed the Scottish architect Charles Cameron who not only refurbished the interior of one wing in the Neo-Palladian style then in vogue, but also constructed the personal apartments of the Empress, a rather modest Greek Revival structure known as the Agate Rooms and situated to the left from the grand palace. Noted for their elaborate jasper decor, the rooms were designed so as to be connected to the Hanging Gardens, the Cold Baths, and the Cameron Gallery (still housing a collection of bronze statuary) - three Neoclassical edifices constructed to Cameron's designs. According to Catherine's wishes, many remarkable structures were erected for her amusement in the Catherine Park. These include the Dutch Admiralty, Creaking Pagoda, Chesme Column, Rumyantsev Obelisk, and Marble Bridge.
Upon Catherine's death in 1796, the palace was abandoned in favour of the Pavlovsk Palace. Subsequent monarchs preferred to reside in the nearby Alexander Palace and, with only two exceptions, refrained from making new additions to the Catherine Palace, regarding it as a splendid monument to Elizabeth's wealth and Catherine II's glory. In 1817, Alexander I engaged Vasily Stasov to refurbish some interiors of his grandmother's residence in the Empire style. Twenty years later, the magnificent Stasov Staircase was constructed to replace the old circular staircase leading to the Palace Chapel. Unfortunately, most of Stasov's interiors - specifically those dating from the reign of Nicholas I - have not been restored after the destruction caused by the Germans during World War Two.[citation needed]
When the German forces retreated after the siege of Leningrad, they had the residence intentionally destroyed,[1] leaving only the hollow shell of the palace behind. Prior to World War II, the Russian archivists managed to document a fair amount of the contents, which proved of great importance in reconstructing the palace. Although the largest part of the reconstruction was completed in time for the Tercentenary of St Petersburg in 2003, much work is still required to restore the palace to its former glory. In order to attract funds, the administration of the palace has leased the Grand Hall to such high-profile events as Elton John's concert for the elite audience in 2001 and the 2005 exclusive party which featured the likes of Bill Clinton, Tina Turner, Whitney Houston, Naomi Campbell, and Sting.
In Twentieth Century Fox's 1997 animated feature, "Anastasia", the Catherine Palace is depicted inaccurately as the home of the last imperial family.Although Stasov's and Cameron's Neoclassical interiors are superb manifestations of the late 18th-century and early 19th-century taste, the palace is best known for Rastrelli's grand suit of formal rooms known as the Golden Enfilade. It starts at the spacious airy ballroom, the "Grand Hall" or the "Hall of Lights", with a spectacular painted ceiling, and comprises numerous distinctively decorated smaller rooms, including the reproduced Amber Room.
The Great Hall, or the Light Gallery as it was called in the 18th century, is a formal apartment in the Russian baroque style designed by Bartolomeo Rastrelli between 1752 and 1756. The Great Hall was intended for more important receptions such as balls, formal dinners, and masquerades. The hall was painted in two colors and covers an area of approximately 1,000 square meters. Occupying the entire width of the palace, the windows on the eastern side look out onto the park while the windows of the western side look out to the palace plaza. In the evening, 696 lamps are lit on 12-15 chandeliers located near the mirrors. The halls sculptural and gilded carvings and ornimantation were created according to sketches by Rastrelli and models by Johann Franz Dunker.
Beyond the Great Hall is the dining room for the courtiers in attendance (the Courtiers-in-Attendance Dining Room). The room was designed by Rastrelli in the mid-18th century. The small room is lit by four windows which look out into the formal courtyard. The architect placed false windows with mirrors and mirrored glass on the opposite wall, making the hall more spacious and bright. Decorated in the typical baroque interior style, the hall is filled with gilded wall-carvings, complex gilded pieces on the doors, and ornamental patterns of stylized flowers. The ceiling mural was painted by a well known student of the Russian School from the mid-18th century. It is based on the Greek myth of the sun god Helios and the goddess of the dawn, Eos.
Across from the Courtiers-in-Attendance Dining Room, on the other side of the Main Staircase, is the White Formal Dining Room. The hall was used for the empresses' formal dinners or "evening meals". The walls of the dining hall were decorated with the utmost extravagance with gilded carvings. The furnishings consist of gilded carvings on the consoles. The painted mural, The Triumph of Apollo is a copy of a painting completed in the 16th century by Italian artist, Guido Reni.
The Portrait Hall is a formal apartment that covers 100 square meters of space. The room's walls boast large formal portraits of Empress Catherine I, Empress Elizabeth Petrovna, as well as paintings of Natalya Alexeyevna, sister of Peter the Great, and Empress Catherine II. The inlaid floors of the hall contain precious woods. The Drawing Room of Alexander I was designed between 1752 and 1756 and belonged to the Emperor's private suite. The drawing room stood out from the rest of the formal rooms in the palace due to the fact that the walls were covered in Chinese silk. Other decor in the room was typical for the palace's formal rooms, a ceiling mural, gilded carvings. The elegant card-tables and inlaid wood commode display Japanese, Chinese, and Berlin porcelain.
The Green Dining Room, which replaced Rastrelli's "Hanging Garden" in 1773, is the first of the rooms in the northern wing of the Catherine Palace, designed by Cameron for the future Emperor Paul and his wife. The pistachio-coloured walls of the room are lined with stucco figures by Ivan Martos. During the great fire of 1820 the room was seriously damaged, thus sharing the fate of other Cameron's interiors. It was subsequently restored under Stasov's direction.
Other Cameron's interiors include the Waiters' Room, with the inlaid floor of rosewood, amaranth and mahogany and stylish Chippendale card-tables; the Blue Formal Dining-Room, with white-and-blue silk wallpapers and Carrara marble chimneys; the Chinese Blue Drawing Room, a curious combination of Adam style with the Chinoiserie; the Choir Anteroom, with walls lined in apricot-colored silk; and the columned boudoir of Alexander I, executed in the Pompeian style.
My updated Batwing, from Tim Burtons Batman film. My original Batwing was looking a bit outdated and although the scale matched the Batman minfig well, I was never that happy about the overall shaping. So I decided to build a bit bigger and get all those lovely curves nailed. This build also has the scissors that Batman uses to cut the Jokers poison-gas balloons, as well as guns, missiles, wing lights, and a much more screen-accurate underside.
Built by me during a week of madness, many years ago! I got fed up with all the wretched garden tools littering my workshop, so I built this in the style of a 19th century bathing hut, but I never got round to painting it with the alternate blue and white panels that were intended, finishing it with varnish instead, meaning that it is easily confused with a garden privy!
It has stood the test of time reasonably well, but now has that certain patina which portends either a spot of restoration, or else joining my dilapidated buildings album!
1948 Kodak Tourist 620, f4.5/105mm Anaston lens, x2 yellow filter. Outdated Tri-X 400 in Caffenol 20-20-6-6-500, 18mins @21C. Scanned on Epson V500 @2400dpi.
Tests with my 'gift' AF NIKKOR 70-210mm f4-5.6 zoom on different NIKON bodies for close-up and distant shots . Very poor outdated FUJI SUPERIA 200 rated 100 ASA so colours not all 'Good'
This fort N-NW of Asiago was built already mid 19th century and was due to its outdated design not used in the World War I. Nowadays it's a bit restored and is a pleasant goal of a hike.
Using up the CUT AGFA Pro 200 outdated Film I used in my Minolta X-700 I re-loaded it into my 'Saved From The Dump' MINOLTA SR-T100X . I had to meter with a Weston Master V as there is no battery in the SR-T100X but it was 'Good Light' and I could get 1/250th @ f8 or 1/500th @ f5.6.
Minolta MD Zoom 35-0mm f3.5 @ 35mm and f5.6 The Horse Trough dontated by the Larkin Family in Brentwood High Street.
This photo is now outdated, here's the most recent photo of my home office.
Since my photo from THREE years ago of my home office is still my most popular picture, I decided to take an updated photo. We will be moving soon so I don't know how my new home office will look, but I have really been comfortable with this layout for a while now!
(LM removed/ outdated)
this slurl is to my houses - but, i kept landing at the main landing point so you may have to follow the red arrow thingy...
for more info see Pitsch's flickr www.flickr.com/photos/the_deizha_experience/6127934083/
Autumn 2015, Headington Hill Park, Oxford
Konica FC-1
Konica Hexanon AR 50mm f/1.4
Outdated Kodak Color Plus 200
Minolta Dimage Scan Dual IV scan + LR adjustments and removal of blemishes
Loaned a TAMRON SP Adaptall 17mm f3.5 lens by a fellow Camera Club member . I used a NIKON FG that my Wife was given and never uses now so I have 'Taken it over' The Lens has built-in Filters and is 'Rectalinear' . FILM was KODAK T400CN outdated donated by a Camera Club member and I thought it was 'Fresher' than it was -- so 400 ASA gave some 'Thin' negs so on the rest of the cut film I will rate it at 200 ASA . I home-Processed in C41 . I have few more to upload. This is St Thomas of Canterbury Church here in Brentwood with the Yellow Filter
After the 3rd Proto War, thousands of now outdated Type-U medium CCU:s were abandoned, and left to rust on the battlefield. Some of these fearsome warmachines were salvaged by local colonists, and given a new paint job, a pair of shock dampeners, and new programming, switching their primary role from mass-destruction to mass-entertainment. Every four years pilots from all around the Sol-system come to test their skills in the RoboRumble3000, the largest sporting event at this side of the Kuiper belt.
After the incident of 2249, use of thermo-nuclear energy was prohibited, and the machines were modified to run on eco-friendly solar electricity. The now empty reactor shells were outfitted to house two massive confetti cannons for victory celebrations.
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This model was made for Djoksons robot boxer -competition over the course of one and a half weeks. It was a great learning experience on how NOT to build a mecha at this scale (ball joints, never again), but still an enjoyable process all together.
See you in the ring!
I have a Canon Eos 1v which was the last professional film camera produced by Canon. It's a beautiful piece of equipment which I should use more often as it guarantees excellent results. The film I used for these images was Fujifilm Provia 100. It was only slightly outdated so I decided to expose it at box speed. There was not one duff exposure on the whole roll and I was delighted.
One thing which did catch me out was the fact that I'm so used to using cameras and lenses which have some form of vibration control that I overlooked the fact I was using a long lens at a slow shutter speed, resulting in blurred images.
This is Broadford Old Pier.
Pinhole photograph with home-crafted pinhole camera.
Paper negative on Emaks paper outdated by 50+ years.
St Giles Fair 2014 - severely outdated Fuji Sensia II 100 slide film, Fuji lab processed, unadjusted home scan.
I'm not sure what causes the severe colour cast as Kodak Elite Chrome films of a similar age (also E6) do not show it, and this has been a consistant problem for the 3 or 4 Fujifilms I found in a Headington junk shop recently.
Lightroom is not really adequate to address the colour shift (as far as I can determine) but the Photoshop Auto Color, Contrast and Tone options do a good stab. Sample to follow.
Minolta SRT-101b with 35mm MC W.Rokkor f/2.8 lens
Fujichrome Sensia II 100 film dated 1999-3, exposed as ISO 80
Minolta Scan Dual IV and Vuescan software