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Stiletto Southpaw, left, and Purple Haze, right, battle during CLAW at the “Dirty Pink Polyester” Dance Party at The Southern.
This is the only day of the year I am going to allow any of the girls to wear this dress...Loretta got to be the lucky one to model it :)
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
Quai Jean-Jacques Rousseau, January 29, 2025
69350 La Mulatière
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 ("ФЭД", "ФЭД-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.
Polyester Embassy: Silent Yellow Ensemble Concert
Saturday, October 1st, 2011
Taken at Dago Tea House, Bandung, Indonesia
Photographed under www.GeeksBible.com
Silent Yellow Ensemble
October, 1st 2011
Performance by :
- Space and Missile
- Polyester Embassy
Dago Tea House, Bandung
Polyester Embassy: Silent Yellow Ensemble Concert
Saturday, October 1st, 2011
Taken at Dago Tea House, Bandung, Indonesia
Photographed under www.GeeksBible.com
For the first film with my new Pentax 17 film camera (see the details about the camera below) , I loaded a Washi-X 100 ISO color film that is likely a Kodak Aerocolor film based on a Kodak Ektar formula coated on a maskless PET (polyester teraphtalate) base, spooled by the French film company Washi. This will give normally 72 views and finally gave 80. Due to the optical properties of PET basis that conduct light from the film leader outside the cartridge, the first 3 frames may have some a blue parasite cast (orange on the positive).
The film was exposed for 100 ISO over 5 consecutive days. The Pentax 17 was equipped with an Anti-UV 40.5mm Hoya HMC filter or, when indicated below, a circular polarizing filter.
For the camera transportation, I used a small camera bag ThinkTank « Mirrorless Mover 5 » that was well protecting the camera from possibly damaging vibrations when using my bicycles.
The expositions were automatically metered by the camera system using the « P » program modes with, or without, flash. For very bright scenes the exposition was corrected by +0.3 to +1EV to compensate the biais induced (and reversely -0.3 to 0.7 EV for very dark scenes to objects).
Documentary smartphone pictures
April 3-7, 2025
69004 Lyon
France.
After completion the film was processed by a local lab service using the standart C-41 color protocol. As a result, all the frames are very nicely exposed with a very remarkable definition and contrast without noticeable flare even without any shade hood used.
Single-frame 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 at approximate reproduction ratio of 1:2. 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 14.2) 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 camera :
Since last Christmas, it was on display in the middle of « reusable » cheap camera’s in the window of my local photography store. But this camera is not cheap and sold at 10-times the price of those « reusable » film camera’s. The Pentax 17 is a novel film camera released by Pentax (a brand belonging to Ricoh Imaging, Japan) in June 2024.
The history of « Pentax » name is still something worth to mention. After the WWII, in Dresden (that was heavily destroyed by the bombing of Feb. 13-15, 1945), Germany, The Zeiss Ikon company could not produce anymore the legendary original Contax (a high-reputation professional range-finder 35mm released in 30’s) camera that was taken by Russia and transferred to Kiev, Ukraine, in the USSR. However the brand name Contax survived and the German engineers designed something completely new within several years : the Contax S (S for « Spiegel mirror reflex ») that integrated a pentaprism for a full redressed reflex viewer observation. Zeiss Ikon Dresden registered to new trademarks derived from the words « Pentaprism » and « Contax » that were « Pentax » and « Pentacon ». If Pentacon became the new name of the company in Dresden, the trademark Pentax was bought by Asahi Optical Company in Japan, and became a formidable industrial and commercial success. Asahi Pentax, then Pentax alone, produced amazing quality camera’s including the legendary « Spotmatic » (a 35mm SLR) and stunning medium-format camera’s heavily used by professional photographers. Many of these camera’s of the past century are still operative and appreciated by film photography enthusiast’s.
Production of film camera’s vanished progressively in the mid 2000’s, as digital camera’s became of better quality and finally of generalized appliances in photography. The Pentax 17 was introduced to the market in June 2024, it was a big surprise for all the film photography lovers. Seeing a newly engineered brand-new film camera was a sort of renaissance of the film photography today of a growing interest worldwide.
The camera is a « half-frame » format on the traditional double-perforated 35mm film giving 17x24mm photograms. This format was not as popular as to classical 24x36mm (full-frame) format of most of the 35mm camera’s. However famous and quality half-frame camera’s were produced in the past including, the long series of Olympus Pen for example. Then, the Pentax 17 immediately attracted the attention of experimented film photographers and camera collectors, probably more than the officially targeted customers of the younger generations. Less than a year after, the future of the Pentax 17 and the film photography project of Pentax is questioned today. The chef-engineer who conducted the project in Ricoh company recently left and the marketing of Pentax 17 is now a question.
This finally decided me to buy an exemplary from my local shop and to discover this strange machine. The camera is of course guaranteed, even with a there-year extension after the camera registration on the Pentax website. The whole ergonomic is clearly derived from classical past 35mm camera’s with a fully mechanical film advance and rewind, a collimated Albada viewer, no digital display at all, only levers, barrels, crank and wheels… However inside is a automatic electronic exposure system with flash, the focusing is manual but the electronic mechanism moves the whole optical group with a micro motor.
The lens is a Cooke triplet 1:3.5 f=25mm equivalent to a 37mm of a 24x36mm format. The Cooke triplet is a photographic lens designed and patented in 1893 by Dennis Taylor who was employed as chief engineer by T. Cooke & Sons of York. It was the first lens system that allowed the elimination of most of the optical distortion or aberration at the outer edge of the image. It likely for this reason that the lens is unscripted curiously « Traditional » on the front lens ring… It is known that a Cooke triplet lens could give surprisingly good results with only three separated optical elements. The Cooke Triplet is still widely used in inexpensive cameras, including variations using aspheric elements, particularly in cell-phone cameras. The Cooke triplet consists of three separated lenses positioned at the finite distance. It is often considered that the triplet is one of the most important discoveries in the field of photographic objectives
The lens receives 40.5mm diameter thread filters that I use for my Zorki / Leningrad lenses Jupiter-8 2/50mm, Jupiter-11 4/135mm and Jupiter-12 2.8/35mm. The metal shade hood Minolta D42KA could mounted on the filter but I have to check is there is vignette induced.
The camera size is close to the original dimensions of a thread-mount Leica (called also the original Barnack Leica) which are, in a way, a sort of « Gold » size in the 35mm camera’s. I compared with my Zorki 1D year 1954 that is a straight reproduction of the Leica Iic. The upper deck of Pentax 17 is designed very clearly as a classical 35mm and we even find the original logo of Asahi Optical Company. The rewind crank is also a revival of past design seen on old Pentax SLR as my year-1971 Spotmatic SP in this seres of pictures.
The Pentax 17 is very light (about 300g) compared to those old ancestors that weight easily the double or the triple. It is then an effortless camera to carry. The Pentax 17 fits in the small ThinkTank bag (called « Mirorless Mover 5 ») that I recently bought to safely carry a film back of my Hasselblad or my Bronica 6X6 camera’s. In this tiny bag, the camera is protected for the element and vibrations due to cycling for instance.
Reference
analoguewonderland.co.uk/blogs/film-photography-blog/pent...
Key features and specifications
* Half-frame image capture (17 x 24mm)
* 37mm (equiv.) FOV F3.5 lens
* Zone focusing system with 6 zones
* Circular leaf shutter (F3.5-16)
* Built-in flash (6m/20ft at ISO100)
* Optical tunnel viewfinder with frame lines
* Exposure from 1/350 sec to 4 sec (+ Bulb)
* Supports films from ISO 50 to ISO 3200
Specifically the lens has:
1. HD coating, which maintains high performance of the lens, by using this PENTAX multi-coating. This also enables high contrast and high definition right to the edges.
2. SP coating (Super Protect) which helps to repel water and oil from the lens.
The fact that the focusing on the Pentax 17 is electronic i.e. the lens only moves when you half-press the shutter gives me faith that autofocus was already considered in the R&D stage.