With a water absorption rate of less than 0.5 percent, this Koydol collection is ideal for any wet surface application, including floors, walls, and countertops. The series offers several different textures and sizes in neutral and earthy colors.

Class A Sonata acoustic absorption panels used to reduce reverberation within School, Village and Church Halls

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Item No:JJ8700/JJ8701/JJ8702/JJ8703

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Water Absorption :below 0.15%

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2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;

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On July 4, 2024, I took my camera Zenza Bronica S2A (Japan, 1972-1977) for a tour in the district of Fourvière, Lyon, France.

The Nikkor normal lens 1:2.8 f=75mm was equipped of a Hoya Yellow (K2) 67mm screwed filter and the dedicated Zenza Bronica metal hood.

I used an Ilford FP4+12-exposure negative 120-format film . The film was exposed for 64 ISO (to compensate the filter absorption) using an Autometer III Minolta lightmeter fitted with a 10° finder for selective measurements privileging the shadow areas.

Théâtres Antiques, July 4, 2024

69005 Lyon

France

After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 9min at 20°C.

Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films.

The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG.

All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivo Y76 color pictures.

Strangely, although its 1.8 kg the camera is not at all uncomfortable to carry, especially when the camera is hold on the chest by the neck strap. I did not feel tied after this photo tour (about 4km walking). It is easily to get a good stability and a precise framing with the camera on the chest.

Details about the camera :

The Zenza Bronica’s S (ゼンザブロニカ) were often referred to the « Japanese Hasselblad ». Conceived in the year 50’s (Bronica D, 1959) was manufactured in ToKy,o Itabashi-ku, Minami-Tokiwadai with the Japan engineering spirit of that time : « we wlll do as … in better! »; The Bronica (ETR, SQ series) camera’s were progressively discontinued twenty years ago between 2002 and 20O4 and the brand was bought by Tamron company and disappeared from the market.

The Zenza Bronica S2A was produced by Bronica Insdutries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR o th e S series. The camera in made in stainless steel 18-8 quality for the outer elements. The S2A is still a focal-plane shutter camera with automatic diaphragm and automatic film back coupled to the shutter cocking through a re-arming crank. Bronica were equipped either with Nikon Nikkor lenses, Zenzanon of Komura optics.

I got this exemplary from a French eBay auction for a quite reasonable price, equipped with a Nikkor-P normal lens 1:2.8 f=75mm, a generic 67mm lens cap, and a neck/shoulder Bronica strap. I found at my monthly trade -exchange photo meeting new-old stock 67mm filters (Hoya HMC anti-UV, Yellow K2, and a Zenzza Bronica Skylight 1A) and two shade shade hoods (one generic foldable and a rigid metal Zenza Bronica Japan). I also found a nice storage box 15x20x20cm to store the machine with silica-gel protectant.

The camera fit in my ThinkTank Retrospective 5 usual bag as easy as my French TLR Semflex. The weight is however twice more heavy by about 1.8 kg (0.8 kg for my Semflex TLR).

For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)

I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.

The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.

View Nr. 4 : 1/250s f/9 focusing @ 20m

Les Quais du Rhône, February 17, 2025

Quai du Général Sarrail

69006 Lyon

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 12min15 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 14.2) 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 :

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 mounts 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.

About the lens Jupiter-9:

New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).

I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.

Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.

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Transport Phenomena Equations. Partial Differential Equations and Photochemistry.

RIO+20: Reforestation Pledges Reach Only 12 Percent of Target

Fabíola Ortiz * TerraViva

RIO DE JANEIRO, Jun 19 (IPS) - The world's countries have committed themselves so far to restoring just 18 million hectares of forests by 2020, barely 12 percent of the goal of 150 million hectares agreed by the Bonn Challenge in 2011.

Okay, let's break down this... this masterpiece of design: the soleless skate shoe with a sewn-up sock.

Imagine, for a moment, the majestic skateboard. It's covered in griptape, essentially sandpaper's slightly less aggressive cousin, designed to bond firmly with the robust, grippy sole of a real skate shoe.

Now, introduce the soleless skate shoe. It's the upper part, the bit that holds your foot, presumably looking like a skate shoe from the ankle up. Below? Nothing. Just... air? A void? The existential dread of a shoe that forgot its purpose?

Then, you've sewn a sock onto it. A sock. The very definition of soft, pliable, and utterly defenseless against friction, abrasion, and anything remotely resembling a hard surface or, gasp, griptape.

So, trying to skate in this contraption is less like riding and more like attempting to perform an interpretive dance of immediate regret and skin loss.

1. Griptape's Best Friend? No. The griptape will look at that sock like a hungry wolf eyes a fluffy bunny. Your sock will be shredded faster than your dignity. Your foot, exposed through the inevitable holes, will follow shortly after. It's a foot exfoliation system from the depths of Shoe Purgatory.

2. Kickflip? More Like Trip-Slip. That sole is kind of crucial for flicking the board. Without it, you're just... wiggling your foot aimlessly in a sock while the board laughs and rolls away. Or worse, rolls over your now-exposed foot.

3. Impact Absorption? Zero. Landing tricks (if you somehow managed one) would feel like jumping barefoot onto concrete covered in LEGOs. The sock offers the shock absorption of a wet tissue paper.

4. Durability? Ha! The entire lifespan of this footwear choice is probably measured in seconds, maybe minutes if you're just standing still very carefully on a carpet. Take it near a curb or a pebble? Catastrophe.

5. The Look? It screams, "I meant to buy shoes but accidentally got into a fight with a sewing machine and a sock drawer." It's the footwear equivalent of wearing a snorkel in a desert.

In short, a soleless skate shoe with a sewn-up sock isn't just senseless; it's a cruel joke played on feet and the fundamental laws of physics. It's a guaranteed express ticket to Injurytown, a performance art piece demonstrating the futility of inadequate footwear, and quite possibly, the worst invention since the chocolate teapot.

It's less a shoe and more a high-velocity sock-shredding device wrapped around a philosophical question about what constitutes "footwear." And the answer is definitely not that.

Main Street, Gloucester - 1917

John Sloan (American, 1871 - 1951)

Sloan spent each summer from 1914 to 1918 in the small Cape Ann, Massachusetts, town of Gloucester. This work, executed during the fourth summer, reveals an aesthetic sophistication stimulated by the artist's absorption of the 1913 Armory Show's provocative presentation of avant-garde and modernist art. That landmark exhibition, coupled with those he helped to organize for The Eight in 1908 and the Exhibition of Independent Artists in 1910, inspired Sloan to explore a constellation of new ideas and methods. The body of work he created during the Gloucester years speaks of a renewed rigor as well as an intrepid and vigorous spirit of experimentation that would endure throughout his career.(1)

Initially, “Main Street, Gloucester” captivates as one of Sloan's distinctive "city-life" pictures, for which he garnered an enormous reputation. In the decade and a half preceding this painting's creation, his keen powers of observation, selection, and rendering were honed through his work as an illustrator, etcher, and painter of the urban scene. Yet his production during the Gloucester period represented a fundamental shift in his methods of conception and execution.

I had been dependent on waiting for the inspiration to paint a picture because I had so little leisure time to work for myself. So I decided to save up enough money to take off for a few months, go to the country and work from nature to get fresh ideas about plastic design and color rhythms.(2)

Thus issues of pure painting, rather than subject, motivated his work at this time.

This redirection toward plasticity, design, and color resulted from Sloan's thoughtful analysis of the work of what he called the "ultra-moderns" at the Armory Show. Sloan recalled the impact of that landmark exhibition: "It was exciting, it pointed many ways to freedom of expression, color, texture, most of all “graphics”. It pointed the way back to mental rather than visual thinking."(3) He credited the works of Cézanne, Matisse, and Van Gogh, among others, as powerful antidotes for the disease of "clever eyesight painting," the scourge of art production and consumption since the advent of photography.(4) He wrote: "Many intelligent people have accepted the false idea that accuracy in representing visual facts is a sign of progress in art. Such imitation of superficial effects has nothing to do with art, which is and always has been the making of mental concepts."(5)

Sloan's summers in Gloucester precipitated the auspicious convergence of several paths of inquiry in his own work. Using color as a constructive, expressive element in painting had been one of his preoccupations since 1909, when Robert Henri introduced him to Hardesty Maratta's experimental color system. Through it, Sloan had moved away from a dark tonal palette by increasing the presence of bright vivid colors. Maratta's system was predicated on the analogous relationship of the twelve colors in the chromatic wheel to notes in an octave of music.(6) The careful, precise orchestration of notes, chords, and harmonies was facilitated through the use of a set palette of premixed colors. With this palette, Sloan was confident that he could maintain the continuity of a painting's colors as he worked on it over time:

These Maratta colors opened up the palette for me. I had been analyzing the color of the city streets and the few things I painted from the model, in terms of color changes away from a basic raw umber note. With the Maratta colors I had six, twelve color-hues to work with, and from there could think of branching up into notes of higher intensity.(7)

His use of the Maratta system was given fresh impetus when he coupled it with plein-air techniques. The genre of landscape provided a comfortable arena in which to experiment with color that was often somewhat antinaturalistic. "After selecting the subject I would take half an hour to set my palette. Then I would pick up those set tones and draw with paint. Instead of imitating the colors in nature, I decided on some quality of color that interested me and set a limited palette."(8) His deep sympathy for humanity prevented his taking too many liberties with human subjects. "There is no better subject [than landscape] to free one of color habits. The variety in nature offers new color combinations, new ideas. You also feel more free to take liberties with color in nature than when painting from the figure."(9)

In “Main Street, Gloucester” Sloan effectively merged plein-air techniques with his exploration of color rhythms and plastic design. Through the skilled massing and organization of form, volume, and color, he devised a composition that is at once stable and balanced yet highly animated. By the artist's criteria for a successful composition, “Main Street, Gloucester” is a successful work. "A good design has stability. It is at rest with itself. Sense the opposition of horizontal and vertical rhythms to the dynamic movement of diagonal curves. Feel the weight of tones and colors, balance and counterbalance them against line and mass."

Born in Lock Haven, Pennsylvania, John Sloan was the first child and only surviving son of Henrietta Ireland, a former school teacher, and James Dixon Sloan, who repaired bicycles and worked as a photographer after the decline of his family's cabinetry business. Sloan's childhood was spent reading, sketching, and pouring over illustrated books. He attended Philadelphia's prestigious collegiate Central High School with fellow students William Glackens and Albert Barnes. In 1888 Sloan left school just six months shy of graduation, to become the family's primary breadwinner.

Sloan took a job as a cashier at Porter and Coates' bookstore and continued his education by reading and studying prints. He taught himself to etch using Philip Hamerton's “Etcher's Handbook” (1881), a popular "how-to" manual, and supplemented his income by selling prints at the bookshop. When A. Edward Newton, one of his co-workers, left to open his own store, he hired Sloan to etch giftbooks and pamphlets. At this time, Sloan made his first oil painting, “Self-Portrait” (1890; Delaware Art Museum, Wilmington), using another "how-to" book, John Collier's “Manual of Oil Painting” (1886), and painting on a piece of window shade his father gave him.

During the 1890s Sloan worked as an illustrator for the “Philadelphia Inquirer” and the “Philadelphia Press”, honing his skills as an astute "spectator of life." Fellow illustrators Glackens, George Luks, and Everett Shinn introduced him to a circle of artists, including Robert Henri, who soon became his close friend and mentor. Their shared aspirations to infuse American art with vitality and release it from the tyranny of the conservative academic system of juried exhibitions and prizes led them to form the group known as The Eight. Their landmark exhibition of 1908 established Sloan's career as an artist, exhibition organizer, and forward-thinking modernist.

Sloan's earliest paintings, many executed in a limited palette, are indebted to the figurative traditions of James McNeill Whistler, Thomas Eakins, and Thomas P. Anshutz. Sloan moved to New York in 1904 and took up the city-life subjects that distinguished his ensuing career. His spirit of artistic exploration, fed by the 1913 Armory Show and summer sojourns to the art colonies of Gloucester (1914-18) and Santa Fe (1919-50), led him to experiment with color, glazing, and a graphic painting technique that he called "linework."

From 1900 until his death, Sloan's paintings, etchings, and drawings were exhibited in nearly nine hundred exhibitions, including those at the Pennsylvania Academy of the Fine Arts, Carnegie Institute, Art Institute of Chicago, Corcoran Gallery of Art, Whitney Studio Club and C. W. Kraushaar Art Galleries. “The Gist of Art” (1939), written with his student Helen Farr (later, Mrs. John Sloan), stands as a thoughtful and eminently readable compendium of his ideas and practices. Happily, Sloan's numerous contributions to the arts and to art education were recognized and celebrated in the decade before his death.

_________________________________

"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."

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The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.

Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.

Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).

Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.

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I did this film in Lyon, France, during my visit of the Lumière museum on May 2, 2024 and along the Saône banks on May 3, 2024.

The Leica M3 camera was loaded with a 36-exposure Kodak Tri-X film. The Summicron lens was equipped with a Hoya HMC AUV screw-on 39mm protective filter plus the Leitz shade hood for the first series on May 2 and a push-on 42mm FOCA Dyma filter (coefficient. x3.5 see bellow) for the second part of the film on May 3. Expositions were determined for 400 ISO (or 125 ISO with the Dyma filter) using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas.

On May 2, the weather was very cloudy and a bit dark ever in the afternoon. Indoor, I used the 1/50s or the 1/25s at full aperture f/2.0, 2.8 or 3.5.

On May 3, outdoor, the weather improved and I used the 1/250s at f/5.6 to f/11 with the Dyma filter. The filter is called "Dyma" due to the presence of neodymium in the glass giving an unusual absorption by bands in the visible spectrum. In particular the blue and yellow colors are more absorbed than the rest of the visible spectrum. The filter existed in two different versions with the coefficient x2.5 or 3.5. Here the 42mm push-on Foca Dyma filter used is a x 3.5. This filter was an exclusive product of Optique et Précision de Levallois S.A. (O.P.L.), France, that produced also the FOCA camera's.

Quais de Saône, May 3, 2024

Quai de la Pêcherie

69001 Lyon

France

After exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+50 and 20°C for 14 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 accompanied by some documentary smartphone Vivio Y76 color pictures.

About the camera and the lens :

This Leica M3 circa 1956 (Ref. Leitz ISUMO), double stroke, was sold to me with a Leitz Wetzlar Summicron collapsible normal lens 1:2 f=5cm of the same period equipped with a 39mm screw-on protective filter, a 42mm push-on Leica lens cap and an original Leitz shade hood (Ref. Leitz IROOA).

The camera was serviced in Paris, France, in 2018 by Gérard Métrot at Photo-Suffren, (a Leica boutique) who worked on the maintenance of camera's of famous French photographers as Henri Cartier-Bresson and Robert Doisneau. The camera was inspected by Odéon-Photo, Paris, another historic Leica place in Paris, in April 2024.

I sourced at the same time in Germany a stunning Leitz Leica leather bag (Ref; Leitz IDCOO) of the same model that appeared on the back cover page go the Leica brochure year 1954. This bag can accommodate the camera and a mounted Leica-Meter type M. The interior in covered with a carmin velvet in perfect condition.

The Leica M3 is one of the most iconic range-finder 35mm camera of the 50's and the 60's. It was produced in Wetzlar, Germany, in different versions at 226178 exemplars, between 1954 (n° 700000) and 1966 (n° 1164865, www.summilux.net/materiel/Leica-M3) . The Leica M3 was the result of the study of a "super-Leica" that was started before WWII and only achieved in the 50'S.

The greater improvement of the M3 compared the classical Leica's was in a magnificent and very complex range-finder combined to the view finder permitting the framing with the two eyes open, integrating the frame in the real and normal vision. The shutter integrates too the normal and the slow speeds in the same barillet. The film advance of this version of Leica M3 is also the typical "double-stroke" advance that was exclusive to the Leica M3 first versions.

The camera was transported to me from Paris to Lyon, France on April 26, 2024 and the bag arrived the day after.

nor

I admire people who can focus on work while waiting for a plane. All I can do is photograph them.

On July 4, 2024, I took my camera Zenza Bronica S2A (Japan, 1972-1977) for a tour in the district of Fourvière, Lyon, France.

The Nikkor normal lens 1:2.8 f=75mm was equipped of a Hoya Yellow (K2) 67mm screwed filter and the dedicated Zenza Bronica metal hood.

I used an Ilford FP4+12-exposure negative 120-format film . The film was exposed for 64 ISO (to compensate the filter absorption) using an Autometer III Minolta lightmeter fitted with a 10° finder for selective measurements privileging the shadow areas.

Halte aux Ateliers de Marinette, July 4, 2024

Rue Saint-Georges

69005 Lyon

France

After the view #12 exposed, the film was fully rolled to the taking spool and was developed in a Paterson tank with a spiral adapted to the 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 9min at 20°C.

Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films.

The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG.

All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivo Y76 color pictures.

Strangely, although its 1.8 kg the camera is not at all uncomfortable to carry, especially when the camera is hold on the chest by the neck strap. I did not feel tied after this photo tour (about 4km walking). It is easily to get a good stability and a precise framing with the camera on the chest.

Details about the camera :

The Zenza Bronica’s S (ゼンザブロニカ) were often referred to the « Japanese Hasselblad ». Conceived in the year 50’s (Bronica D, 1959) was manufactured in ToKy,o Itabashi-ku, Minami-Tokiwadai with the Japan engineering spirit of that time : « we wlll do as … in better! »; The Bronica (ETR, SQ series) camera’s were progressively discontinued twenty years ago between 2002 and 20O4 and the brand was bought by Tamron company and disappeared from the market.

The Zenza Bronica S2A was produced by Bronica Insdutries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR o th e S series. The camera in made in stainless steel 18-8 quality for the outer elements. The S2A is still a focal-plane shutter camera with automatic diaphragm and automatic film back coupled to the shutter cocking through a re-arming crank. Bronica were equipped either with Nikon Nikkor lenses, Zenzanon of Komura optics.

I got this exemplary from a French eBay auction for a quite reasonable price, equipped with a Nikkor-P normal lens 1:2.8 f=75mm, a generic 67mm lens cap, and a neck/shoulder Bronica strap. I found at my monthly trade -exchange photo meeting new-old stock 67mm filters (Hoya HMC anti-UV, Yellow K2, and a Zenzza Bronica Skylight 1A) and two shade shade hoods (one generic foldable and a rigid metal Zenza Bronica Japan). I also found a nice storage box 15x20x20cm to store the machine with silica-gel protectant.

The camera fit in my ThinkTank Retrospective 5 usual bag as easy as my French TLR Semflex. The weight is however twice more heavy by about 1.8 kg (0.8 kg for my Semflex TLR).

For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)

I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.

The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.

View Nr. 14 : 1/1000s f/5.6 focusing @ 2.7m

Les Quais du Rhône, February 17, 2025

Quai Victor Augagneur

69003 Lyon

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 12min15 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 14.2) 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 :

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 mounts 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.

About the lens Jupiter-9:

New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).

I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.

Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.

Helium emission and absorption spectra. When electrons in an element become excited (by heating), they enter higher energy orbits. When they return to their ground state they release the extra energy as light radiation at a specific wavelength. The wavelengths emitted by an element are characteristic of that element. A matching absorption spectrum occurs when light passes through a material and is absorbed by its atoms. The 12 lines of the visible helium spectrum correspond to wavelengths of 388.8, 447.1, 471.3, 492.1, 501.5, 504.7, 587.5, 667.8, 686.7, 706.5, 728.1 and 781.3 nanometres (nm). For this diagram with unlabelled lines, see C025/8081.

For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)

I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.

The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.

View Nr. 9 : 1/500s f/4 focusing @ 10m

Les Quais du Rhône, February 17, 2025

Quai Victor Augagneur

69003 Lyon

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 12min15 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 14.2) 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 :

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 mounts 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.

About the lens Jupiter-9:

New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).

I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.

Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.

Texas State Capitol, Austin, Texas, Dec. 2018

Nike Air Max 1 Essential, 537383-400, Midnight Navy, White, Gum, Med Brown, Light Bone, UPC: 00091203082214, 2015, debut in 1987, Air-Sole unit, Air Max technology, impact absorption, runners,

Absorption.

Reconstruction of the marble funerary stele of Phrasikleia, 2010

Polymethyl metacrylate

Vinzenz Brinkmann & Ulrike Koch-Brinkmann

The colors in this reconstruction of an ancient Greek marble statue of a young woman were identified on the original with the help of ultraviolet-visible absorption spectroscopy and X-ray fluorescence spectroscopy. These techniques revealed numerous pigments: red and brown madder lake, red and brown ocher, and lead white for the eyes, skin, and hair, as well as red and yellow iron oxide, orpiment, and cinnabar for the dress. Certain ornaments had been gilded or perhaps covered with a lead-and-tin foil.

"This richly decorated statue stood on the tomb of a girl named Phrasikleia. She wears a crown of lotus buds and holds a single bud in her left hand. The epigram on the base tells us that she died young, before she could marry.

The famous sculptor Aristion of Paros signed the work. With the help of ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) and X-ray fluorescence spectroscopy (XRF), traces of a numbers of colors on the flesh and clothing could be identified: red and brown madder, red and brown ocher, lead white for the eyes, flesh, and hair, as well as three different reds and yellows (red and yellow iron oxide and orpiment for the garment). Wherever the underside of the fabric is visible - on the sleeve and the lower hem - a dark red pigment (hematite) was deliberately used. Gold leaf and lead tin foil that gleams like silver were applied to the dress and the jewelry. Metal rosettes and shiny yellow swastikas (painted with orpiment and gold ocher) were scattered over the entire garment. Additionally, stars appear on the back of the garment, evidently intended to represent a constellation.

The reconstruction made in 2010 follows the incised patterns and colors that were identified by scientific analysis. But after the latest discoveries by the conservators in the Athens National Museum, the red ocher of the robe has been mixed with cinnabar, giving the color an even more intense effect. The polish of the skin was based on contemporary Egyptian mummy portraits and was done using agate, while a shimmering lacquer (gum arabic) was applied to the irises of the eyes. In 2019, gilding was added to the volute ornament of the belt and precious stones were inserted into the round depressions that are still preserved."

Pigments used in the reconstruction: red: burnt Cypriot yellow ocher, cinnabar, red ocher, hematite; yellow: light yellow Cypriot ocher, gold ocher, orpiment; white: lead white; brown: brown madder, umbra; black: vine black; flesh color: red and yellow ocher, lead white (polished).*

Taken from the exhibition

Chroma: Ancient Sculpture in Color

(July 2022 to March 2023)

Ancient Greek and Roman sculpture was once colorful, vibrantly painted and richly adorned with detailed ornamentation. Chroma: Ancient Sculpture in Color reveals the colorful backstory of polychromy—meaning “many colors,” in Greek—and presents new discoveries of surviving ancient color on artworks in The Met’s world-class collection. Exploring the practices and materials used in ancient polychromy, the exhibition highlights cutting-edge scientific methods used to identify ancient color and examines how color helped convey meaning in antiquity, and how ancient polychromy has been viewed and understood in later periods.

The exhibition features a series of reconstructions of ancient sculptures in color by Prof. Dr. V. Brinkmann, Head of the Department of Antiquity at the Liebieghaus Skulpturensammlung, and Dr. U. Koch-Brinkmann, and introduces a new reconstruction of The Met’s Archaic-period Sphinx finial, completed by The Liebieghaus team in collaboration with The Met.Presented alongside original Greek and Roman works representing similar subjects, the reconstructions are the result of a wide array of analytical techniques, including 3D imaging and rigorous art historical research. Polychromy is a significant area of study for The Met, and the Museum has a long history of investigating, preserving, and presenting manifestations of original color on ancient statuary.

[*The Met]

In the Met

The Metropolitan Museum of Art was conceived in Paris by John Jay in Paris, 1866, as a "national institution and gallery of art" for the American people. The Union League Club in New York campaigned for funding, and The Metropolitan Museum of Art opened to the public in 1870, in the Dodworth Building 681 Fifth Avenue. Initially formed from donations by its founders, the Museum collection increased to the point that it outgrew the initial site, and then a consecutive one, moving to its current location (on Fifth Avenue and 82nd Street) in 1880.

The initial museum building was designed by Calvert Vaux and Jacob Wrey Mould, with extensions added from 1888 onwards - the Fifth Avenue facade, Grand Stairway, and Great Hall, designed by Richard Morris Hunt, opened 1902, and the Fifth Avenue wings by McKim, Mead & White in 1910. The last major development was the installation of glass at the sides and rear of the building, designed by Roch-Dinkeloo in 2011-12.

Taken in Manhattan

Products Description:

Item No:JJ8700/JJ8701/JJ8702/JJ8703

Series Name:Crystal Double Loading

Water Absorption :below 0.15%

Mohs Hardness:8

Glossy Rate: above 55 degree

Flatness :+-0.15%

Size Tolarance:+-0.5mm

Size Available:600*600mm,800*800mm, 1000*1000mm;

Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.

Price and Package:

600*600MM : 4PCS/CARTON,30G/CARTON;

Ex-Work Price:15.00RMB/PCS,41.70RMB/SQM;

800*800MM:

3PCS/CARTON,45KG/CARTON;

Ex-Work Price:30.00RMB/PCS,46.80RMB/SQM;

1000*1000MM:

2PCS/CARTON,60KG/CARTON;

Ex-Work Price:70.00RMB/PCS,70.00RMB/SQM;

NOTE:

1.The price is based on EX-Work which includes the wooden pallets and VAT.

2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;

3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).

4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:

1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)

Sayeret Chesed Yechudit (SAHI) – in English, the Special Grace Unit (www.sahi-israel.org) -- empowers disenfranchised Israeli teens by turning them into anonymous goodwill ambassadors.

Solar town Planting with Bunding

Abstract: May 11, 2012 Jan. 10, 2011

A CO2 absorption strategy proposed by tree planting new solar town and village plans provides place and work for people displaced by global warming, pollution, etc. Full town and village area tree planting has maximum potential tree products as infrastructure patterns form on degraded land with close-planted interspersed tree, shrub, and grass species. Fast growth short-term yield trees, micro-climate protecting long-term slow growth trees, nitrogen fix soil, and provide food, fuel, and building material within a few years with adequate water. Water conservation works (small trenches, mounds) catch rain and seeds starting at watershed tops. Gully plugs and very small dams form circulation ways for people. Shaded walking and cycle paths, avenues, forest perma-culture parks with local sanitation systems, future building sites, urban and agriculture patterns are tree formed by a small hard working group. Trees can have good survival rates where people live (with water and compost material) caring for place with long term home commitment, beginning with indigenous tree, shrub and grass species that have survived many generations and extreme weather conditions. From tree centers (nurseries, seed banks) outlying areas are planted-maintained. Solar buildings and technology includes modular durable structural frames for low energy in-fills beginning with 1-2 levels, and foundations for ‘growing’ taller with the trees, with top solar collectors. Solar village houses have thru-mirror-wall greenhouse type oven kitchens. Environmental regeneration and town and village patterns tree formed with basic renewable–solar energy infrastructure planning may reduce the damage and loss of life due to global warming pollution and associated climate change extremes with modest investment.

For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)

I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.

The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.

Contact sheet

February 18, 2025

69004 Lyon

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 12min15 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 14.2) 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 :

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 mounts 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.

About the lens Jupiter-9:

New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).

I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.

Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.

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Ηχοαπορροφητικά πάνελς στο Εργαστήρι Πολυμέσων.

24 Ιουλίου 2014

On December 1st , then on December 5, 2025, I did my first photo session remote from home after my stay to hospital November 15-24. I felt confident with my physical condition and I really enjoyed these two small excursion with my circa-1959 French TLR Semflex OTO 3.5B (see below for details about the camera). Loaded with aRollei RPX 400 black-and-white film.

On December 1st, I went in the afternoon from Lyon, France, to Poleymieux in the Mont-d’Or massif where I did only 4 photos at the church and one « caborne » that not far away. The weather was fresh (5°C) and sunny. On December 5, I went to the Gallo-Roman museum in Fourvières using the public transportations. I did the rest of the roll indoor before going down the hill, in a cold rain and dark end of the afternoon. I passed by « Les Ateliers de Marinette », Saint-Georges street. They have the largest choice and the best price for films and photography chemicals. I had then a nice hot chocolate there before returning home to process my film.

Outdor, I used on the SOM Berthiot FLOR 3.5/75mm taking lens, a push-on Semflex hood and the Semflex yellow x2 filter. I protected also the viewing lens with a 42mm FOCA push-on AUV filter. Indoor, I used no filter for the taking lens. Light metering was done outdoor with my Minolta Autometer III (1983) and its 10° selective viewer privileging the shadow areas. The yellow filter absorption was compensated by metering for 250 ISO instead 400. Indoor, I metered mostly incident light with integrating opale dome.

Documentary smartphone pictures

December 5, 2025

Musée Gallo-Romain Lugdunum

Fourrière

69005 Lyon

France

After completion, the film was processed in a Paterson developing tank with a spiral adapted to the 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25and the film processed for 9 min at 20°C.

Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the film.

The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 15.0.1 of November 2025) and edited them to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG together with some documentary smartphone pictures.

About the camera:

This beautiful French Semflex TLR OTO 3.5 B year 1959 is equipped with a French SOM Berthiot Flor 1:3.5 f=75mm (4 elements of the Tessar type). I got the camera from a neighboring collector in Lyon, France, who is progressively reducing a very large camera collection. He provided already to me my nice FOCAsport II two years ago.

The SEM company ("Société des Etablissements Modernes de Mécanique") was founded in France by Paul Royet in 1946, in the small city of Aurec near Saint-Etienne (Loire) and about 65 km away from Lyon. The SEM camera's were known especially for the TLR’s Semflex that were a great commercial success in France until the 70's (last production 1976). The camera's are constructed around an injected aluminum alloy chassis, very resistant and rigid permitting precise optical alignments. The focusing mechanism is made of a cam system like the Rolleiflex giving an accurate and smooth focusing. SEM constructed their own shutters called « Orec » with 5 leaves capable of the 1/400s to 1s with B.

Semflex received in majority French optics Berthiot with 3 or 4 lenses (Cooke triplet and Tessar type, respectively). Some camera's were also mounted with Pierre Angénieux X1 lenses.

Semflex were trusted TLR camera's used by amateurs and for professional purposes. From 1949 to 1976, 171.000 Semflex were produced in many different types and versions. This OTO 3;5 B, type-30, (1955-199) is the top of the TLR line year 1959. I got the camera with the original SEMFLEX box and the user manual. The accessories include the specific SEM ever-ready leather bag in very good condition, the quite rare quite rare bipolar to PC port flash relay Semflex and a short (10 cm) shutter release cable.

The OTO 3.5 B is covered with a black leather and the metallic parts covered with black enamel. This model has a specific bayonet mount fro lenses accessories but still accepts the push-on normal SEM filter and shade hood.

Strangely, the SEMFLEX’s has no lens caps in a the available list of accessories. I adjusted two black caps of 35mm film canister to protect the two lenses.

The shutter (OREC 1s-1/400s + B) was functional including the slow speeds but has a propension sometimes to open slowly (closure is normal) due likely to a sticky lubricant somewhere. I gave the camera to the same local expert who already maintained my other Semflex 3.5 Standard. The complete cleaning and lubricating was done and the shutter returned in its original specs.

The OTO (or OTOMATIC) series has a coupled film advance to the shutter cocking. The film advance is of the « double-stroke » type (like early Leica M3) with automatic frame counter. I tested successfully the flash synchronization with the GODOX Lux Master electronic flash and its synchro cable connected to the SEM bipolar relay.

Reference : SEM et les SEMFLEX, Patrice-Hervé Pont, FOTOSAGA, 1995.

a side view of one of my panels. the burlap is not bad, but muslin is obviously a better choice. i didn't know that at the time.

i've got some now to cover the back with.

Water Absorption :below 0.15%

Mohs Hardness:8

Glossy Rate: above 55 degree

Flatness :+-0.15%

Size Tolarance:+-0.5mm

Size Available:600*600mm,800*800mm, 1000*1000mm;

Package:

600*600MM : 4PCS/CARTON,30G/CARTON;

800*800MM:

3PCS/CARTON,45KG/CARTON;

1000*1000MM:

2PCS/CARTON,60KG/CARTON;

Products Description:

Item No:JPB8D00/ JPB8D01/ JPB8D02/ JPB8D03(Light Colour)

Series Name:PULATI

Water Absorption :below 0.15%

Mohs Hardness:8

Glossy Rate: above 55 degree

Flatness :+-0.15%

Size Tolarance:+-0.5mm

Size Available:600*600mm,800*800mm, 1000*1000mm;

Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.

Price and Package:

600*600MM : 4PCS/CARTON,30G/CARTON;

Ex-Work Price:17.5RMB/PCS,48.65RMB/SQM;

800*800MM:

3PCS/CARTON,45KG/CARTON;

Ex-Work Price:36.00RMB/PCS,56.16RMB/SQM;

1000*1000MM:

2PCS/CARTON,60KG/CARTON;

Ex-Work Price:80.00RMB/PCS,80.00RMB/SQM;

NOTE:

1.The price is based on EX-Work which includes the wooden pallets and VAT.

2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;

3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).

4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:

1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)

For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)

I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.

The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.

View Nr. 28 : 1/500s f/11 focusing @ 15m

Les Quais du Rhône, February 17, 2025

Quai Victor Augagneur

69003 Lyon

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 12min15 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 14.2) 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 :

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 mounts 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.

About the lens Jupiter-9:

New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).

I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.

Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.

For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)

I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.

The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.

View Nr. 33 : 1/500s f/11 focusing @ infinite

Les Quais du Rhône, February 17, 2025

Pont de la Guillotière

69003 Lyon

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 12min15 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 14.2) 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 :

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 mounts 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.

About the lens Jupiter-9:

New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).

I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.

Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.

The absorption of light and colour in search of tone and texture is the pursuit of photography where painting with light often leads us into darkness. These pictures were created as I tested a new camera. When I first got my Canon 550D I thought that it was so light and well fitting in the hand that I could capture any lighting conditions. True there are some leaps and bounds for technology yet to perform to allow my unsteady hands to capture the lowest light conditions in sparkling clarity. I am sure that some of these technological leaps and bounds are occurring even as I type. It makes my hands tremble with anticipation to think of testing the next stable releases of stabilizing cameras with even lower light sensitive sensors.

Nike Air Max 1, ND, Have A Nike Day, GS, Size 7Y, Space Purple, Black, Bleached Coral, AT8131-001, UPC 00888409493087, Release Year 2018, tongue features "Have A Nike Day" textile eyelets, embroidered smiley face, mesh base, multi-color sole, White midsole, Woven tongue label, black Nike “Swoosh”, smiley face metal lace dubrae, smiley face logo on the heels, pastel-translucent outsole, Black overlays on the Swoosh and mudguard, Visible air sole unit, mesh and suede upper, pastel tones and smiley face logos, debut in 1987, Air-Sole unit, Air Max technology, impact absorption, runners