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Marqueone- An Inspirational Logo Design for a Web Based Application Developer.
Logo designed by Lahiru C. Pathirana
Our Australian Centre for International Agricultural Research John Dillon Fellows spent a morning at Fusion Sunshine Coast's rope course for a teambuilding activity that highlighted how trust, patience and teamwork and key factors in developing a great leader!
North of the city of Lyon, France, the two neighboring communes of Caluire and Cuire were united in 1793 into a single one "Caluire-et-Cuire". Originally, the inhabitants of Cuire were buried in the « Château de Cuire » graveyard. After the French Revolution, the new owner and local residents, claiming to be bothered by the odors emanating from it, demanded its closure.
It was officially closed in 1823. A new graveyard was built at the top of the « Montée de la Rochette », a very steep street, where the sale of concessions stopped in 1940. The last burial took place in 2012. Most of the graves are today abandoned but the graveyard is still maintained. The ivy grows on the tombstones giving a sort of natural and elegant funeral decoration.
I passed by there two days before and I decided to return with my Rolleiflex 3.5F (1960-1964, see below for details) loaded with a Svema FOTO 100 black-and-white film. The film was exposed for its nominal 100 ISO. Metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas or an opale dome for incident light integration.
Documentary smartphone picture.
Cimetière de Caluire, May 21, 2025
Montée de la Rochette
69300 Caluire-et-Cuire, 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 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 7 min at 20°C. Opposite to my first trial of the Svema FOTO 100 film, the film was this time correctly positioned on the backing paper and the 12 views were obtained without problems.
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 together with some documentary smartphone pictures.
About the camera
I got this stunning Rolleiflex 3.5F from a French artist near Paris, France. The camera came in it original box and leather bag with accessories and a reference book year 1955. The whole kit is in a remarkable state of conservation.
The Rolleiflex 3.5F is the model-3 that Rollei-Werke Franke & Heidecke produced in about 50.000 units in Germany from 1960 to 1965. The Rolleiflex originates from 1928 for the very first model and was produced still in a limited number until the years 2000’s. The 3.5F model 3 was available etheir with a Schneider-Kreuznak Xenotar taking lens or the Call Zeiss Planar 1:3.5 f=75mm as this camera. The Rolleiflex, that was a quality reference for many professional photographers in the 50’s for the medium-format 6X6 camera’s. Many worked both with the Leica M3 (starting from 1954) as small-format 24x36mm camera and the Rolleiflex for other appliances. The Rolleiflex remained one of the most iconic and trusted camera of all the times.
This specific 3.5F is labelled on the right side with nice badge made of enameled brass « T » « Telos » that was the exclusive first French importer of Rollei to France until 1972.
The Rolleiflex 3,5 F model 3 is equipped with the Synchro-Compur central shutter MXV CR00 with cone-wheel differential. The distance scale is only in meters here with automatic DOF indication. Serial number with ‘3,5F’ prefix on of top name shield.
I detailed the camera and accessories and studied carefully the user manual and the book to before familiar this beauty before waiting for a quiet moment to prepare for a test film. I did not trust the old leather original neck strap to carry this precious machine on the field to avoid the real risk to drop the camera. I ordered a new one from a manufacturer in China for a safe operation of the field.
General Jimmy Doolittle Leadership Center's (DLC) Lead, Develop,Care leadership training event at Graves Mountain Lodge, Syria, Va., from Feb. 17-18, 2023. Photo by Mike Tsukamoto/Air & Space Forces Magazine
Developed by me @ 21 degrees Celsius....
...Rinsed, agitated for 2 minutes with tap water.
1.Developer: agitate for 5 seconds, sit for 30seconds, agitate for 5 seconds and so on for 8 minutes 30 seconds. dump out.
2.Stop: agitate for 30 seconds, dump stop back in container.
3. Fixer: agitate for 5 minites continuously, dump fixer back in container..
4. Rinse under tap water for 2 minutes.
5. Photo flow for 3 minutes agitating whenever..
6. Rinsed with tap water again until all the foamy stuff was gone.
7. Took film out of spool and hung too dry.
Turned out great....
All of these pictures are at least anywhere from 6-9 years old. I just got the rolls of film developed today.
2nd test roll for the new 645 Super.
Reala 100, expired Oct 2012.
Developed and scanned (Noritsu) at Photo Life in Crown Heights, BK
Definitely haven't gotten used to nailing focus on this prism finder yet.
« Caborne » is the vernacular word used in the Lyon city region, France, to name ancient dry-stones huts that could found in the neighboring massif of the Monts d’Or. Dry-stones huts developed in France a lot at the 18th-19th centuries and are no as old as we could first think. This flourishing age is due to the encouragement of the French Kingdom to clear some forestal domains and later to the development of small vineyard and access to the private property for little farming. Those « cabornes » were constructed following empirical rules and know-how of « caborniers », masons and quarrymen. Quarries of limestone in the Monts d’Or are still visible and gave the materials of most of the buildings erected in Lyon in the past.
Today the « cabornes » attract visitors with their ingenuity and rustic charm, often integrated into hiking trails. They evoke a sense of nostalgia and connection to nature, reinforcing regional and cultural identity. Associations of volunteers are organizing initiatives to inventory, restore and rediscovered the ancestral technics of dry-stone construction. Dry-stone huts are also found in Portugal, Spain, Italy, Ireland, Scotland and Finland as temporary shelter for shepherds and their animals, permanent habitations for monks or agricultural workers, storage and cheese making, etc.
For a third visit, I decided to go especially to the « Cabornes Girard » starting from the village of Saint-Romain-au-Mont-d’Or and using some local hiking trails. I brought along with me my brave French TLR 6x6 SEMFLEX Standard 3.5 camera (see below for details) loaded with a film Svema FOTO 100. My SEMFLEX was equipped with the original Semflex squared shade hood with, or wiyhout,a SEMFLEX yellow filter x2. The film was exposed for 100 ISO (no filter) or 64 ISO to compensate the light absorption of the yellow filter. Metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas or an opale dome for incident light integration. .
View n° 10: 1/25s f/3.5 focusing @ 4.5m, No filter.
La Caborne de l'Erable, August 28, 2025
Chemin de Chenevier
69450 Saint-Cyr-au-Mont-d’Or
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 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 7 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 70mm films. The RAW files obtained were inverted witin Adobe LightRoom Classic (14.5 August 2025) and edited 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 and lenses :
My French Semflex TLR year 1959-1960 is equipped with triplet 1/3.5 f=75mm SOM Berthiot lenses as descripted bellow.
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). The SEM camera's was known essentially for the TLR Semflex that were a great commercial success in France until the 70's. 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 (Tessar type). Some camera's were also mounted with Angénieux 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.
My Semflex in a middle grade version Standard 3.5 type-10 (1959-1960). It was the last version mounted with the 3-lens SOM Berthiot 1:3.5 f=75mm. I got the camera with set of accessories and several documents including the user manual of the Semflex Standard 4.5 versions. The accessories include a leather SEM ever-ready bag, a Semflex push-on shade hood, a Semflex push-on yellow filter x2 in its original box, and close-focusing lenses. The 1D one is constructed with a prism for the finder lens that compensates the parallax in the zone 1m to 0.5m.
The decorative ring around each lenses can also receive push-on accessories in 36mm diameter as the FOCA or Leitz 36mm filter series. I adapted two protective lens caps from Kodak film canister snapped covers.
One day during the summer I passed through my hometown and they were in the process of tearing down the old auditorium.
As I want to do I took some shots, starting with my large format then 35mm to play around a bit more. Film in both cases is Kodak TriX though in the case of the large format it's 18 years expired, all developed and scanned by me.