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On Saturday November 29, 2024. I went to Saint-Bonnet-de-Mûre, near Lyon, France for the last monthly meeting of camera collectors. I found there a stunning lens AF-Nikkor 1:1.8 f=85mm for my Nikon F4 (year 1989). There was also the same lens in the "D" version appeared in 1995 with the Nikon F5. "D" stands for "Distance" that is coded in this Nikkor lenses series and used for the 3D-matrix metering of the Nikon F5. I choose better the non-"D" significantly less expensive and that match better with the period of my Nikon F4 body. I found also a nice small Nikon shoulder bag all black, that I found discrete enough to carry the heavy and massive Nikon F4 that weight more than a medium-format camera.
After detailing the lens and checking the correct functioning fitted to the camera, I loaded on Monday December 2, 2024 an
Ilford HP5+ with the DX coded nominal 400 ISO film sensitivity. Due to some other businesses that took longer than expected, I had to wait a couple of days before going quietly to the "Parc de la Tête d'Or" for testing the lens.
The AF Nikkor lens 1:1.8 f=85mm was fitted with a protective Hoya Skylight (1A) 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. For focusing I used either the single autofocus mode or the manual mode on complicated scenes inside the tropical green houses. As for my medium-format sessions, I took a bit of time to note on a session ticket the main parameters (shutter speed, aperture, focusing distance, flash control mode, etc). When indicated, I used also my Nikon Speedlight SB-26 in the TTL mode.
View Nr 2: Body in the "M" mode with spot metering privileging the shadows) giving 1/500s f/5.6, focus @ 20 m.
Parc de la Tête d'Or, December 4, 2024
Anooki **
(Light Festival 2024 preparations)
69006 Lyon
France
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** About the Anooki by Moetu Batlle and David Passegand
Moetu and David met in their design school in Paris, then joined forces in 2000 to create their digital design office. For 20 years, they developed innovative, creative and agile projects for companies, brands, products and institutions looking for a strong identity.
At the same time, they created Anooki, two characters inspired by the Inuit, funny, endearing and impertinent, who would become their creative exploration ground. The artist duo notably produces sound and light shows and exhibitions of monumental inflatable statues in urban spaces. The Anooki travel all over the world and establish themselves as true environmental messengers in Dubai, Osaka, Singapore, kyiv, Torun, Hong Kong, Doha, Taiwan, Shanghai, Geneva, Zagreb, Beijing, etc.
Moetu and David are also the creators of the show "Grand Mix at the Musée des Beaux-Arts de Lyon" in 2022 on the Place des Terreaux. The paintings of the Museum had then made more than 600,000 visitors to the Festival of Lights sing and dance. Their shows have won the Trophée des Lumières 4 times at the Festival of Lights in Lyon.
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After completion at view 37, the film was rewound using the rewinding motor (lever R1 then lever R2). During the film rewind (manual or auto) the view counter decrements and I switched-off the R2 lever just arrived at -2 to keep the leader out of the cartridge. I then processed the film developed using 300 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 6min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
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About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
At the Snaptic Developer Conference I took tons of people shots but this one of Wired's Brian Chen's funky sneakers was my favorite one. Day 147. May 27, 2010.
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This is an experiment combining p-Aminophenol(ates) and Ascorbates (Vit C).
All the experiments are done on PolypanF.
The intention was to use less VitC than the usual formulae.
(reason : Rodinal/R09 1+100 only contains something like 0.6 g/L pAp developer, why use
several grams of VitC, with a high risk of fog and not so fine grain.)
(All the next amounts/weights are for a 250cc developer.)
I used 0.5 g VitC in combination with R09 1+100 1+200 1+250 and 1+500 -- I also used it in
combination with 4, 6 and 9 g instant coffee. (the pictures at the Ursel Castle are made
with the 9g.
I call these developers VitRo 100 .. 500 and VitCa 4,6 or 9.
It has to be noticed (visible with the Rodinal combination) there is no single trace of
oxidation (against the air - the reduction of silver salts works as normal, even stronger).
(Agfa claimed the darkening of the Rodinal during development is a result of the anti-halo
layer, this is only partly correct (simply because films without this layer also show this
result).
The VitRo developers contain :
3 g Soda (deca) .. Na2CO3.10H20 (= 106 + 10x18 g/mol - to calculate the mono etc..)
(this is needed to neutralize the H's from the Ascorbic acid, otherwise it will
take the OH's from the Rodinal/R09 and turn the developer ineffective).
0.5g VitC
2.5 - 2 - 1.25 - 1 cc R09
2.5cc of a 2.5% solution of Borax. (finer, rounder grain)
Example above is made with the VitRo 250.
Developing times : (PolypanF)
VitRo 100 12' 80iso
VitRo 200 20' 64iso
VirRo 250 25' 100-125iso (example above)
* VitRo 500 40' 64iso
(*) to be calculated : enough developer for the silversalts on the film ???
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The VitCa is trickier, because the acidity of the coffee.
I start with 4g Soda (deca) and add 0.5 g / g instant coffee.
VitCa 60 = 7g Soda (deca)
VitCa 90 = 8.5 g Soda (deca)
After the water, the soda, the VitC (0.5g) I add 1cc 0.1% solution of KI (Potassium Iodide)
The VitCa 60 shows less contrast than the 90, perfect for portrait ...
Developing times between 50' and 60' push the PPF about 2x in the 90.
The 60 after one hour seems to reach 64iso (but I only tested with studio light, outside light
needs to be tested).
But should make excellent developers, with fine grain and great tonality and the ability
to push the film without burned-out highlights several stops.
Rob
Was a surprise, shock and altogether unsettling to find someone from my project, visiting foss.in !!
Highlights of this conference in July in San Bruno included an excellent lunch, and very informative presentations on some new YouTube applications, such as Animoto which I used several times this year.
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Photograph from Mobile Developer Summit 2010 held in Bangalore, India, 10 November 2010, produced by Saltmarch Media. Photograph ©Copyright Saltmarch Media. Non-commercial use permitted with attribution and linkback to this page on Saltmarch's Flickr photostream. All other rights reserved.
Could only find 1 with experimenter using Pyrocat HD on Kentmere film. Looks OK though without a lot of grain. Might need to lower the contrast with agitations.
1/3
This photo was taken at insomnia58
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Waza is the Japanese word for art and technique. Heroku's waza (技) conference is a developer event celebrating the art of software development through technical sessions and unique happenings. For more visit waza.heroku.com/2013.
My newest tests with a different homemade developer. Yeah, it started with tea, what I’ve decided to call “chai-lenol.” The rest of this mysterious concoction? Well…
It seems I’m getting a lot more visits to my ‘stream of late (thanks all). The past few days have seen my stats go up more than double my previous high for any past day. I’m really curious to learn more about those that find me, maybe are also interested in homemade developers or experimental photography techniques/processes/equipment. So, please don’t just lurk, drop me a comment, so I can find your stream too!
Let’s see if that motivates enough people. Lol. If I get good feedback, as I hope, I’ll post the entire recipe of this strange brew. Believe me, there are one or two ingredients in this that you prolly wouldn't guess! Basically, I’d like like to use this amazing flickr community to help each of us grow and learn experimental photography techniques. I hope many of you also wish for the same.
Cheers.
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I get a fair number of comments that peeps wish they could view images larger… while I maintain that only my contacts can view my large images (I generally upload at least 800px images on the long axis)… a quick workaround I might suggest is to view my photostream as a slideshow. Works well for me. this is frequently how I view others’ ‘streams, and it will put a large image on black. : )
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on 01 jan 2010, i began my journey w/ a new flickr group i've formed, ~365: experimental
the idea is that i strive to push myself daily; experiment, learn, & develop my photography skills further by exploring techniques, ideas, and experiments. hopefully, some of you might consider joining and we can work on our journey together!
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