View allAll Photos Tagged devlopers
Harry Schein house-brand pedodontic x-ray film.
Camera was a Chaika 2. This size 0 is just about half frame-size. Shot at ISO 20, and developed in no-name paper devloper 1:10, under safelight.
Nikon L35 AF, Nikon lens f2.8/35mm, Ilford HP5+ EI 640 in Diafine 4 minutes in each bath.
I bought this camera in a thrift shop for just 4 GBP, it was the first autofocus point & shoot made by Nikon, is fast, noisy and seems to work well for a 25 years old camera.
My photowalk of October 22, 2024 down the hill of La Croix Rousse, in Lyon, France.
The Zenza Bronica S2A camera (see details below) was equipped of the Nippon Kogaku (Nikon) wide-angle lens Nikkor-H 1:3.5 f=50mm and loaded with an Ilford HP5+ 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
View Nr. 10 : 1/250s f/9 focusing @ infinite
Place des Terreaux, October 22, 2024
69001 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 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 6min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
About the lens:
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
My photowalk of October 22, 2024 down the hill of La Croix Rousse, in Lyon, France.
The Zenza Bronica S2A camera (see details below) was equipped of the Nippon Kogaku (Nikon) wide-angle lens Nikkor-H 1:3.5 f=50mm and loaded with an Ilford HP5+ 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
View Nr. 9 : 1/30s f/22 focusing @ 4.25m
Place des Terreaux, October 22, 2024
69001 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 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 6min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
About the lens:
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
My photowalk of October 22, 2024 down the hill of La Croix Rousse, in Lyon, France.
The Zenza Bronica S2A camera (see details below) was equipped of the Nippon Kogaku (Nikon) wide-angle lens Nikkor-H 1:3.5 f=50mm and loaded with an Ilford HP5+ 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
View Nr. 1 : 1/250s f/9 focusing @ infinite
Amphithéâtre des Trois Gaulles*, October 22, 2024
Rue des Tables Claudiennes
69001 Lyon
France
* About the antic theater "des Trois Gaules" (Wikipedia):
The amphitheatre was built at the foot of the La Croix-Rousse hill, in Lyon, France, at what was then the confluence of the Rhône and Saône . An inscription on one of the blocks found in 1957 (Inscription latine des Trois Gaules, n°217 (AE 1959, n°61)) connects the amphitheatre with the sanctuary of Rome and Augustus and allows its origins to be identified.
[...]E TI(beris) CAESARIS AVG(vsti) AMPHITHEATR
[...]ODIO C IVL C[?] RVFVS SACERDOS ROM(ae) ET AVG(vsti)
[...]FILII F. ET NEPOS [-]X CIVITATE SANTON. D(e) S(ua). P(ecunia).FECERVNT
Which can be completed as
[... Pro salvt]/e Ti(beri) Caesaris Avg(vsti) amphitheatr[-...] / [ ......... cvm] pod/io C(aivs) Ivl(ivs) C(aii) f(ilivs) Rvfvs sacerdos Romae et Avg(vsti) / [ ...... C(aivs) Ivlivs C(aii) ?] filii f(ilivs) et nepos ex civitate Santon(orvm) d(e) s(va) p(ecvnia) fecervnt.
For the safety of Tiberius Caesar Augustus, C. Julius Rufus, citizen of the city of Santons (Saintes), priest of Rome and of Augustus, [and Caius Julius ?...] his son and grandson built this amphitheatre and its podium at their own expense.
This dates the building to 19 AD. The figures who financed its construction belonged to an old Gallic family in Saintes which had held Roman citizenship since the Gallic Wars and also built the Arch of Germanicus there. The curious formula "filii f(ilius)" perhaps derives from a wish to affirm the antiquity and continuity of the family's lineage, as on the Arch of Germanicus, which names Rufus's ancestors.
Other stones bear the names of Gallic tribes (Arverni, Tricasses, Bituriges) confirming its identification as federal sanctuary. The amphitheatre was expanded at the start of the 2nd century, according to J. Guey by C. Julius Celse, procurator of Gallia Lugdunensis from 130 to 136. Two galleries were added around the old amphitheatre, raising its width from 25 meters to 105 meters and its capacity to about 20,000 seats (though this was still modest compared to the amphitheatres at Nîmes and Arles). In so doing it made it a building open to the whole population of Lugdunum and its environs. Historians identify the building as the site of Saints Blandina and Pothinus's martyrdoms as part of the persecution in 177 and a post in the middle of the arena commemorates this event and Pope John-Paul II's visit to Lyon in 1986.
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 6min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
About the lens:
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
The Zenza Bronica S2A was loaded with a Kodak Professional Tri-X (TX400) 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's or by measuring the incident light with the opalescent dome.
October 14, 2024
Parc de la Tête d'Or,
69006 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+50 and the film processed for 14min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 13 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.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
My photowalk of October 22, 2024 down the hill of La Croix Rousse, in Lyon, France.
The Zenza Bronica S2A camera (see details below) was equipped of the Nippon Kogaku (Nikon) wide-angle lens Nikkor-H 1:3.5 f=50mm and loaded with an Ilford HP5+ 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
View Nr. 2 : 1/60s f/18 focusing @ 4.25m (hyperfocal distance)
Amphithéâtre des Trois Gaules*, October 22, 2024
Rue des Tables Claudiennes
69001 Lyon
France
* About the antic theater "des Trois Gaules" (Wikipedia):
The amphitheatre was built at the foot of the La Croix-Rousse hill, in Lyon, France, at what was then the confluence of the Rhône and Saône . An inscription on one of the blocks found in 1957 (Inscription latine des Trois Gaules, n°217 (AE 1959, n°61)) connects the amphitheatre with the sanctuary of Rome and Augustus and allows its origins to be identified.
[...]E TI(beris) CAESARIS AVG(vsti) AMPHITHEATR
[...]ODIO C IVL C[?] RVFVS SACERDOS ROM(ae) ET AVG(vsti)
[...]FILII F. ET NEPOS [-]X CIVITATE SANTON. D(e) S(ua). P(ecunia).FECERVNT
Which can be completed as
[... Pro salvt]/e Ti(beri) Caesaris Avg(vsti) amphitheatr[-...] / [ ......... cvm] pod/io C(aivs) Ivl(ivs) C(aii) f(ilivs) Rvfvs sacerdos Romae et Avg(vsti) / [ ...... C(aivs) Ivlivs C(aii) ?] filii f(ilivs) et nepos ex civitate Santon(orvm) d(e) s(va) p(ecvnia) fecervnt.
For the safety of Tiberius Caesar Augustus, C. Julius Rufus, citizen of the city of Santons (Saintes), priest of Rome and of Augustus, [and Caius Julius ?...] his son and grandson built this amphitheatre and its podium at their own expense.
This dates the building to 19 AD. The figures who financed its construction belonged to an old Gallic family in Saintes which had held Roman citizenship since the Gallic Wars and also built the Arch of Germanicus there. The curious formula "filii f(ilius)" perhaps derives from a wish to affirm the antiquity and continuity of the family's lineage, as on the Arch of Germanicus, which names Rufus's ancestors.
Other stones bear the names of Gallic tribes (Arverni, Tricasses, Bituriges) confirming its identification as federal sanctuary. The amphitheatre was expanded at the start of the 2nd century, according to J. Guey by C. Julius Celse, procurator of Gallia Lugdunensis from 130 to 136. Two galleries were added around the old amphitheatre, raising its width from 25 meters to 105 meters and its capacity to about 20,000 seats (though this was still modest compared to the amphitheatres at Nîmes and Arles). In so doing it made it a building open to the whole population of Lugdunum and its environs. Historians identify the building as the site of Saints Blandina and Pothinus's martyrdoms as part of the persecution in 177 and a post in the middle of the arena commemorates this event and Pope John-Paul II's visit to Lyon in 1986.
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 6min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
About the lens:
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
My photowalk of October 22, 2024 down the hill of La Croix Rousse, in Lyon, France.
The Zenza Bronica S2A camera (see details below) was equipped of the Nippon Kogaku (Nikon) wide-angle lens Nikkor-H 1:3.5 f=50mm and loaded with an Ilford HP5+ 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
October 22, 2024
69004 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 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 6min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
About the lens:
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
My photowalk of October 22, 2024 down the hill of La Croix Rousse, in Lyon, France.
The Zenza Bronica S2A camera (see details below) was equipped of the Nippon Kogaku (Nikon) wide-angle lens Nikkor-H 1:3.5 f=50mm and loaded with an Ilford HP5+ 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
October 22, 2024
69004 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 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 6min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
About the lens:
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
This just gives me a over view, of how the zones fall on the scale. The real test is exposing a 18% gray card to level of each of the 10 zones. I read the negatives of each zone with an old Kodak denistometer, and record the densities, and chart them on graph paper.
I do my homework, first; then when I go out with my camera I can make every shot count!!!
Making digital prints is no real challenge; one is not matching two emulsion characteristic curves! I have hopes to build a darkroom and return to making silver prints; with this in mind, I want to produce negatives that will print well on silver.
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
The Zenza Bronica S2A was loaded with a Kodak Professional Tri-X (TX400) 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's or by measuring the incident light with the opalescent dome.
View Nr. 6 : 1/500s f/8 focusing @ 30m
Grandes serres tropicales, October 14, 2024
Parc de la Tête d'Or,
69006 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+50 and the film processed for 14min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 13 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.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
Film type - Agfa CTX 100 (reversal)
Devloper - E6
Year - 1996
Country - Turkey
Kappadocia - Gulsheir - Saint Johnn church (1.100)
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
The Zenza Bronica S2A was loaded with a Kodak Professional Tri-X (TX400) 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's or by measuring the incident light with the opalescent dome.
October 14, 2024
Parc de la Tête d'Or,
69006 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+50 and the film processed for 14min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 13 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.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
The Zenza Bronica S2A was loaded with a Kodak Professional Tri-X (TX400) 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's or by measuring the incident light with the opalescent dome.
View Nr. 1: 1/500s f/8 focusing @ 3.7m
October 14, 2024
Parc de la Tête d'Or,
69006 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+50 and the film processed for 14min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 13 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.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
Mamiya C330 with Mamiya Sekor f2.8/80mm, Kodak Tmax 100 expired 2007 in Barry Thornton's two bath developer, 4.5 minutes in each bath at 21C.
Not everything that shines is gold.
Developed C41 in black and white developer.
Presoak for a couple of minutes.
2 rotations in the first minute, stand develop for 30 minutes, 1 rotation and twist, develop for another 30 minutes.
5ml Rodinal Spezial and 495ml of water. 5 minute stop.
--
These residential flats are just nearing completion.
88 meters high. 175 appartments of which 135 will be sold and 40 rented out.
© István Pénzes.
Please NOTE and RESPECT the copyright.
May 2011, Roermond
Leica MP
Summilux pre asph 35mm
Fuji Neopan 400
Kodak T-max developer
Coolscan 5000
I used to go to this 97 year old building turned cafe/restaurant for lunch or cake & tea. It remains my all time favourite.
Nikon FA
Kentmere 400,
TMax Devloper, 1+4, 20c, 5'30"
Nowadays, and interestingly, analog photography in rich of novelties and many new formulations of films by reputed industries are appearing on the market. I grabbed a couple of rolls (only 24-exposure length was available) recently from my local photo store of the novel Kentmere Pan 200 from Ilford Harman Technology Ltd, UK. The film integrate the Kentmere line of products with the yellow color between the Kentmere Pan 100 (cyan color) and the Kentmere Pan 400 (magenta color) with an intermediate sensitivity of 200 ISO. The emulsion is coated on a 0.125mm thick regular cellulose tri-acétate base, uncommonly very clear without the traditionnal grey or blueish anti-halo mask.
On July 19, 2025, Lyon, France. I used a year-1973 Canon F-1 picked up from my camera collection and its standard lens Canon FD 1:1.4 f=50mm for testing the film during a gentle photowalk in my district. The lens was equipped with either a Canon 55mm Skylight protective filter or a yellow generic filter plus the Canon original shade hood BS-55.
Frames were exposed following the Canon F-1 build-in light meter system that is, for the Canon F-1, a very clever semi-selective metering in a central rectangular zone visible within the focusing screen. The Canon F-1 is still perfectly operant with just a slight correction of +0.3 EV due to the voltage difference of today batteries (see below the details about the camera). I also used my external Minolta Autometer III either with its 10° selective viewer or the opalescent dome for incident metering.
View Nr. 5 : 1/250s f/16 (incident-light metering) focusing at 1.2m. Skylight 55mm filter
Abandoned romantic book, July 19, 2025
Traboule de la Cour des Voraces
69001 Lyon
France
After completion at view Nr. 25, the film was rewound normally and processed using 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+25 for 10 min at 20°C according to indication found at www.digitaltruth.com/devchart.php .
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 14.4, 2025) 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 my Canon F-1 :
The Canon F-1 is a very impressive 35mm SLR constructed by Canon company to surpass, in the early 70’s, the Nikon F system, well established at that time as one of the most reliable and widely recognized within the photographers community. Canon F-1 is constructed like a rock to resist to intensive uses especially for professional appliances. The Canon F-1 is an amazingly sturdy camera, weighting a lot (1.4 kg in working configuration with the 1.4/50mm lens). The protective half shoe of the ever-ready bag is made of a leather covered on a rigid metallic shell weighting around 150 g !
I got my Canon F-1 SLR camera from an eBay seller in Hamburg, Germany, on April 21, 2022. The camera came with its original storage box, the original neck strap (never used,) the complete ever-ready leather case, and a Canon FD 50 mm 1:1.4 standart lens. The body is stamped "N1129" (in the film cartridge magazine) indicated that the camera body was manufactured in Japan in November 1973. The lens is stamped "M1011" on the row baffle indicating a construction in the Canon factory in October 1972.
The camera was used very carefully with almost no sign of age. The photometric circuitry needs, as most of te SLR of that time, a 1.31V mercury oxide battery that I replaced by a Kanto MR9 adaptor for a Seiko 1.55V SR43W silver oxide battery used in horology. The Kanto adaptor rectify to 1.45V the voltage of the battery. The cell operates will little +0.3 EV compensation necessary between EV 8 and 14 , compared to my Minolta Autometer III on a 18% neutral-gray chart or the internal battery test of the Canon F-1.
Later, I completed the Canon F-1 with two complementary original Canon FD lenses : the FD 1:2.8 f=28mm and a FD 1:2.8 f=100 mm. I found as well the Canon flash shoe adapter with the integrated illuminator to enlighten in the dark the Canon F-1 metering indicator appearing in the viewfinder.
I used to go to this 97 year old building turned cafe/restaurant for lunch or cake & tea. It remains my all time favourite.
Nikon FA
Kentmere 400,
TMax Devloper, 1+4, 20c, 5'30"
© István Pénzes.
Please NOTE and RESPECT the copyright.
May 2011, Roermond
Leica MP
Summilux pre asph 35mm
Fuji Neopan 400
Kodak T-max developer
Coolscan 5000
I used to go to this 97 year old building turned cafe/restaurant for lunch or cake & tea. It remains my all time favourite.
Nikon FA
Kentmere 400,
TMax Devloper, 1+4, 20c, 5'30"
Nowadays, and interestingly, analog photography in rich of novelties and many new formulations of films by reputed industries are appearing on the market. I grabbed a couple of rolls (only 24-exposure length was available) recently from my local photo store of the novel Kentmere Pan 200 from Ilford Harman Technology Ltd, UK. The film integrate the Kentmere line of products with the yellow color between the Kentmere Pan 100 (cyan color) and the Kentmere Pan 400 (magenta color) with an intermediate sensitivity of 200 ISO. The emulsion is coated on a 0.125mm thick regular cellulose tri-acétate base, uncommonly very clear without the traditionnal grey or blueish anti-halo mask.
On July 19, 2025, Lyon, France. I used a year-1973 Canon F-1 picked up from my camera collection and its standard lens Canon FD 1:1.4 f=50mm for testing the film during a gentle photowalk in my district. The lens was equipped with either a Canon 55mm Skylight protective filter or a yellow generic filter plus the Canon original shade hood BS-55.
Frames were exposed following the Canon F-1 build-in light meter system that is, for the Canon F-1, a very clever semi-selective metering in a central rectangular zone visible within the focusing screen. The Canon F-1 is still perfectly operant with just a slight correction of +0.3 EV due to the voltage difference of today batteries (see below the details about the camera). I also used my external Minolta Autometer III either with its 10° selective viewer or the opalescent dome for incident metering.
View Nr. 23: 1/125s f/9 (incident-light metering) focusing at 1.35 m. Yellow 55mm filter.
July 19, 2025
Place Sathonay
69001 Lyon
France
After completion at view Nr. 25, the film was rewound normally and processed using 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+25 for 10 min at 20°C according to indication found at www.digitaltruth.com/devchart.php .
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 14.4, 2025) 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 my Canon F-1 :
The Canon F-1 is a very impressive 35mm SLR constructed by Canon company to surpass, in the early 70’s, the Nikon F system, well established at that time as one of the most reliable and widely recognized within the photographers community. Canon F-1 is constructed like a rock to resist to intensive uses especially for professional appliances. The Canon F-1 is an amazingly sturdy camera, weighting a lot (1.4 kg in working configuration with the 1.4/50mm lens). The protective half shoe of the ever-ready bag is made of a leather covered on a rigid metallic shell weighting around 150 g !
I got my Canon F-1 SLR camera from an eBay seller in Hamburg, Germany, on April 21, 2022. The camera came with its original storage box, the original neck strap (never used,) the complete ever-ready leather case, and a Canon FD 50 mm 1:1.4 standart lens. The body is stamped "N1129" (in the film cartridge magazine) indicated that the camera body was manufactured in Japan in November 1973. The lens is stamped "M1011" on the row baffle indicating a construction in the Canon factory in October 1972.
The camera was used very carefully with almost no sign of age. The photometric circuitry needs, as most of te SLR of that time, a 1.31V mercury oxide battery that I replaced by a Kanto MR9 adaptor for a Seiko 1.55V SR43W silver oxide battery used in horology. The Kanto adaptor rectify to 1.45V the voltage of the battery. The cell operates will little +0.3 EV compensation necessary between EV 8 and 14 , compared to my Minolta Autometer III on a 18% neutral-gray chart or the internal battery test of the Canon F-1.
Later, I completed the Canon F-1 with two complementary original Canon FD lenses : the FD 1:2.8 f=28mm and a FD 1:2.8 f=100 mm. I found as well the Canon flash shoe adapter with the integrated illuminator to enlighten in the dark the Canon F-1 metering indicator appearing in the viewfinder.
Developed C41 in black and white developer.
Presoak for a couple of minutes.
2 rotations in the first minute, stand develop for 30 minutes, 1 rotation and twist, develop for another 30 minutes.
5ml Rodinal Spezial and 495ml of water. 5 minute stop.
2022-03-27
Nikon F2
Nikon Non-Ai 55mm f/1.2 lens
Kodak Tri-X 400 (800-push) 35mm film
Kodak Xtol (1+1) devloper
20ºC - 11min
this hideous concatenation of ugly riverside apartments lies next to vauxhall bridge and but a rocket launcher away from the MI6 building. for years this site was a scrap of waste ground occupied by the nine elms cold store, itself a brutal bit of modernist concrete whose function needs no further remark. like much of life i can only stand slack jawed at the cojones of the devlopers who persuaded folk to part with money for the views of the thames on one side - a little on the industrial with battersea power station sadly occupying the end of the vista - and the brutal road junction that has become and vauxhall cross. truly truly ugly. . .
still the location was oft used fave of the makers of seventies telly, its location providing many a car chase. which neatly leads us to the sweeney
2022-03-27
Nikon F2
Nikon Non-Ai 55mm f/1.2 lens
Kodak Tri-X 400 (800-push) 35mm film
Kodak Xtol (1+1) devloper
20ºC - 11min
Nowadays, and interestingly, analog photography in rich of novelties and many new formulations of films by reputed industries are appearing on the market. I grabbed a couple of rolls (only 24-exposure length was available) recently from my local photo store of the novel Kentmere Pan 200 from Ilford Harman Technology Ltd, UK. The film integrate the Kentmere line of products with the yellow color between the Kentmere Pan 100 (cyan color) and the Kentmere Pan 400 (magenta color) with an intermediate sensitivity of 200 ISO. The emulsion is coated on a 0.125mm thick regular cellulose tri-acétate base, uncommonly very clear without the traditionnal grey or blueish anti-halo mask.
On July 19, 2025, Lyon, France. I used a year-1973 Canon F-1 picked up from my camera collection and its standard lens Canon FD 1:1.4 f=50mm for testing the film during a gentle photowalk in my district. The lens was equipped with either a Canon 55mm Skylight protective filter or a yellow generic filter plus the Canon original shade hood BS-55.
Frames were exposed following the Canon F-1 build-in light meter system that is, for the Canon F-1, a very clever semi-selective metering in a central rectangular zone visible within the focusing screen. The Canon F-1 is still perfectly operant with just a slight correction of +0.3 EV due to the voltage difference of today batteries (see below the details about the camera). I also used my external Minolta Autometer III either with its 10° selective viewer or the opalescent dome for incident metering.
Documentary smartphone picture
July 19, 2025
69001 Lyon
France
After completion at view Nr. 25, the film was rewound normally and processed using 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+25 for 10 min at 20°C according to indication found at www.digitaltruth.com/devchart.php .
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 14.4, 2025) 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 my Canon F-1 :
The Canon F-1 is a very impressive 35mm SLR constructed by Canon company to surpass, in the early 70’s, the Nikon F system, well established at that time as one of the most reliable and widely recognized within the photographers community. Canon F-1 is constructed like a rock to resist to intensive uses especially for professional appliances. The Canon F-1 is an amazingly sturdy camera, weighting a lot (1.4 kg in working configuration with the 1.4/50mm lens). The protective half shoe of the ever-ready bag is made of a leather covered on a rigid metallic shell weighting around 150 g !
I got my Canon F-1 SLR camera from an eBay seller in Hamburg, Germany, on April 21, 2022. The camera came with its original storage box, the original neck strap (never used,) the complete ever-ready leather case, and a Canon FD 50 mm 1:1.4 standart lens. The body is stamped "N1129" (in the film cartridge magazine) indicated that the camera body was manufactured in Japan in November 1973. The lens is stamped "M1011" on the row baffle indicating a construction in the Canon factory in October 1972.
The camera was used very carefully with almost no sign of age. The photometric circuitry needs, as most of te SLR of that time, a 1.31V mercury oxide battery that I replaced by a Kanto MR9 adaptor for a Seiko 1.55V SR43W silver oxide battery used in horology. The Kanto adaptor rectify to 1.45V the voltage of the battery. The cell operates will little +0.3 EV compensation necessary between EV 8 and 14 , compared to my Minolta Autometer III on a 18% neutral-gray chart or the internal battery test of the Canon F-1.
Later, I completed the Canon F-1 with two complementary original Canon FD lenses : the FD 1:2.8 f=28mm and a FD 1:2.8 f=100 mm. I found as well the Canon flash shoe adapter with the integrated illuminator to enlighten in the dark the Canon F-1 metering indicator appearing in the viewfinder.
Nowadays, and interestingly, analog photography in rich of novelties and many new formulations of films by reputed industries are appearing on the market. I grabbed a couple of rolls (only 24-exposure length was available) recently from my local photo store of the novel Kentmere Pan 200 from Ilford Harman Technology Ltd, UK. The film integrate the Kentmere line of products with the yellow color between the Kentmere Pan 100 (cyan color) and the Kentmere Pan 400 (magenta color) with an intermediate sensitivity of 200 ISO. The emulsion is coated on a 0.125mm thick regular cellulose tri-acétate base, uncommonly very clear without the traditionnal grey or blueish anti-halo mask.
On July 19, 2025, Lyon, France. I used a year-1973 Canon F-1 picked up from my camera collection and its standard lens Canon FD 1:1.4 f=50mm for testing the film during a gentle photowalk in my district. The lens was equipped with either a Canon 55mm Skylight protective filter or a yellow generic filter plus the Canon original shade hood BS-55.
Frames were exposed following the Canon F-1 build-in light meter system that is, for the Canon F-1, a very clever semi-selective metering in a central rectangular zone visible within the focusing screen. The Canon F-1 is still perfectly operant with just a slight correction of +0.3 EV due to the voltage difference of today batteries (see below the details about the camera). I also used my external Minolta Autometer III either with its 10° selective viewer or the opalescent dome for incident metering.
View Nr. 8 : 1/125s f/6.3 focusing at 12m. Skylight 55mm filter
Traboule des Voraces donnant rue Imbert-Colomès, July 19, 2025
69001 Lyon
France
After completion at view Nr. 25, the film was rewound normally and processed using 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+25 for 10 min at 20°C according to indication found at www.digitaltruth.com/devchart.php .
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 14.4, 2025) 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 my Canon F-1 :
The Canon F-1 is a very impressive 35mm SLR constructed by Canon company to surpass, in the early 70’s, the Nikon F system, well established at that time as one of the most reliable and widely recognized within the photographers community. Canon F-1 is constructed like a rock to resist to intensive uses especially for professional appliances. The Canon F-1 is an amazingly sturdy camera, weighting a lot (1.4 kg in working configuration with the 1.4/50mm lens). The protective half shoe of the ever-ready bag is made of a leather covered on a rigid metallic shell weighting around 150 g !
I got my Canon F-1 SLR camera from an eBay seller in Hamburg, Germany, on April 21, 2022. The camera came with its original storage box, the original neck strap (never used,) the complete ever-ready leather case, and a Canon FD 50 mm 1:1.4 standart lens. The body is stamped "N1129" (in the film cartridge magazine) indicated that the camera body was manufactured in Japan in November 1973. The lens is stamped "M1011" on the row baffle indicating a construction in the Canon factory in October 1972.
The camera was used very carefully with almost no sign of age. The photometric circuitry needs, as most of te SLR of that time, a 1.31V mercury oxide battery that I replaced by a Kanto MR9 adaptor for a Seiko 1.55V SR43W silver oxide battery used in horology. The Kanto adaptor rectify to 1.45V the voltage of the battery. The cell operates will little +0.3 EV compensation necessary between EV 8 and 14 , compared to my Minolta Autometer III on a 18% neutral-gray chart or the internal battery test of the Canon F-1.
Later, I completed the Canon F-1 with two complementary original Canon FD lenses : the FD 1:2.8 f=28mm and a FD 1:2.8 f=100 mm. I found as well the Canon flash shoe adapter with the integrated illuminator to enlighten in the dark the Canon F-1 metering indicator appearing in the viewfinder.
2022-03-27
Nikon F2
Nikon Non-Ai 55mm f/1.2 lens
Kodak Tri-X 400 (800-push) 35mm film
Kodak Xtol (1+1) devloper
20ºC - 11min
Nowadays, and interestingly, analog photography in rich of novelties and many new formulations of films by reputed industries are appearing on the market. I grabbed a couple of rolls (only 24-exposure length was available) recently from my local photo store of the novel Kentmere Pan 200 from Ilford Harman Technology Ltd, UK. The film integrate the Kentmere line of products with the yellow color between the Kentmere Pan 100 (cyan color) and the Kentmere Pan 400 (magenta color) with an intermediate sensitivity of 200 ISO. The emulsion is coated on a 0.125mm thick regular cellulose tri-acétate base, uncommonly very clear without the traditionnal grey or blueish anti-halo mask.
On July 19, 2025, Lyon, France. I used a year-1973 Canon F-1 picked up from my camera collection and its standard lens Canon FD 1:1.4 f=50mm for testing the film during a gentle photowalk in my district. The lens was equipped with either a Canon 55mm Skylight protective filter or a yellow generic filter plus the Canon original shade hood BS-55.
Frames were exposed following the Canon F-1 build-in light meter system that is, for the Canon F-1, a very clever semi-selective metering in a central rectangular zone visible within the focusing screen. The Canon F-1 is still perfectly operant with just a slight correction of +0.3 EV due to the voltage difference of today batteries (see below the details about the camera). I also used my external Minolta Autometer III either with its 10° selective viewer or the opalescent dome for incident metering.
Documentary smartphone picture
July 19, 2025
69001 Lyon
France
After completion at view Nr. 25, the film was rewound normally and processed using 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+25 for 10 min at 20°C according to indication found at www.digitaltruth.com/devchart.php .
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 14.4, 2025) 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 my Canon F-1 :
The Canon F-1 is a very impressive 35mm SLR constructed by Canon company to surpass, in the early 70’s, the Nikon F system, well established at that time as one of the most reliable and widely recognized within the photographers community. Canon F-1 is constructed like a rock to resist to intensive uses especially for professional appliances. The Canon F-1 is an amazingly sturdy camera, weighting a lot (1.4 kg in working configuration with the 1.4/50mm lens). The protective half shoe of the ever-ready bag is made of a leather covered on a rigid metallic shell weighting around 150 g !
I got my Canon F-1 SLR camera from an eBay seller in Hamburg, Germany, on April 21, 2022. The camera came with its original storage box, the original neck strap (never used,) the complete ever-ready leather case, and a Canon FD 50 mm 1:1.4 standart lens. The body is stamped "N1129" (in the film cartridge magazine) indicated that the camera body was manufactured in Japan in November 1973. The lens is stamped "M1011" on the row baffle indicating a construction in the Canon factory in October 1972.
The camera was used very carefully with almost no sign of age. The photometric circuitry needs, as most of te SLR of that time, a 1.31V mercury oxide battery that I replaced by a Kanto MR9 adaptor for a Seiko 1.55V SR43W silver oxide battery used in horology. The Kanto adaptor rectify to 1.45V the voltage of the battery. The cell operates will little +0.3 EV compensation necessary between EV 8 and 14 , compared to my Minolta Autometer III on a 18% neutral-gray chart or the internal battery test of the Canon F-1.
Later, I completed the Canon F-1 with two complementary original Canon FD lenses : the FD 1:2.8 f=28mm and a FD 1:2.8 f=100 mm. I found as well the Canon flash shoe adapter with the integrated illuminator to enlighten in the dark the Canon F-1 metering indicator appearing in the viewfinder.
I used to go to this 97 year old building turned cafe/restaurant for lunch or cake & tea. It remains my all time favourite.
Nikon FA
Kentmere 400,
TMax Devloper, 1+4, 20c, 5'30"
I won on eBay for 70€ an auction for a Nippon Kogaku (Nikon) Nikkor-H wide-angle lens 1:3.5 f=50mm for my Zenza Bronica S2A (1972-1977, see below for details).
The lens left island Syros (Σύρος in Greek) in the Cyclades, Greece on September 27, 2024. It travelled all across EU, transiting trough Bulgaria, Romania, Hungary Germany, and was finally home delivered on October 10, 2024, fortunately, in perfect condition.
It is an impressive piece of optics, covering 77° of view angle with 6 elements in 6 groups and a very large front lens necessitating a filter diameter of 82mm. The lens came with the original front and rear caps.
The lenses for Zenza Bronica camera of the S-series require a separate focusing helicoid with a specific distance scale. I had already an additional helicoid with a special distance scale for 4 different focal lengths : 75, 50, 135 and 200mm. The standard helicoid for the 75mm could used as well but the distance scale should be adapted if used.
I found from my preferred photo store in Lyon a protective generic AUV 82mm filter with a slim ring mount, and a clip-on cover more easy to use on the filed than the original screw-on metal front cap.
This wide-angle lens is much more heavy than the standard 75mm lens with more than 500g instead of about 200 g. Mounted in the Bronica camera body the weight is more than 2kg ...
The Zenza Bronica S2A was loaded with a Kodak Professional Tri-X (TX400) 120-format film exposed for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's or by measuring the incident light with the opalescent dome.
View Nr. 6 : 1/500s f/8 focusing @ 30m
Grandes serres tropicales, October 14, 2024
Parc de la Tête d'Or,
69006 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+50 and the film processed for 14min 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 120-format film.
The RAW files obtained were inverted within the latest version of Adobe Lightroom 13 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.
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 2004 and the brand was bought by Tamron company and disappeared from the market.
The Zenza Bronica S2A version was produced by Bronica Industries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR of the S series. The camera is covered with stainless steel 18-8 quality. 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 easily as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
2022-08-18
Nikon F2
Nikon Ais 85mm /1.4 lens
Kodak Tri-X 400 (800-push) 35mm film
Kodak Xtol (1+1) devloper
20ºC - 11min