View allAll Photos Tagged digitizing
whatlander: medievalpoc: ^ This is the British Library Digitized Manuscripts Site. A lot of people have asked about my process doing research for medievalpoc. I use a lot of resources and tools that are readily available for anyone to use, and this is one of them. There are thousands of manuscripts available to just page through and zoom in on, as if you had the book right in front of you. If the idea of searching through endless lists of titles and numbers is daunting to you, the Digitized Medieval Manuscripts Collection has a blog. The blog makes topical posts with images of the manuscripts according to those topics, and then links to the full manuscripts, so you can go looking at them yourself: Like so: You can learn what the heck a Leucrota is supposed to be here. They also have a Twitter. One of the best things about medievalpoc is that I get to see people get excited about art and history, and if you decide you’d like to go exploring, this is a great place to do that. I think the manuscript viewer is relatively user-friendly, and there’s a ton of information about the histories of the manuscripts themselves there, too. I wish I could know how the people who illuminated these would react if you told them that one day their books would be duplicated into an incoporeal form that anyone in the world can summon at will with the right equipment. Well, considering none of the above creatures actually exist, seems like they’d probably take it in stride. ;) Magic and dragons kinda go together TBH
Digitized with Negative Lab Pro v2.1.2
Leica M6 | 28mm f2.8 Elmerit
Digitized with Negative Lab Pro v2.1.2
28mm f2.8 Leica | Kodak TriX 400
Digitized with Negative Supply + Negative Lab Pro v2.1.2 | Lomography
This is a close up of the thermometer at Smitty’s Garage. I like this view because it emphasizes the mixture of commercial and residential space on this block – (a concept that used to be known as a neighborhood).
I made an edited version of this image because I felt sketching up the background a bit would highlight the two land uses in a subtle way. Also, I just really like manipulating images. Pushing the pixels around is a real power surge.
060402-1427-055 Smitty's Temp
Edited Digitized Sky Survey 2 (by way of the European Southern Observatory) image of the region around the galaxy NGC 1025. Color/processing variant.
Original caption: This image shows the sky around the ultra diffuse galaxies NGC 1052-DF4 and NGC 1052-DF2. It was created from images forming part of the Digitized Sky Survey 2. NGC 1052-DF2 is basically invisible in this image. In 2018 an international team of researchers using the NASA/ESA Hubble Space Telescope and several other observatories uncovered, for the first time, a galaxy in our cosmic neighbourhood that is missing most of its dark matter. This discovery of the galaxy NGC 1052-DF2 was a surprise to astronomers, as it was understood that Dark matter (DM) is a key constituent in current models of galaxy formation and evolution. In fact, without the presence of DM, the primordial gas would lack enough gravity pull to start collapsing and forming new galaxies. A year later, another galaxy that misses dark matter was discovered, NGC 1052-DF4, which further triggered intense debates among astronomers about the nature of these objects. Now, new Hubble data have been used to explain the reason behind the missing dark matter in NGC 1052-DF4, which resides 45 million light-years away, providing further evidence for tidal disruption. By studying the galaxy’s light and globular cluster distribution, astronomers have concluded that the gravity forces of the neighbouring galaxy NGC 1035 stripped the dark matter from NGC 1052-DF4 and are now tearing the galaxy apart.
Embroidery Digitizing, Embroidery digitising, custom digitizing, $3.95 per 1000 stitches,www.anydigitizing.com
Promenades hivernales - Part II
(Winter walks)
From January 13 to February. 26, 2026, my year-2025 Pentax-17 (see below for details) was again a good camera companion for some walks near Lyon city, France. The camera was loaded with a Kodak Gold 200 negative color film and was equipped with an Anti-UV or a polarizing filter as indicated below. For the camera transportation, I used a small camera bag ThinkTank « Mirrorless Mover 5 » that was well protecting the camera from possible damages.
The expositions were automatically metered by the camera system using the « P » program modes with, or without, flash. For very bright scenes the exposition was corrected by +0.3 to +1EV to compensate the biais induced (and reversely -0.3 to 0.7 EV for very dark scenes to objects). The Pentax 17 light sensors being behind the filter, the filter is then automatically compensated.
Autour du Fort de Vancia, February, 2026
Chemin de Sathonay
69140 Sathonay-Village
France
After completion (75 frames), the film was given to a local lab service for C-41 processing.
Single-frame digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm at approximate reproduction ratio of 1:2. The diffuse light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 15.0.1 of dec. 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 the camera :
Since last Christmas 2024, it was on display in the middle of « reusable » cheap camera’s in the window of my local photography store. But this camera is not cheap and sold at 10-times the price of those « reusable » film camera’s. The Pentax 17 is a novel film camera released by Pentax (a brand belonging to Ricoh Imaging, Japan) in June 2024.
The history of « Pentax » name is still something worth to mention. After the WWII, in Dresden (that was heavily destroyed by the bombing of Feb. 13-15, 1945), Germany, The Zeiss Ikon company could not produce anymore the legendary original Contax (a high-reputation professional range-finder 35mm released in 30’s) camera that was taken by Russia and transferred to Kiev, Ukraine, in the USSR. However the brand name Contax survived and the German engineers designed something completely new within several years : the Contax S (S for « Spiegel mirror reflex ») that integrated a pentaprism for a full redressed reflex viewer observation. Zeiss Ikon Dresden registered to new trademarks derived from the words « Pentaprism » and « Contax » that were « Pentax » and « Pentacon ». If Pentacon became the new name of the company in Dresden, the trademark Pentax was bought by Asahi Optical Company in Japan, and became a formidable industrial and commercial success. Asahi Pentax, then Pentax alone, produced amazing quality camera’s including the legendary « Spotmatic » (a 35mm SLR) and stunning medium-format camera’s heavily used by professional photographers. Many of these camera’s of the past century are still operative and appreciated by film photography enthusiast’s.
Production of film camera’s vanished progressively in the mid 2000’s, as digital camera’s became of better quality and finally of generalized appliances in photography. The Pentax 17 was introduced to the market in June 2024, it was a big surprise for all the film photography lovers. Seeing a newly engineered brand-new film camera was a sort of renaissance of the film photography today of a growing interest worldwide.
The camera is a « half-frame » format on the traditional double-perforated 35mm film giving 17x24mm photograms. This format was not as popular as to classical 24x36mm (full-frame) format of most of the 35mm camera’s. However famous and quality half-frame camera’s were produced in the past including, the long series of Olympus Pen for example. Then, the Pentax 17 immediately attracted the attention of experimented film photographers and camera collectors, probably more than the officially targeted customers of the younger generations. Less than a year after, the future of the Pentax 17 and the film photography project of Pentax is questioned today. The chef-engineer who conducted the project in Ricoh company recently left and the marketing of Pentax 17 is now a question.
This finally decided me to buy an exemplary from my local shop and to discover this strange machine. The camera is of course guaranteed, even with a there-year extension after the camera registration on the Pentax website. The whole ergonomic is clearly derived from classical past 35mm camera’s with a fully mechanical film advance and rewind, a collimated Albada viewer, no digital display at all, only levers, barrels, crank and wheels… However inside is a automatic electronic exposure system with flash, the focusing is manual but the electronic mechanism moves the whole optical group with a micro motor.
The lens is a Cooke triplet 1:3.5 f=25mm equivalent to a 37mm of a 24x36mm format. The Cooke triplet is a photographic lens designed and patented in 1893 by Dennis Taylor who was employed as chief engineer by T. Cooke & Sons of York. It was the first lens system that allowed the elimination of most of the optical distortion or aberration at the outer edge of the image. It likely for this reason that the lens is unscripted curiously « Traditional » on the front lens ring… It is known that a Cooke triplet lens could give surprisingly good results with only three separated optical elements. The Cooke Triplet is still widely used in inexpensive cameras, including variations using aspheric elements, particularly in cell-phone cameras. The Cooke triplet consists of three separated lenses positioned at the finite distance. It is often considered that the triplet is one of the most important discoveries in the field of photographic objectives
The lens receives 40.5mm diameter thread filters that I use for my Zorki / Leningrad lenses Jupiter-8 2/50mm, Jupiter-11 4/135mm and Jupiter-12 2.8/35mm. The metal shade hood Minolta D42KA could mounted on the filter but I have to check is there is vignette induced.
The camera size is close to the original dimensions of a thread-mount Leica (called also the original Barnack Leica) which are, in a way, a sort of « Gold » size in the 35mm camera’s. I compared with my Zorki 1D year 1954 that is a straight reproduction of the Leica Iic. The upper deck of Pentax 17 is designed very clearly as a classical 35mm and we even find the original logo of Asahi Optical Company. The rewind crank is also a revival of past design seen on old Pentax SLR as my year-1971 Spotmatic SP in this seres of pictures.
The Pentax 17 is very light (about 300g) compared to those old ancestors that weight easily the double or the triple. It is then an effortless camera to carry. The Pentax 17 fits in the small ThinkTank bag (called « Mirorless Mover 5 ») that I recently bought to safely carry a film back of my Hasselblad or my Bronica 6X6 camera’s. In this tiny bag, the camera is protected for the element and vibrations due to cycling for instance.
Reference
analoguewonderland.co.uk/blogs/film-photography-blog/pent...
Key features and specifications
* Half-frame image capture (17 x 24mm)
* 37mm (equiv.) FOV F3.5 lens
* Zone focusing system with 6 zones
* Circular leaf shutter (F3.5-16)
* Built-in flash (6m/20ft at ISO100)
* Optical tunnel viewfinder with frame lines
* Exposure from 1/350 sec to 4 sec (+ Bulb)
* Supports films from ISO 50 to ISO 3200
Specifically the lens has:
1. HD coating, which maintains high performance of the lens, by using this PENTAX multi-coating. This also enables high contrast and high definition right to the edges.
2. SP coating (Super Protect) which helps to repel water and oil from the lens.
The fact that the focusing on the Pentax 17 is electronic i.e. the lens only moves when you half-press the shutter gives me faith that autofocus was already considered in the R&D stage.
In the distance you can see "Glengarriff Harbour" (bay). In the far distance is Bantry Bay, Whiddy Island and Bantry.
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | Ilford HP5 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.0 | Lomography
Ilford DDX
My first attempt at digitization of my sketches. I will need to print it out to get a true feeling of how its working but on screen its not looking too bad.
Petauke District Land Alliance imports data from household surveys into spatial database. Petuake, Zambia. USAID TGCC Program. January 2017. Photo: Matt Sommerville
Digitized from a 1997 Kodak Gold negative film using a Canon R5 in 2024…….27 years later. The original film was photographed with a Canon EOS Elan
A petroglyph is an image created on rock by scraping or in other ways creating that image in the rock surface. They are found world-wide and are usually associated with ancient peoples but these petroglyphs range from as old as 16,000 years and some are estimated to be as recent as the 1800s.
Found in a protected canyon in the Mojave Desert of California situated on a US Military base.
Image - Copyright 2024 Alan Vernon
Black Touch Glass Digitizer Screen IC Connector & Home Button Flex & Protector&adhesive for Apple iPad Mini
Services and products provided by Flash Tech LLC
Edited Digitized Sky Survey 2 (by way of the European Southern Observatory) image of the region around the galaxy NGC 1025. Inverted grayscale variant.
Original caption: This image shows the sky around the ultra diffuse galaxies NGC 1052-DF4 and NGC 1052-DF2. It was created from images forming part of the Digitized Sky Survey 2. NGC 1052-DF2 is basically invisible in this image. In 2018 an international team of researchers using the NASA/ESA Hubble Space Telescope and several other observatories uncovered, for the first time, a galaxy in our cosmic neighbourhood that is missing most of its dark matter. This discovery of the galaxy NGC 1052-DF2 was a surprise to astronomers, as it was understood that Dark matter (DM) is a key constituent in current models of galaxy formation and evolution. In fact, without the presence of DM, the primordial gas would lack enough gravity pull to start collapsing and forming new galaxies. A year later, another galaxy that misses dark matter was discovered, NGC 1052-DF4, which further triggered intense debates among astronomers about the nature of these objects. Now, new Hubble data have been used to explain the reason behind the missing dark matter in NGC 1052-DF4, which resides 45 million light-years away, providing further evidence for tidal disruption. By studying the galaxy’s light and globular cluster distribution, astronomers have concluded that the gravity forces of the neighbouring galaxy NGC 1035 stripped the dark matter from NGC 1052-DF4 and are now tearing the galaxy apart.
Fifteen more issues of Third World have digitized and added to the Spark Collection.
Third World was an independent Washington, D.C. area tabloid newspaper dedicated to Black liberation that began publishing in September 1969 and continued through at least 1973.
The paper concentrated on news of Black liberation, Pan-Africanism, and providing news stories and interviews related to black political thought. It also published poems, photographs and other artwork and reviewed performances of black artists.
It usually featured an interview or in-depth story with prominent Black Nationalists, Pan-Africanists, writers, poets, musicians, artists and community activists. In its later years it featured a column written by Government Employees United Against Racial Discrimination (GUARD).
The paper was financed through both sales (25 cents per copy) and advertisements, although donations played a major role. It was owned by Jan Bailey and edited by John W. Lewis Jr.
Distribution was through both street sellers who were usually children who kept a portion of the sales money, subscriptions and through retail outlets. The paper’s goal was 24 issues per year, but publication varied between two and four weeks.
Currently available issues:
Vol. 1 No. 12 – Sep. 1970 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-1-...
Vol. 2. No. 1--Oct. 1970 - washingtonspark.files.wordpress.com/2019/08/mds00824-2.pdf
Vol. 2 No. 6 – Apr. 1971 - washingtonspark.files.wordpress.com/2019/08/mds00841.pdf
Vol. 3 No. 1 – Nov. 26, 1971 – washingtonareaspark.com/wp-content/uploads/2024/02/vol-3-...
Vol. 3 No. 9 – March 17, 1971 – washingtonareaspark.com/wp-content/uploads/2024/02/Vol-3-...
Vol. 3 No. 10 – March 31, 1971 – washingtonareaspark.com/wp-content/uploads/2024/02/Vol-3-...
Vol. 3 No. 20 – September 1, 1972 – washingtonareaspark.com/wp-content/uploads/2024/02/Vol-3-...
Vol. 4 No. 1 – October 6, 1972 - washingtonareaspark.com/wp-content/uploads/2024/02/Vol-4-...
Vol. 4 No. 3 – November 3, 1972 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 4 – November 24, 1972 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 6 – December 22, 1972 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 7 – January 5, 1973 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 8 – January 26, 1973 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 9 – February 9, 1973 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 10 – March 2, 1973 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 11 – March 16, 1973 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
Vol. 4 No. 13 – April 13, 1973 - washingtonareaspark.com/wp-content/uploads/2024/02/vol-4-...
For other DC area alternative publications, see flic.kr/s/aHsmGkArk4
Volume 2 Number 1 and Volume 2 Number 6 were donated by Robert "Bob" Simpson. Other issues were scanned with a handheld cell phone from originals held in the Marshall Bloom (AC 1966) Alternative Press Collection, Amherst College Archive and Special Collections Box 004.
Digitized with Negative Lab Pro v2.1.0
Yashika Mat 124 G | Kodak Tri X 400
Digitized with Epson V550 + Negative Lab Pro v2.1.0 | Lomography
Ilford DDX
Mexican researchers work to digitize the Codex Mendoza Mexican researchers working on the 16th-century Codex Mendoza are pioneers in efforts to bring important archaeological documents that provide prime sources for the study of pre-Columbian Mexico into the digital era. The goal is “to make the Mexican codices accessible for a wider audience,” National Anthropology and History Institute, or INAH, expert Ernesto Miranda said in an interview with Efe. Read More
Professor Lieberman was awarded a large grant by the NSF (National Science Foundation) for his work in the digitization of fossil records. Here he works with collection manager Julien Kimmig and several students to photograph and digitize existing specimens.
Digitized Revivals of Combination Ornaments. From Type Specimen Catalogues 1870-1910 found on the public domain.
My first color film with my Wirgin Edixa-Mat Reflex Mod D-L year 1965, June 11-12, 2014, Lyon, France.
The film was a Silberra Color 50 given for free by "Ateliers de Marinette", my main analog film provider. After processing, the four first frames and the last 7 ones were found not useable due to uncontrolled light exposure/leaks likely during the film preparation or its loading in the 135 cartridge.
The Edixa-Xenar lens equipped with a coated Hoya HMC Skylight (1B) screw-on 49mm protective filter plus a generic cylindrical metal shade hood. Expositions were determined for 50 ISO using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas.
The weather was cloudy June 11 and sunny on June 12. I used exposition times of 1/1000s to 1/30s were used from the full aperture aperture to f/9.
Jardin Botanique de Lyon, June 12, 2024
Parc de la Tête d'Or
69006 Lyon
France
After exposure, the film was processed using the Kodak C-41 protocol by a local lab service leading a very dense negative views with high contrasts on a brownish base mask.
The film was then digitized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. For this series, I used the CineStill light source CS-lite a 9200 K temperature color. The RAW files obtained were processed without intermediate files in LR and edited to the final jpeg pictures. All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivo Y76 color pictures.
About the camera and the lens :
The German Edixa SLR’s are captivating camera’s constructed by Wirgin Kamerawerke, Wiesbaden, from 1954 to 1968 in various versions. Edixa Reflex was designed by Heinz Waaske (1924 – 1995) a German camera designer who also invented other famous camera’s as the Edixa 16 and the Rollei 35.
My Edixa-Mat Reflex Mod D-L is a late model 1965. The model D-L was the top of the line of Edixa-mat equipped with different advanced functions that look like some of my Ihagee Exakta Varex, in particular a special horology mechanism giving self-shutter release tunable from 9 to 2s that could be converted also for long-exposures. Similarly to the Exakta Varex,the shutter has two exposition time registers from 1/30 to 1/1000s for the regular times and a switchable second register giving 1/8 to 1s. The Wirgin Edixa-mat Reflex has as well an interchangeable finders with a waist-level finder with loup and the prism finder. This Edixa series has the automatic mirror flip-back after release. It of course fully mechanical without built-in light metering system.
The camera body has the common M42 lens screw mount and operates the M42 lenses with automatic preselection diaphragm (or manual lenses too). I got the camera with likely its original normal lens conceived for the Edixa by Schneider-Kreuznach in Götingen, Germany, called Edixa-Xenar 1:2.8 f=50mm. The Xenar lens series are derived from the Zeiss Tessar formula with 4 lenses in 3 groups. Its serial number indicates that the lens was manufactured after September 1964 or current year 1965. The lens has a special depth-of-field visual indicator under a transparent ring varying according the aperture value.
I also got both the waist-level finder and the prism finder as well, two shutter-release adaptors for the use of standard cable release, and two accessories or flash shoes adaptation to the prism finder. The lot also included a Ihagee set of extension rings for Exakta's that joined my Varex IIa set.
Digitized from slide. Original image taken on Olympus OM20. Digitized using Nikon D7200 with 60mm macro lens and ES-1 slide adaptor. Capture time and date approximate.
Digitized with Negative Lab Pro v2.1.2
Leica M6 | 28mm f2.8 Elmerit
Digitized with Negative Lab Pro v2.1.2
28mm f2.8 Leica | Kodak TriX 400
Digitized with Negative Supply + Negative Lab Pro v2.1.2 | Lomography
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Leica Elmarit 28mm f2.8 version IV | Ilford HP5 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.2 | Lomography
Ilford DDX
This is the test film of my recently acquired Praktica IV camera. For the test, I choose the normal lens of my Asahi Pentax Spotmatic that fits perfectly to the Praktica. The lens can be used in its "Auto" mode. The diaphragm is stopped down automatically to the selected aperture value by pressing the shutter release.
The Praktica camera was loaded with a 36-exposure Fomapan Creative 200 and exposed for 160 ISO. Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. The weather was relatively clear (15h-16h30) giving typical exposures of 1/100s at f/8.I tested here the "high-speed" values 1/50s, 1/100s, 1/200s and 1/500s. I used the regular protective Skylight 49mm filter and the original Asahi shade hood specifically designed for the lens.
February 2, 2024
69001 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 5min.
The film was then digitized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printing framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
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About the camera :
I got the camera body Praktica IV and a set of related KDH Leipzig accessories from an eBay seller near Paris, France.. The whole arrived to me on January, 31, 2024, in Lyon, France.
The Praktica IV was designed by the prestigious KW (Kamera Werk Niedersedlitz) German company in Dresden on the basis of their previous Praktica FX SLR camera's. The camera was produced first under the KW name starting from June 1959 then in the Kombinat VEB Pentacon after the merge of the company in 1960.
166.800 Praktica IV and V (6 models) were produced until January 1966. Praktica IV essentially incorporates a condenser focusing screen plus a pentaprism. Due to the Praktica FX architecture the Pentaprism looks protruding from the camera body with an unusual style. It fits lenses with M42x1 mount and the mirror has no automatic return. The shutter is made of two horizontal curtains of rubberized fabric giving 1/500s to 1/2s plus B in two registers of slow speeds (1/2s to 1/10s) and high speeds (1/25s to 1/500s). The film is advanced coupled to the shutter cocking using either the right upper button or the rapid lever underneath the body.
The Praktica IV handles the "Auto" M42 lenses with the lever for automatic iris closing upon the release. Sequentially, when pressing the shutter release button, the diaphragm closes to the indicated value, the mirror is lift-off and finally the shutter is erased at the given value. If a non-auto (manual closing) M42 is used the pushing lever could be cancelled (declutched) moving a small red button to the right in the mirror chamber.
The camera camera came without lens but with a body cap and the original ever-ready leather bag with et "Ernermann tower" Pentacon logo. This model is likely the second Praktica IV essentially the same as the initial KW one with a different front plate. The camera was likely art of a collection and is completely preserved without use marks.
The KDH Leipzig (Kurt-Dieter Huffziger Foto- und Kinozubehör) accessories set included:
-A panoramic tripod head
-A set of three extension tubes M42x1)
- A big aluminum shade hood (screw-on 49mm) for wide-angle lens.
- A M42x1 metal body cap in its original box.
- An accessory shoe fitting the the Praktica IV eye piece.
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About the lens :
For the test film I equipped the Praktica IV with a normal lens from Asahi Optical Company (originally (旭光学工業株式会社, Asahi Kōgaku Kōgyō Kabushiki-Gaisha) Super-Takumar 1:1.8 f=55mm (screwing M42 mount). The lens came with my ASAHI PENTAX Spomatic SP (acquired in July 2022) camera produced in Japan from 1964 to 1971.
Digitized with Negative Lab Pro v2.1.2
Yashika Mat 124 G | Kodak Tri X 400
Digitized with Epson V550 + Negative Lab Pro v2.1.2 | Lomography
Cinestill DF96
Title : Oscar L. Dillahunty
Creator (Photographer) : Unknown
Publisher : Graphic Services
Place of Publication : College Station, Texas
Year (Coverage) : 1955
Document Type : Image
Format : Photographic negative
Dimensions : 4 x 5 inches
Digitization Date : January2010
Description : Unknown
Note : Brazos County, Texas
Collection : Texas A&M University Archives
Resource Identifier : Graphic Services Photos, Box 29, File 29-402
Institution : Texas A&M University, College Station, Texas
Repository : Cushing Memorial Library and Archives
Contact Information : Email: cushing-library@tamu.edu Phone: 979-845-1951
Copyright : It is the users responsibility to secure permission from the copyright holders for publication of any materials. Permission must be obtained in writing prior to publication. Please contact the Cushing Memorial Library for further information
Digitized with Negative Lab Pro v2.1.2
Leica M6 | Leica 35mm f/2.0 SUMMICRON-M Aspherical | Kodak TriX 400
Digitized with Negative Lab Pro v2.1.2
Digitized with Negative Lab Pro v2.1.2
Leica M6 | 28mm f2.8 Elmerit
Digitized with Negative Lab Pro v2.1.2
28mm f2.8 Leica | Kodak TriX 400
Digitized with Negative Supply + Negative Lab Pro v2.1.2 | Lomography