View allAll Photos Tagged digitizing
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
Edited Digitized Sky Survey 2 image of the wide field around Abell 2597. Inverted grayscale variant.
Original caption: Observations by ALMA and data from the MUSE spectrograph on ESO’s VLT have revealed a colossal fountain of molecular gas powered by a black hole in the brightest galaxy of the Abell 2597 cluster — the first of its kind to be detected. The image is a colour composite made from exposures from the Digitized Sky Survey 2 (DSS2), and shows the region surrounding the Abell 2597 cluster. The field of view is approximately 2.4 x 2.0 degrees.
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | Tri-X 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.2 | Lomography
Ilford DDX
Nothing entails details better than embroidery.
Right? Not without professional embroidery digitizing.
Get it here: goo.gl/G1K5hw
Edited Digitized Sky Survey (by way of the European Southern Observatory) wide-field view of the Seagull Nebula. Color/processing variant.
Original caption: This wide-field view captures the evocative and colourful star formation region of the Seagull Nebula, IC 2177, on the borders of the constellations of Monoceros (The Unicorn) and Canis Major (The Great Dog). This view was created from images forming part of the Digitized Sky Survey 2.
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
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.
^ 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.
DLD a global conference network on innovation, digitization, science and culture brought together the digital elites from Europe, Israel and the US in NYC May 6-7
A specialized manufacturer of Samsung Galaxy Tab P3100 touch screen digitizer, Samsung Galaxy Tab P3100 touch screen digitizer Products, Chinese Manufacturer.
Well, after yesterday's disappointed shoot, I decided to take a different concept with these two images. Instead of a person's identity being melted away from them like water in the previous images, I decided to show how technology eats away at us. The CDs represent the ever impending reliance on digital media/technology, which will one day result in a chaos if it were to fail.
I personally like this one more because this show's the technology taking hold of the eyes, unlike the other one which the CD had already taken over. I still might redo the CD because there was a small glare on the right side too.
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
A photo session at the Gerland Stadium, Lyon, France, on April 2, 2024.
I was equipped of my KW Praktina IIa mounted with the Carl Zeiss Jena Flektogon 35mm lens.The camera was loaded with a 36-exposure Ilford FP4+ film . No filters were used during the whole session. Expositions were determined for 125 ISO using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas.
Shutter speeds of 1/125s or 1/250s were used with aperture from the full aperture f/2.8 to f/16.
Stade de Gerland, April 2, 2024
69007 Lyon
France
After exposure, the film was revealed using Adox Adonal (Agfa Rodinal) developper at dilution 1+25 and 20°C for 9 min. The film was then digitized using a Sony A7 body fitted to a Minolta Slide Duplicator installed on a Minolta Auto Bellows III with a lens Minolta Bellow Macro Rokkor 50mm f/3.5. The RAW files obtained were processed without intermediate files in LR and edited to the final jpeg pictures. All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
History of the stadium (Wikipedia) :
In 1910, the mayor of Lyon, Édouard Herriot, came up with the idea to develop and build a sports stadium with an athletics track and a velodrome in the city. In 1912, the stadium was officially mandated and local architect Tony Garnier was given the reins to designing and constructing it. Construction began in 1914 with hopes that the stadium would be completed before the International Exhibition of 1914. However, due to World War I, construction was temporarily halted, but resumed following the wars conclusion in 1919 with the assistance of a large number of German POWs. By 1920, the stadium was completely functional. In 1926, the Stade de Gerland was inaugurated by Herriot.
The stadium originally had a cycling track, but it was removed in order to increase the seating capacity to 50,000. In 1984, minor renovations were made to the stadium by architect Rene Gagis in order to bring the stadium up to standards for UEFA Euro 1984. This included construction of the Jean Bouin and Jean Jaurès stands. Further renovations were needed to prepare the stadium for the 1998 FIFA World Cup, as by that time FIFA had mandated that all stadiums used for international matches, including the World Cup, had to be all-seated. The north and south stands were completely dismantled and rebuilt, the Jean Jaurès and Jean Bouin side stands were untouched and the athletics track that had remained, even after the cycling track had been removed, was taken out. The renovations were done by architect Albert Constantin. The new incarnation of Gerland had a maximum capacity of 40,500.
From 1950 to 2015 the stadium was home to French professional football club Olympique Lyonnais. Lyon moved into the stadium as a result of splitting from the Lyon Olympique Universitaire sport club, which played at the Stade des Iris. Its record attendance for a Ligue 1 match is 48,552 set during a match between Olympique Lyonnais and Saint-Étienne in 1982.
Today the Stade de Gerland (known for sponsorship reasons as Matmut Stadium de Gerland and otherwise known as Municipal de Gerland or Stade Gerland [stad ʒɛʁlɑ̃]) is a stadium in the city of Lyon, France, which serves as home to Top 14 rugby club Lyon OU. It has a seating capacity of 25,000.
Situated in the Gerland quarter, it was used by French professional football club Olympique Lyonnais, who moved to the newly constructed Parc Olympique Lyonnais in 2016. Local rugby union club Lyon OU moved in beginning of 2017, replacing their much smaller stadium Matmut Stadium. The stadium's capacity was also reduced from 43,000 to a more reasonable 25,000.
The Stade de Gerland is listed as a Category three stadium by UEFA's standards and has hosted matches for the 1954 and 1972 Rugby League World Cups, UEFA Euro 1984, the 1998 FIFA World Cup, and the 2007 Rugby World Cup.
The stadium has hosted concerts by many famous artists, including The Rolling Stones, Michael Jackson, David Bowie, Pink Floyd and Genesis.
About the lens :
This Carl Zeiss Jena Flektogon 1:2.8 f=35mm retrofocus lens has the semi-auto diaphragm preselection system (SB Spring Blende) that is not operated by the IIa version of Praktina camera's but some early preceeding versions of Praktina FX series (see www.praktina.com). However one could operate manually the diaphragm without preselection. This version of the Praktina Flektogon has no filtrer screwing mount and should use push-on filter with a diameter of 51mm.
The Carl Zeiss Jena Flektogon was a first "retrofocus" design specially calculated for SLR camera's (zeissikonveb.de) In France, Pierre Angénieux conceived at the same time and independently the famous "Retrofocus" type-11 (f=35mm) lens solving by this way the problem of wide-angle lenses for SLR including an extra "dead" distance due to the reflex mirror chamber.
About the KW Praktina IIa :
The Praktina IIa followed in 1958 the Praktina FX designed by the prestigious KW (Kamera Werk Niedersedlitz) German company in Dresden.
This specimen is the version 2 (code 110) produced at about 25.000 exemplars from June 1958 to Mai 1960. Praktina camera's were very high grade precision and quality machines much more sophisticated than the Praktica and the Praktiflex also produced by KW. Praktina was a "system" SLR 35 mm camera with a an impressive range of possible accessories and lenses including large capacity 17m film back and several motors.
My camera came with the mechanical 12-view motor and two Carl Zeiss normal lenses : a Tessar 1:2.8 f=50mm and a Flexon 1:2 f=50mm. This later Flexon lens was designed for the Praktina by Carl Zeiss Jena to modernize the old Biotar 1:2 f=58mm and to fulfill a more closer definition of a "normal lens" to the focal of 50mm. The lens is also much more compact. It was soon renamed "Pancolar" by Zeiss later on.
The Praktina has its own bayonet mount that ressemble a bit to the Canon FD mount with a locking ring on the camera body. The mount has a very large diameter. The IIa model has a new fully automatic diaphragm stop down system. With the Zeiss Flexon, the iris preset is indeed like with a modern camera.
Praktina is a completely different camera compared to the Praktica IV. The body is very well equilibrated and more compact not very far for the Olympus OM-1. The design looks particularly modern and the camera is particularly pleasant to manipulate.
The productiotn suddenlty stopped in May 1960 after the governmental decision to drop down the imposed prices of all camera's DDR by 30%! Praktina was then likely too expensive to be produced normally. As consequence, the less expensive and less performant Praktica's continued when KW became part of the VEB Pentacon.
The first two tapes I digitized both feature cups on the cover of the cassettes. Here's the story of the one on the left. On the right is a homemade sampler by Leah Kaufman I acquired at my second Folk Alliance Conference in 1994 in Portland, OR. She's somewhat better known than Diana Kirk, (or at least I've been luckier at finding out more info) and later produced a wonderful CD called "Five Fingers" Some of the songs on this cassette are also on that CD, but the versions are quite different. Just Leah and the guitar. What a wonderful voice!