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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 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.
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This photograph was made using a Nikon FM3A SLR camera with 50 mm f/1.8 (series e pancake) lens and Ilford Delta 3200 film.
The film was developed by www.teamframkallning.se, digitized using a Nikon D610 DSLR + 105 mm macro lens, and then I have "copied" the RAW files in Lightroom: inverting the curve, dust removal, cropping, some sharpening (with masking to exclude the grain), and adjusting exposure, contrast, white point / black point.
Edited Digitized Sky Survey 2 image by way of the European Southern Observatory of the sky around Alpha Centauri.
Original caption: This image of the sky around the bright star Alpha Centauri AB also shows the much fainter red dwarf star, Proxima Centauri, the closest star to the Solar System. The picture was created from pictures forming part of the Digitized Sky Survey 2. The blue halo around Alpha Centauri AB is an artifact of the photographic process, the star is really pale yellow in colour like the Sun. Proxima Centauri appears as a faint red star towards the lower-right of the picture, a labelled version is available here.
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
Digitized with Negative Lab Pro v2.1.0
Mamiya RB67 | Kodak TriX 400
Digitized with Epson v550 + Negative Lab Pro v2.1.2 | Lomography
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
Hiking Bräkne-Hoby - Ronneby by Bräkneleden/Blekingeleden and Vierydsvägen, Blekinge, August 9, 2013
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
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My photo walk of Tuesday, September 17, 2024 in Lyon, France. I expected a mixture of sunshine and clouds for testing the B+W red filter but in turn, the cloud cover was tight. I decided to keep the red filter for the whole film anyway.
I used my Hasselblad 500 C/M camera loaded with a Kentmere 100 film. The Carl Zeiss normal lens Planar CF 1:2.8 f=80mm was equipped with a 67mm screw-on filter Light Red 5 B+W type 090 adapted to the Hasselblad bayonet filter mount with a specific adaptor. The Zenza Bronica metal shade hood designed for the 75mm Nikkor-P lens was mounted additionally to the filter to its 67mm thread.
The film was exposed for 25 ISO to compensate of the filter light absorption 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.
September 17, 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 70mm large film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+50 and the film processed for 15min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm film.
The RAW files obtained were inverted within LR and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG's together with some documentary smartphone color pictures.
About my Hasselblad 500C/M:
I remember that somewhere around 2002, I considered to buy a Hasselblad camera. I gave up because I had no more access to a darkroom and I found too complicated to recreate one or to delegate the processing to a service lab. Afterward, I started digital photography that distracted me to operate again with films until more recently. It is only when I could manage in 2022 a reliable and quality way to exploit my negatives in a reasonable time, that I really could enjoy again of analog photography.
On July 17, 2024, I decided to buy "my" Hasselblad in a very traditional way, almost as I could in the 90’s, in a local real photographic store, Lyon, France. The store « Carré Couleur » of Jacques Larger, rue Servient, Lyon, France, is a long-time specialist of professional medium-format camera’s including Hasselblad ones. They had on display several revised and 6-month guaranteed camera’s and a large choice of lenses and accessories.`
I choose a 500 C/M year 1978 and a Carl Zeiss lens Planar T* 1:2.8 f=80mm of the CF series year 1986, plus a small set of little Hasselblad goodies. The 500 C/M is totally mechanical without any electrical nor electronic circuitry. The 500 C/M's were produced in Göteborg, Sweden, from year 1970 to 1994. They followed the production of the 500C camera’s (1957-1970). The latest V-series camera (503 CX, CW, CWI etc) ceased in 2006 and Hasselblad then produced only digital camera’s but also digital camera backs that could fit to the V-series includingbthis 500 C/M (www.hasselbladhistorical.eu/HS/HSTable.aspx)
This CF lens series has central shutter Prontor (Synchro-Compur for the earlier Zeiss series). They are more cylindrical than earlier series and equipped of the proprietary bayonet filter mount B60. The delayed shutter realease was also abandoned. The focusing screen is the « Bright » series with the Dodin stigmometer in the screen centrer and the squared cross-ruling lines. Later 501 and 503 were basically equipped with an even more brighter screen called « Acute-mat ». The camera back could dated from year 1977 is an « A-12 » back « A » standing for « Automatic ». The film advance automatically stops at view 1 with view counter on the right camera side.
After a complete demo by Jacques Larger, I studied the camera manipulation at home with the user manual in hand (an original edition of 1980) before doing the decisive « film d’essai » (test film) on a sunny morning of July 20, 2024.
The results show very high-quality, highly-contrasted negative views, perfectly exposed and spaced proving the good technical state of the camera, film magazine, and the lens/shutter.
On sept. 2, 2024, I received from a French specialist of collection camera's, a second film magazine Hasselblad "A12". This back is in a pristine condition and matches the production year 1978 (Hasselblad letter coding "UR") of the 500 C/M body.
The camera back is like a new with almost no signs of use. It arrived in its original Hasselblad box including the original user manual too. The film insert has latest 3 digits matching the film magazine serial number, that is not the case of the other magazine. Unmatched magazines and inserts, are very common and assumed not to be a technical problem, but Hasselblad maintained the pairing of the insert magazine to ensure to the customers of the best attention to the precision of the film plane.
On December 19, 2024, I paid a visit to the two museums hosted in Gadagne, an imposing Renaissance ensemble in Lyon St-Jean, France. The first museum in devoted to the Puppetry and the second is the Lyon's History Museum (www.gadagne-lyon.fr/en).
I loaded my Nikon F4 (year 1989, see the details about the camera bellow) with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modified the nominal DX-coded 400 ISO sensitivity.
I choose the AF Nikkor lens 1:1.8 f=85mm with a protective Hoya HMC UV 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. I brought along too the Nikon SB-26 flashlight in my bag in case of necessity.
Rue de la Fronde, December 19, 2024
69005 Lyon
France
After at view 30, the last seven views were completed the day after with a series a views of my Hasselblad 500 C/M camera at home. The film was then rewound (manually) and processed the film developed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min30 at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
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About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
^ 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 am on the project digitizing stocks of 1970s photos. Here was the trip bringing a box of photos from Jember to Bandung to be prepared for scanning and uploading process.
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.
On October 16 and 17, 2024 the weather was very degraded on the Lyon city and the region with very heavy rains, a phenomenon common at this season called here a "Mediterranean episode". Warm and humid air that came from South condensed on a cold air zone that came from North-West of France.
I decided then to take my Nikon Nikonos V year 1990 (see below) fitted with the Nikkor lens for the Nikonos 1:2.5 f=35mm. This camera could resist to the worse tropical typhoon and reassured me to take no risks for any other beloved camera of my collection, necessary less weather resistant.
In addition, I returned to the Lugdunum Gallo-Roman museum of Lyon, especially to visit the new temporary exhibition relating the cosmopolitan population of Lyon at the Gallo-Roman period. Most of my pictures were taken inside the underground museum that could not be better protected from the outer elements ...
I loaded the Nikonos V with a never-tried film the Kikipan 320 for 36 black-and-white exposures. I exposed th film for the given 320 ISO using either the camera TTL metering or my external Minolta Autometer III lightmeter in the incident or reflected mode. For timing below 1/30s, I left the Auto mode of the Nikonos operating, finding some good stabilizing points without the use of a tripod. Operating at wide aperture indoor (full f/2.5 or f/3.5) focusing distances were determined using a laser meter and reporting the value to the focusing system of the Nikonos.
Lugdunum Gallo-Roman Museum, October 17, 2024
69005 Lyon
France
After completion of the film outside, it was developed using 300 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 9min at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta Auto Bellows with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic 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.
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About the Gallo-Roman Lugdunum Museum of Lyon, France : (from lugdunum.grandlyon.com/en/a-museum-of-sites/museum) The museum and the theaters are located on the slopes of Fourvière Hill, on the very site where the Roman city of Lugdunum was founded in 43 B.C..
The idea of creating a museum to house objects related to the Roman city of Lyon was first discussed in the thirties. But it wasn't until the sixties that the project took shape and was entrusted to the architect Bernard Zehrfuss.
Zehrfuss was responsible for the idea of burying the building so that it would fit smoothly into the exceptional setting around it and would not "offend the professionalism of my Roman colleagues". Construction began in 1972. The museum was inaugurated on November 15, 1975.
Nearly invisible from the outside, the museum blends into the landscape of a unique archaeological site composed of two major monuments of the city of Lugdunum: a theater and an odeon, both of which are part of a UNESCO World Heritage site. (Photo building / site) The concrete structure disappears under the vegetation, and two large windows channeling light make the theaters part of the exhibition.
One of the remarkable characteristics of the building is the aesthetic quality of the reinforced concrete, both inside and outside. Providing a very simple background, the architecture highlights the works. The customary arrangement of rooms has been replaced by open spaces following a large spiral ramp.
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About the camera Nikonos-V :
I bought this Nikonos V camera brand new from the Bic Camera store located in Shinjuku 3-chome, Tokyo, Japan, in December 1990. It dove a couple of times about ten years ago in Cassis, France, Latter on, I used several a underwater photographic systems in particular based on Sony A7 bodies coupled to the Nikonos lenses (15, 20, 35 and 80mm) in a special housing Nauticam coupling the Sony A7 to the Nikonos lenses.
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.
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.
Surface Solutions take great lengths to be the thought leader in monitoring surface casing vent flows. Regulatory compliance (id 2003-01) information can be found at www.surfacesolutions.ca
Digitized with Negative Lab Pro v2.1.0
Leica M3 | Leica Elmarit 28mm f2.8 version IV | Tri-X 400
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.0 | Lomography
Ilford DDX
On December 24, 2024, I picked up my venerable Leica M3 year 1956 (see below for details) for a photowalk in Lyon city, France. I went to Fourvière, enjoying a not too cold (6°C) and clear sunny weather.
My Leica was loaded with a 36-exposure Ilford HP5+ film. I equipped the Summicron 2/5cm lens with a Hoya HMC AUV screw-on 39mm protective filter plus the Leitz shade hood for all indoor scenes, and outdoor I mounted a push-on 42mm FOCA (France) Yellow x2.5 filter and a generic cylindrical stainless steel hood that, unfortunately, induced some vignette if not perfectly aligned, that should be corrected during the processing). I should find a 39mm screw-on filter more safe to use with my Summicron 2/5cm,
Expositions were determined for the indicated 400 ISO (28 DIN) using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas and erected for the filter absorption if any.
The outside temperature was about 6°C with a bright sunny weather in the afternoon. Typically exposures outdoor were made at 1/250s with apertures ranging from f/8 to 11 and 1/50s or 1/25s at full aperture f/2 or f/2.8 indoor.
Basilique Notre-Dame de Fourvière***, December 24, 2024
69005 Lyon
France
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*** The Basilica of Notre-Dame de Fourvière is the work of the architects Bossan and Sainte-Marie Perrin. It was built from a public subscription in 1870 and consecrated in 1896. From the top of “the hill that prays”, the basilica dedicated to the Virgin Mary is classified as a historical monument. It is part of the Lyon site registered as a UNESCO World Heritage Site. Today, the emblem of the city of Lyon, the basilica welcomes more than 2.5 million pilgrims and visitors each year.
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After exposure, the film was processed in Adox Adonal (Agfa Rodinal) developper at dilution 1+25 and 20°C for 6 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.
About the camera and the lens :
This Leica M3 circa 1956 (Ref. Leitz ISUMO), double stroke, was sold to me with a Leitz Wetzlar Summicron collapsible normal lens 1:2 f=5cm of the same period equipped with a 39mm screw-on protective filter, a 42mm push-on Leica lens cap and an original Leitz shade hood (Ref. Leitz IROOA).
The camera was serviced in Paris, France, in 2018 by Gérard Métrot at Photo-Suffren, (a Leica boutique) who worked on the maintenance of camera's of famous French photographers as Henri Cartier-Bresson and Robert Doisneau. The camera was inspected by Odéon-Photo, Paris, another historic Leica place in Paris, in April 2024.
I sourced at the same time in Germany a stunning Leitz Leica leather bag (Ref; Leitz IDCOO) of the same model that appeared on the back cover page go the Leica brochure year 1954. This bag can accommodate the camera and a mounted Leica-Meter type M. The interior in covered with a carmin velvet in perfect condition.
The Leica M3 is one of the most iconic range-finder 35mm camera of the 50's and the 60's. It was produced in Wetzlar, Germany, in different versions at 226178 exemplars, between 1954 (n° 700000) and 1966 (n° 1164865, www.summilux.net/materiel/Leica-M3) . The Leica M3 was the result of the study of a "super-Leica" that was started before WWII and only achieved in the 50'S.
The greater improvement of the M3 compared the classical Leica's was in a magnificent and very complex range-finder combined to the view finder permitting the framing with the two eyes open, integrating the frame in the real and normal vision. The shutter integrates too the normal and the slow speeds in the same barillet. The film advance of this version of Leica M3 is also the typical "double-stroke" advance that was exclusive to the Leica M3 first versions.
The camera was transported to me from Paris to Lyon, France on April 26, 2024 and the bag arrived the day after.