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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
Scanned with Epson V550 | Lomography
Negative Lab Pro v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: Frontier
Digitizing some Super8 footage from old days I put the cadridges on a light box to have a fast control about which material is on which film. And suddenly I recognized that the spool on the light box looks as a photo motive by itself.
more via www.timelock.in
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 v2.1.0 | Lomography
Ilford DDX
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 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
Cinestill DF96
The ford is near Glen Dye on the B974 Banchory to Fettercairn road. At a junction, a minor road (Old Military Road) turns North-west and crosses the Burn of Brooky. A ford then, now the Burn is probably in a pipe
(see Google Street View: www.google.com/maps/@56.9921177,-2.5779392,3a,75y,182.34h... )
Lefthand side at the B974, an AA box is visible. It's still there.
Graphicsdigitizing is a very big company in USA & they using are the Latest High Quality Embroidery Digitizing Service.
Loch Ness in July 1974 from near the A82, north-east of the bay where river Emrick enters Loch Ness.
For a photo walk along the Rhône banks, Lyon, France, I took again my Praktica IV camera but equipped this time with a Helios-44M lens :2 f=58mm, the normal lens of my Zenit 122 camera.
With the Helios-44M-6 lens, the diaphragm is stopped down automatically to the selected aperture value by pressing the shutter release but there is no auto/manual selection possible from the lens. For all the views the lens was equipped with a yellow screw-on 52mm filter assuming a coefficient of x2. The lens was also equipped with generic modern cylindric shade hood.
The Praktica camera was loaded with a 36-exposure Ilford HP5+ and exposed for 200 ISO instead of 400 to compensate the yellow filter absorption. Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. The weather was relatively cloudy (13h30-16h30) giving typical exposures of 1/100s at f/8.
February 6, 2024
69002 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 6min.
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 within 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 :
The normal lens fitted on the camera using the M42 mount is the multi-coated version 6 of the Helios 44M manufactured at Юпитер, (Оптико-механический завод «Юпитер» , "Jupiter") Valday, Novgorod region. Helios-44 lens directly derived from the Carl Zeiss Jena Biotar lens 1:2 f=58mm.
It came with my Zenit-122 that was produced in 1994 by the Russian company KMZ (Красногорский механический завод, Krasnogorskiy Mechanicheskiy Zavod) located in the Moscow region. Zenit-122 were also manufactured by BelOMO factory. From 1990 to 2005, about 2 millions of Zenit-122 were overall produced. The camera is built on the tough previous Zenit chassis and uses the same curtain Leica-type shutter with no slow speeds. The body is cased with ABS (Acrylonitrile Butadiene Styren) thermoplastic. Zenit-122 is equipped with a two CdS cells for light metering (25-400 ISO) using a LED indicator in the viewfinder.
Digitized with Negative Lab Pro v2.1.0
Mamiya RB67 | Kodak TriX 400
Digitized with Epson v550 + Negative Lab Pro v2.1.2 | Lomography
We are embroidery digitizing and graphic art company CO. LTD in China. $2.2/1000 stitches,1-24 hours turnaround.
Edited Digitized Sky Survey 2 image of the sky in the region of Apep. Inverted grayscale variant.
Original caption: The image is a colour composite made from exposures from the Digitized Sky Survey 2 (DSS2), and shows the region surrounding 2XMM J160050.7-514245, nicknamed “Apep”. The field of view is approximately 2.4 x 2.0 degrees.
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
After two black-and-white films, it was time to try the Zenza Bronica S2A (Japan, 1972-1977) and its Nikkor lens in color.
The Nikkor normal lens 1:2.8 f=75mm was equipped of a Hoya HMC (coated) 67mm screwed filter and the dedicated Zenza Bronica metal shade hood..
I choose a Kodak Professional Ektar 100 12-exposure negative film. It was exposed for 100 ISO using an Autometer III Minolta lightmeter fitted with a 10° finder for selective measurements privileging the shadow areas.
View Nr. 12 : 1/30s f/3.5
Jardin Botanique de Lyon, July 9, 2024
Serres Tropicales Chaudes, Flore de la Canopée
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 by a local lab service using the C-41
protocol. Digitizing was done 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 as a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the 70mm films.
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.
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 :
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 20O4 and the brand was bought by Tampon company and disappeared from the market.
The Zenza Bronica S2A was produced by Bronica Insdutries founded by Yoshino Zenzaburo, between 1972 and 1977 and was the ultimate model of fully mechanical medium format modular SLR o th e S series. The camera in made in stainless steel 18-8 quality for the outer elements. 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.
For transportation, the camera fits in my ThinkTank Retrospective 5, my usual bag,
,as easy as my TLR Semflex. The weight is however higher by about 1;8 kg (0.8 kg for my Semflex TLR).
This panorama is one of the first images from our test of digitizing
books with foldouts. It is from this
book.