View allAll Photos Tagged digitizing
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
The audio digitizing station with an LP player to the left, speakers behind the monitor and the audio stack to the right, inluding a tape deck, an audio to digital converter. The mixer is out of the photo. We used Audacity and Peak 4 on a Mac G4 to digitize most of the audio for our projects. We also did live in-house recording with backup outputs to an external TASCAM CD-writer.
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
From back of photo: "Florence Gleeson. Age 9 months. Florence Gleeson. Aunt Ted. Fowler. 238 N. 8th St., Philadelphia."
190--I004
Florence (Ted) Budd Gleeson, 1901-1980
On July 22, 2025, I went to the Abbey Notre-Dame-de-Dombes which is located about 30 km North to Lyon city, France, in the Dombes region between Lyon and Bourg-en-Bresse. The Abbey is a former Trappist monastery located in Le Plantay.
The monastery was originally established by 44 monks from Aiguebelle Abbey in 1863. The importance of the abbey grew quickly, and it was successful in its intended purposes. During World War II the monks worked with the French Resistance and helped many people, especially Jews. There were many visits by the Gestapo; on 2 May 1944 two monks were executed, and others arrested. For the community's actions the abbey was awarded in 1946 the Legion of Honour and « Croix de Guerre 1939-1940 avec palmes ». In 2001, there were very few monks remaining, who asked the Chemin Neuf Community to come and replace them in their mission of prayer and welcoming visitors.
When I arrived after lunch, the gate was only half-open. As I left the abbey, I realized that it was actually closed to visitors on Tuesdays. However, no one said anything to me, and I was able to take pictures in the peace and quiet of the place.
I brought along with me my Rolleiflex 3.5F (1960-1964, see below for details) loaded with a FOMA ORTHO 400 orthochromatic black-and-white film. Orthochromatic films are not sensitized in the red. The film was exposed for its nominal 400 ISO. Light metering was done using a Minolta Autometer III equipped with a 10° finder for selective metering privileging the shadow areas or its opale dome for incident light integration.
View n° 8: 1/30s f/3.5 (full aperture) focusing @ 4.8 m, Rollei RII UV (0) filter and Rollei RII shade hood.
Oratoire (Chapel) de Tibhirine***
Abbaye Notre-Dame-des-Dombes, July 22, 2025
Route de l’Abbaye
01330 Le Plantay, France
_______________
***. The oratory of "Tibhirine" received its name in memory of the monks murdered in Algeria. The abbey was particularly influenced by Brother Christophe, who was a host brother at the Abbey of Notre Dame des Dombes before leaving to join the Brothers of Notre Dame de l'Atlas in Tibhirine (Médéa), Algeria. The icons were created in 2004 in the Byzantine tradition by Kaspars and Ruta Poikāns, a Latvian couple and members of the Chemin Neuf Community. They painted a magnificent iconostasis in the oratory.
In the Eastern Orthodox tradition, the iconostasis (wall of icons) separates the nave from the sanctuary. The icons are arranged on two levels: The upper icons represent the Deisis (a Greek word expressing the idea of praying or interceding): in the center – Christ Pantocrator enthroned; on either side – the Virgin Mary and Saint John the Baptist, followed by the archangels Michael and Gabriel.
__________
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 with 500 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+50 . The film was processed for 11 min at 20°C (FOMA recommends developing times from 10 to 12min at 20°C with a Rodinal R09 formula at dilution 1+50) with regular 10s-agitation every minute.
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 (14.4, June 2025) 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 possibly together with some documentary smartphone color pictures.
About the camera:
I got this stunning Rolleiflex 3.5F from a French artist near Paris, France. The camera came in it original box and leather bag with accessories and a reference book year 1955. The whole kit is in a remarkable state of conservation.
The Rolleiflex 3.5F is the model-3 that Rollei-Werke Franke & Heidecke produced in about 50.000 units in Germany from 1960 to 1965. The Rolleiflex originates from 1928 for the very first model and was produced still in a limited number until the years 2000’s. The 3.5F model 3 was available etheir with a Schneider-Kreuznak Xenotar taking lens or the Call Zeiss Planar 1:3.5 f=75mm as this camera. The Rolleiflex, that was a quality reference for many professional photographers in the 50’s for the medium-format 6X6 camera’s. Many worked both with the Leica M3 (starting from 1954) as small-format 24x36mm camera and the Rolleiflex for other appliances. The Rolleiflex remained one of the most iconic and trusted camera of all the times.
This specific 3.5F is labelled on the right side with nice badge made of enameled brass « T » « Telos » that was the exclusive first French importer of Rollei to France until 1972.
The Rolleiflex 3,5 F model 3 is equipped with the Synchro-Compur central shutter MXV CR00 with cone-wheel differential. The distance scale is only in meters here with automatic DOF indication. Serial number with ‘3,5F’ prefix on of top name shield.
I detailed the camera and accessories and studied carefully the user manual and the book to before familiar this beauty before waiting for a quiet moment to prepare for a test film. I did not trust the old leather original neck strap to carry this precious machine on the field to avoid the real risk to drop the camera. I ordered a new one from a manufacturer in China for a safe operation of the field.
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 Epson V550 + Negative Lab Pro v2.1.2 | Lomography
Rodinal 1-50
From back of photo: "John & Mathilda (Budd) Eastlack family, July 1918. Standing. John Eastlack III (gs), Rachel S. Eastlack (d-in-l), Jake Taylor, Mildred Allen (gd), Jesse Eastlack (gs), Florence Gleeson (gd), Charles C. Gleeson, Jr. (gs).
Row 2. Florence W. Platt, Joseph Platt (gs), Howard Gleeson (gs), Harry Platt (gs), Abbie R. Platt, Emma Gleeson (gd), Edgar Lyster, Mathilda (Dollie) P. Lyster (gd).
Row 1. Anna Platt (d), Frank Eastlack (s), Bertha Allen (d), Josiah Eastlack (s), Elsie H. Eastlack (d-in-l), Lydia P. Gleeson (d), Lydia E. Gleeson (gd), John Eastlack, Jr. (s), Anna M. Eastlack (d-in-l), Frances Platt (gd), Esther Hearing (Eastlack) Chambers. [erased portion illegible] Franklin Eastlack (gs), Wilma Platt (gd). John Eastlack, Sr., [Sery?] Eastlack (gs), Mathilda Budd Eastlack.
On grass. James H. Gleeson (gs), Frank Lyster (gs), Alice Eastlack (gd), Joseph Lyster (gs), Kathryn Eastlack (gd), Mary Eastlack (gd)."
1918-I002
John Eastlack III, 1900-1990
Rachel Shuster Eastlack, 1888-
Jake Taylor?
Mildred Allen Moore, 1902-1954
Jesse M. Eastlack, 1901-1984
Florence Budd Gleeson, 1901-1980
Charles C. Gleeson, Jr., 1897-1950
Florence Wynne Platt, 1899-1989
Joseph W. Platt, 1894-1991
Howard W. Gleeson, 1904-1967
Harry C. Platt, Sr., 1891-1989
Abbie L. Rambo Platt, 1896-1981
Emma Campbell Gleeson DeHart, 1904-1995
Edgar A. Lyster, 1892-1961
Matilda (Dollie) Platt Lyster, 1888-1979
Mary Anna Eastlack Platt, 1868-1956
Franklin T. Eastlack, Sr. 1882-
Bertha Eastlack Allen, 1880-1964
Josiah B. Eastlack, 1878-1969
Elsie L. Heritage Eastlack, 1881-1969
Lydia P. Eastlack Gleeson, 1873-1953
Lydia E. Gleeson Warrington, 1899-1988
John Eastlack, Jr., 1877-1961
Anna Mullen Eastlack, 1880-1927
Frances Platt DeHart, 1906-1930
Esther Hearing Chambers, 1908-1987
Franklin T. Eastlack, Jr., 1904-1989
Wilma P. Platt, 1912-1925
Mathilda Budd Eastlack, 1850-1928
possibly Percy E. Eastlack, 1907-1921
John Eastlack, 1845-1935
James H. Gleeson, 1912-1986
Frank Lyster, 1914-1980
Alice R. Eastlack Williams, 1916-2005
Joseph Platt Lyster, 1915-1972
Kathrine Eastlack Cooner, 1918-2011
Mary Eastlack Fraley, 1916-1944
Original digitized peacock feather design for a custom coffee cozy for one of my Etsy customers. I was fairly happy with it - I really hope she likes it too. :-)
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
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
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
Mamiya RB67 | Kodak TriX 400
Digitized with Epson v550 + Negative Lab Pro v2.1.0 | Lomography
For a change of pace from my usual stuff, here's a stylized version of our sweet granddaughter hamming it up for Papa.
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
Our world is no longer dominated by face to face interaction, but we do have more interaction with more objects. The world has become more representational and its content is more important that its actual physical entity. We are connected to more things, but not in a face to face sense. We are connected to machines and objects. Sometimes our content is completely different from ourselves. For example the photogropher takes a photo of the model and the picture will be edited to produce a heightened desirous effect. The main idea of this photo is that the content has become more important than the object. Even nature can be digitized with GPS devices drawing your attention away from natural landmarks to on-screen calculations. In a sense this world is more two dimensional because it is the varying, invisible content with which we interact. This digitization will also circulate into face to face object interaction. Real life conversations may be warped into abbreviated speech patterns commonly attributed to online communication. This picture is the code of life. It is all connected, it is all content based.
Edited Digitized Sky Survey 2 image of the widefield around the galaxy NGC 2525 (blurry blob near the center) where a supernova recently exploded. Inverted grayscale variant.
Original caption: Pictured here is the region surrounding NGC 2525. Located nearly 70 million light-years from Earth, this galaxy is part of the constellation of Puppis in the southern hemisphere. Hubble has captured a series of images of NGC2525 as part of one of its major investigations; measuring the expansion rate of the Universe, which can help answer fundamental questions about our Universe’s very nature. ESA/Hubble has now published a unique time-lapse of this galaxy and it’s fading supernova. This view was created from images forming part of the Digitized Sky Survey 2.
Pictured here is the region surrounding NGC 2525. Located nearly 70 million light-years from Earth, this galaxy is part of the constellation of Puppis in the southern hemisphere. Hubble has captured a series of images of NGC2525 as part of one of its major investigations; measuring the expansion rate of the Universe, which can help answer fundamental questions about our Universe’s very nature. ESA/Hubble has now published a unique time-lapse of this galaxy and it’s fading supernova. This view was created from images forming part of the Digitized Sky Survey 2.
The Naturalis-Picturae Herbarium event February 18-19, 2016. Photo published with the kind permission of Picturae.
Digitized with Negative Lab Pro v2.1.2
Leica M3 | Carl Zeiss Planar T* 50mm f/2 ZM | T-Max 100
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.2 | Lomography
Ilford DDX
I just received recently an AF-Nikkor 1:2 f=35mm lens to complete a small kit around my Nikon F4 year 1989 (see below for details). The kit is now includes 3 very classical AF-Nikkor lenses of the same period of the Nikon F4 camera body, including the standard 1.4/50mm, the 1.8/85mm and now the 2/35mm. The choice of fixed-focal lenses instead of zooms was already in 1989 a bit old-fashioned. However many photographers preferred still the homogenous rendering of a photo series done with a single focal lens. Generally speaking, a 35mm focal is a charming moderate wide-angle, very easy to use and particularly adapted for architectural and street-photography.
The AF-Nikkor 1:2 f=35mm is not a rare lens. However, when looking on eBay there was not tens of them available. I bought a good one form a Belgian seller at a normal price (180€). The lens is in very good mechanical and optical condition and came with the rear and front caps. I sourced the dedicated Nikon HN-3 shade hood separately for 10€ but here I preferred (only for the look!) to use a rectangular Minolta D54KC designed for the MC-Rokkor 1:2.8 f=35mm.
For testing the lens, I loaded my Nikon F4 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 modify the nominal DX-coded 400 ISO sensitivity.
The AF Nikkor lens 1:2 f=35mm was equipped for the whole session with a generic 52mm screw-on yellow filter. The light metering was done through tteh lens (TTL) either in the matrix or the spot metering of the Nikon F4 used in the "A" aperture-priority auto mode or the manual mode. The weather was very clear and a bit cold (-1°C outside).
La Part-Dieu***, January 12, 2024
69003 Lyon
France
----
***(Wiki) La Part-Dieu (French: [la paʁdjø]) is a quarter in the 3rd arrondissement of Lyon, France. It is the second-largest tertiary district in France, after La Défense in Paris. The area also contains Lyon's primary railway station, Lyon-Part-Dieu.
This urban centre also provides major entertainment and cultural facilities, including one of the largest urban shopping malls in Europe, 800 shops, Paul Bocuse indoor food market, café terraces, the Auditorium concert hall, Bourse du Travail theatre, Municipal Library, Departmental Archives and Fort Montluc. It contains several High-rise buildings, including the Tour Incity (202 m (663 ft)), the Tour To-Lyon (171 m (561 ft)) and the Tour Part-Dieu (164 m (538 ft)).
The central business district is currently undergoing major renovation and construction works, according to a revitalization project totalling €2.5 billion between public and private investments.
--------
I did not use my Nikon SB-26 flashlight for any views in this session. After completion the film was rewound and processed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min 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 a frame or the full size JPEG's together with some documentary smartphone color pictures.
--------------
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.
____________
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.