View allAll Photos Tagged digitizing
Digitized with Negative Lab Pro v2.1.0
Mamiya RB67 | Kodak TriX 400
Digitized with Epson v550 + Negative Lab Pro v2.1.2 | Lomography
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 Saint-Jean, 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.
--------------
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.
Slides my mom had which I have cheater-digitized; I shot the slides with my dslr while they were on the slide viewer. I don't know where this was taken, and the year is probably about 1965, 67 or 68.
From back of photo: "Emma Campbell Gleeson DeHart. Daughter of Charles C. and Lydia Eastlack Gleeson. Mother of Florence Lydia DeHart Burns and Ernestine Ann (Dolly) DeHart Renaud. Taken November 1933 (age 29). Near 4th wedding anniversary (December 28)."
Emma Campbell Gleeson DeHart, 1904-1995
After a careful study of the camera functions and handling, the great day of the test film arrived! Testing on film a camera like this beautiful Rolleiflex 3.5F (likely year 1962, see bellow for details) has something exiting and a bit upsetting as well. We will discover the real operating state of the camera straight on the film.
Rollei is not today a dead brand and the name is still used for different photographic products but not related to the production of course of the original Rollei Werke Francke & Heidecke in Brunswick, Germany, at the time of this legendary Rolleiflex TLR camera. In particular Rollei brands is used for the former Agfa line of black-and-white film and chemistry, accessories and even the newly release Rollei 35 AF, one of the rare new film camera in 2025.
When using any vintage camera kit, special attention should paid to the real state of the carry straps and ever-ready bags. The old leathers may be not resistant enough to hold safely the camera and a real risk a dropping the equipment exists. In this case it would be a impardonnable mistake...
I then used, while waiting for a brand-new copy of the original leather neck strap, a modern Peak-Design strap attached to the two holding steel axis of the Rollei bag.
I loaded a Rollei RPX100 film in respect of the protocol described in the camera user manual, passing the leader paper under the steel sensor cylinders that will detect the film start automatically. This is quite specific to the Rolleiflex. The view counter is automatically reset to zero after removal of the completed film from the camera. The counter is also automatically advanced to "1" when the (incredibly nicely carved) start handle blocks. At the same time the shutter is cocked and the camera ready to shoot. There is no special starting mark to be aligned when losing the camera. Just check that the paper end is correctly positioned and taken by the receiving spool. When OK, the handle is blocked forward/backward. After the picture taken, the handle could be moved forward until it stops and replaced backward to the initial position, for the next frame.
For all the frames, the Rolleiflex was equipped with the Rollei RII protecting filters (UV) on both lenses and the taking lens additionally equipped with the Rollei RII original shade hood. The film was exposed for 100 ISO. Light-metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas.
Documentary smartphone picture
March 17, 2025
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 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25 and the film processed for 9min 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 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 together with some documentary smartphone 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 will 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. While waiting I will use my modern Peak-Design Leach safe strap .
Digitized with Negative Lab Pro v2.1.2
Kiev 60 TTL | Volna 2.8/80 | Kodak TriX 400
Digitized with Negative Lab Pro v2.1.2
Library staff reviewing documents as part of a project to digitize a trove of Holocaust records, 2008.
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
Slides my mom had which I have cheater-digitized; I shot the slides with my dslr while they were on the slide viewer. I don't know where this was taken, and the year is probably about 1965, 67 or 68.
From back of photo: "Howard, Charles, James (baby), Emma, Florence, Lydia."
191--I004
Howard W. Gleeson, 1904-1967
Charles C. Gleeson, Jr., 1897-1950
James H. Gleeson, 1912-1986
Emma Campbell Gleeson DeHart, 1904-1995
Florence (Ted) Budd Gleeson, 1901-1980
Lydia Gleeson Warrington, 1899-1988
A pictograph found on a rock face near an area known for its Petroglyphs, but not for its Pictographs.
A "pictograph" is artwork painted on rock surfaces whereas a petroglyphs, is carved someway in to the rock surface. American natives used pigmented powdered rocks and soils to apply colors to the rock surface in their paintings
This one, I was told, may be related to some fertility rites – but honestly who knows. Observed in the Mojave Desert north of Barstow, California.
Digitized from a 1993 Kodak Gold negative film using a Canon R5 in 2025…….32 years later. The original film was Kodak Gold R-3 and was photographed with a Canon EOS Elan
Image - Copyright 2025 Alan Vernon
Digitized with Negative Lab Pro v2.1.2
Olympus Pen EE2
Digitized with Epson Vuescan V550 + Negative Lab Pro v2.1.2
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
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: "Bertha Eastlack Allen, Frank Eastlack, Anna Eastlack Platt, John Eastlack, Lydia Eastlack Gleeson, Josiah Eastlack (Joe), Grammie - Mathilda Budd Eastlack, Grandad - John Eastlack. Great-grandmother and grandaddy of Florence DeHart Burns and Ernestine Ann (Dolly) Renaud. Great Uncles and Aunts to them.
192--I009
Bertha Eastlack Allen, 1880-1964
Franklin T. Eastlack, Sr. 1882-
Mary Anna Eastlack Platt, 1868-1956
John Eastlack, Jr., 1877-1961
Lydia P. Eastlack Gleeson, 1873-1953
Josiah B. Eastlack, 1878-1969
Mathilda Budd Eastlack, 1850-1928
John Eastlack, 1845-1935
From back of photo: "Emma Campbell Gleeson. Age 10 months. Daughter of Charles C. and Lydia Eastlack Gleeson. Mother of Florence and Dolly DeHart. For Florence." From the label: "JNO. E. Egan, 23 S. 8th Street, Philadelphia. Opposite to Gimbels."
190--I006
190--I007
Emma Campbell Gleeson DeHart, 1904-1995
I digitized the embroidery for this cap from a complicated oil-painting and managed to get the detail right in a tiny (55mm H) cap format. I was pretty proud.
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