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From back of photo: "Ted (Florence) Gleason, Patsy Gleeson, Emma Gleeson DeHart, Pauline Gleeson. Poughkeepsie, N.Y. Took trip by boat up Hudson River."
193--I006
Florence (Ted) Budd Gleeson, 1901-1980
Emma Campbell Gleeson DeHart, 1904-1995
Charlotte Irene "Patsy" Gleeson Parrish, 1929-2018
Pauline Gleeson Hall, 1925-2013
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
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 v2.3.0 | Color Model: B+W | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: Frontier
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
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.
I have good reason to believe now that this was taken at Red River Ski Resort in New Mexico.
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.
Théâtres Romains à Fourvière, December 24, 2024
69005 Lyon
France
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.
From back of photo: "Mother's family. 1. Anna (Eastlack) Platt, 2. John Eastlack, 3. Lydia P. (Eastlack) Gleeson, 4. Josiah Budd Eastlack, 5. Bertha (Eastlack) Allen, 6. Frank Thomas Eastlack. Children of John Eastlack and Mathilda (Budd) Eastlack."
193--I004
Mary Anna Eastlack Platt, 1868-1956
John Eastlack, Jr., 1877-1961
Lydia P. Eastlack Gleeson, 1873-1953
Josiah B. Eastlack, 1878-1969
Bertha Eastlack Allen, 1880-1964
Franklin T. Eastlack, Sr. 1882-
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.
LCD Touch Digitizer Screen Assembly for iPhone 5C.
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From back of photo: "Florence, Dolly, Jean Huls. Clearwater, Fla. 1945."
Marilyn Jean Hulse Aumack, 1934-2006
Ernestine (Dolly) DeHart Renaud, 1935-2024
Florence L. DeHart Burns, 1934
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 v2.1.2
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
The Autochrome Lumière (Wikipedia) was an early color photography process patented in 1903 by the Lumière brothers in Lyon, France, and first marketed in 1907. Autochrome was an additive color "mosaic screen plate" process. It was the principal color photography process in use before the advent of subtractive color film in the mid-1930s.
When I got the processed film from the laboratory, I had this feeling to get "Autochromes" views, in particular in the 6x6 medium format. The color saturation, the contrast and precision of each views was simply amazing, observable as they were taken, straight on the film out of the camera!
On August 31, 2024, I decided to use a Fujichrome Velvia 100 film roll I had in the fridge since several months for my first reversible color film attempt of my life in 120 format. I choose my Hasselblad 500 C/M equipped of its normal lens Carl Zeiss Planar 2.8/80mm with a simple Anti-UV filter and a metal shade hood Bronica adapted to the lens with a B60 mount to the 67mm thread adaptor.
The film was carefully exposed for 100 ISO using my Minolta Autometer III either with its 10° selective viewer taking care of the high lights or using the incident light dome to measure the incident light.
View Nr. 2: 1/500s f/5.6 (EV 14) focusing @ 1.4m
Parc de la Tête d'Or, August 31, 2024
69006 Lyon
France
The exposed roll was then given to a professional lab equipped for E6 reversal process.
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.
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From back of photo: "Bertha Eastlack Allen. Sister of Lydia E. GLeeson. Aunt of Emma DeHart. Samuel Piper, 270 So. 2nd St., Philadelphia."
189--I009
189--I011
Bertha Eastlack Allen, 1880-1964
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