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Congressman Steny Hoyer chats with Senator Chris Van Hollen (D-MD), while the Archivist of the United States Dr. Colleen Shogan, and Congressman Glenn Ivey (D-MD) gather at the opening of the new Digitization Lab at the National Archives at College Park, MD on April 12, 2024. National Archives photo by Susana Raabof the new Digitization Lab at the National Archives at College Park, MD on April 12, 2024. National Archives photo by Susana Raab
Digitized with Negative Lab Pro v2.1.2
Leica M6 | Leica 35mm f/2.0 SUMMICRON-M Aspherical | Ilford HP5 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.
Calibrating the touch screen. Take your time with this step since the better calibrated the watch is, the easier it is to use
LCD Touch Digitizer Screen Assembly for iPhone 5C.
-- Services and products provided by Flash Tech LLC
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 v2.1.2
Leica M6 | Leica 35mm f/2.0 SUMMICRON-M Aspherical | Kentmere 400
Digitized with Canon 60D.Canon100mm f1.2 + Negative Lab Pro v2.1.2 | Negative Supply Co. | Negative Supply Co.
There is a mandatory principle in film photography that not to use any exhausted chemical. As all mandatory, one time one could go for anyway and fails! I bought this Adox Scala Reversal processing kit past year (2023) but with the known fact that it was already expired since late 2021.
For reversal a black-and-white negative to a positive view, one should process to a first development before bleaching the black metal silver (Ag°) using a proper oxidant to dissolve it under the form of Ag+ ions. Once done, the film should be clarified to remove a yellow-orange staining using sodium or potassium metabisufite. After this step the film is re-exposed to light and developed again to get the positive views.
Adox choose to sell the kit including the developper that turned to be still active, solid powder a metabisulfite salt (that was still well dry in a sealed pouch) and the oxidative solution of permanganate (KMnO4) already in dilute sulfuric acid aqueous solution. This solution is quite active and should better prepared and used extemporally by mixing a water solution of permanganate and diluted sulfuric acid. The solution degrades in Mn2+ (air oxidation) and further to manganese oxide (MnO2) that is insoluble and form a brownish deposit on the flask walls. The kit was supposed to be used within 48 weeks after is preparation date.
Not fully aware of those facts, I anyway tried a first SCALA 50 film following the box instructions. I used my Leica M3 ans its normal lens Leitz Wetzlar Sumicron 1:2 f=5cm to expose te 36 views during a enjoyable photowalk on Saturday August 3, 2024, Lyon, France.
As a results the view looks like a sort of Daguerreotypes because the first silver metal revealed was not totally bleached. The sides of the film was better because the oxidant likely diffuse better in the gel by the edges. Of course disappointed, I tested afterward the time necessary the remove the rest. I then decided to longer the bleaching time from the regular 4min to 7min. I did my second SCALA 500 film the day after in similar conditions but still the bleaching was not complete!
The conclusion is not to use any Adox Scala processing kit expired. These sorts of reversal kit are not cheap. I would occasionally try again the reversal processing, if I could prepare the bleaching solution from separated pure chemicals.
August 3-4, 2024
69004 Lyon
France
The failed films were digitized for archival 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: "1941. Pauline (Gleeson) Hall, Irene W. Gleeson, Florence L. (DeHart) Burns, James H. Gleeson, Sr. Charles C. Gleeson, Jr., "Patsy" Charlotte (Gleeson) Jackson-Spears, Emma (Gleeson) DeHart. Lydia P. (Eastlack) Gleeson, Lydia [?] (Gleeson) Warrington, James Charles Gleeson (ground). Home of Ernest & Emma (Gleeson) DeHart. Corner of Woodland Ave. and Church St. Thorofare, New Jersey."
Pauline Gleeson Hall, 1925-2013
Irene Wimberly Gleeson, 1895-1980
Florence L. DeHart Burns, 1934-
James H. Gleeson, 1912-1986
Charles C. Gleeson, Jr., 1897-1950
Charlotte Irene (Patsy) Gleeson Parrish, 1929-2018
Emma Campbell Gleeson DeHart, 1904-1995
Lydia P. Eastlack Gleeson, 1872-1953
Lydia Gleeson Warrington, 1899-1988
James C. Gleeson, 1939-2012
The Parc de la Tête d'or (English: "Park of the Golden Head") is a large urban park in Lyon, France. The park was opened in 1857, although at the time all the work was not yet completed. With an area of approximately 117 hectares (290 acres). Located in the northern part of the 6th arrondissement, it features the Jardin botanique de Lyon, as well as a lake on which boating takes place during the summer months. Due to the relatively small number of other parks in Lyon, it receives a huge number of visitors over summer; it is a frequent destination for joggers and cyclists.
In the park's central part, there is a small zoo without charge, which includes giraffes, deer, reptiles, primates, along with other animals. The park hosts the Botanical Garden of Lyon. There are also sports equipments, such as a velodrome, boules court, mini-golf and equestrian facility, in addition to a mini-train. (Wikipedia)
For photography, the park is an all-season infinite source of inspiration, and one of my favorite place at walking distance from home.
I went there on September 4, 2024, while the weather was quite cloudy and a bit darkened, to test my second film magazine "A-12" (Automatic 12-exposures) for my Hasselblad 500 C/M camera. Thought this A-12 back is in a pristine condition, test in real is necessary to proof the mechanical functions and the light protection of the magazine. The camera was as-is without other external light protection.
I selected a roll of Ilford HP5+ 120-format film due to the light conditions. The Carl Zeiss normal lens Planar CF 1:2.8 f=80mm was equipped of a HMC Hoya AUV 67mm screw-on filter 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 normally for the nominal 400 ISO using a Minolta Autometer III and its 10° viewer for selective measurement privileging the shadow area's.
View Nr. 12: 1/500s f/5.6 focusing @ 30 m
Vélodrome Tête d'Or, September 4, 2024
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 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 11min 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.
Results show a normal operation and the film magazine and a no detectable light leaks.
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.
86494588 :Piction ID--Tomahawk missile section closeup---Please tag these photos so information can be recorded.---- Digitization of this image made possible by a grant from NEH: NEH and the San Diego Air and Space Museum
88786692 :Piction ID--Consolidated C-87 escape panel---Please tag these photos so information can be recorded.---- Digitization of this image made possible by a grant from NEH: NEH and the San Diego Air and Space Museum
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.
« Caborne » is the vernacular word used in the Lyon city region, France, to name ancient dry-stones huts that could found in the neighboring massif of the Monts d’Or. Dry-stones huts developed in France a lot at the 18th-19th centuries and are no as old as we could first think. This flourishing age is due to the encouragement of the French Kingdom to clear some forestal domains and later to the development of small vineyard and access to the private property for little farming. Those « cabornes » were constructed following empirical rules and know-how of « caborniers », masons and quarrymen. Quarries of limestone in the Monts d’Or are still visible and gave the materials of most of the buildings erected in Lyon in the past.
Today the « cabornes » attract visitors with their ingenuity and rustic charm, often integrated into hiking trails. They evoke a sense of nostalgia and connection to nature, reinforcing regional and cultural identity. Associations of volunteers are organizing initiatives to inventory, restore and rediscovered the ancestral technics of dry-stone construction. Dry-stone huts are also found in Portugal, Spain, Italy, Ireland, Scotland and Finland as temporary shelter for shepherds and their animals, permanent habitations for monks or agricultural workers, storage and cheese making, etc.
For additional explorations of these « cabornes », I decided to visit different trails starting from Giverdy in Saint-Didier-au-Monts-d’Or on September 1st, 2 and 6, 2025. On Sept. 1st, 2025 my walk was limited to the village of Saint-Fortunat, a small district of Saint-Didier-au-Mont-d’Or, due to heavy rains and stormy weather while the weather forecast predicted only « light rains ». The weather was very fair on Sept. 2 and 6.
I was equipped of my heavy Nikon F4 year 1989 (see below for details about the camera and the lens) fitted with an AF-Nikkor 2/35mm lens and loaded with a black-and-white Adox HR-50 36-exposure film. The film is called « super panchromatic » with an extended spectral sensitivity in the red to the near-IR band. It is said that, recently, HR-50 film was released under the Leica brand (Leica Monopan 50). Processing of these 50 ISO film with extra-fine grain developper, like Adox Atomal 49, gives interesting rendering, with of very smooth and rich tone range and a very high resolution. Both Scala 50 and HR-50 are coated on clear thin (0.1 mm) polyester teraphtalate (PET) basis with black and blue dies layers that dissolve in water for anti-halo properties.
The AF-Nikkor lens 1:2 f=35mm was equipped as indicated below with an Hoya HMC UV 52mm screw-on protective filter or a generic 52mm Yellow filter. A rectangular Minolta shade hood D54KC designed for the MC-Rokkor 1:2.8 f=35mm lens was used for the whole session. The light metering was done using the Nikon F4 through the lens (TTL) systems either in the matrix or the spot metering used in the "A" aperture-priority auto mode or the manual mode.
Documentary smartphone picture
Sous l'orage à Giverdy, September 1st, 2025
69370 Saint-Didier-au-Mont-d'Or
France
After completion at view Nr. 38, the film was rewound manually and processed using 400 mL of stock solution of Adox Atomal 49 developer for 8min30 at 20°C plus 1min to compensate the developper exhaustion after the fifth film processed.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The diffuse 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 14.5 of August 2025) 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 documentary smartphone color pictures taken during my walks.
About the camera and the lens:
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 grabbed 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 lens:
The AF-Nikkor 1:2 f=35mm lens is part of the kit around my Nikon F4 year 1989. The kit 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 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 looked on eBay there was not tens of them available in EU. 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€ .
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
On December 1st , then on December 5, 2025, I did my first photo session remote from home after my stay to hospital November 15-24. I felt confident with my physical condition and I really enjoyed these two small excursion with my circa-1959 French TLR Semflex OTO 3.5B (see below for details about the camera). Loaded with aRollei RPX 400 black-and-white film.
On December 1st, I went in the afternoon from Lyon, France, to Poleymieux in the Mont-d’Or massif where I did only 4 photos at the church and one « caborne » that not far away. The weather was fresh (5°C) and sunny. On December 5, I went to the Gallo-Roman museum in Fourvières using the public transportations. I did the rest of the roll indoor before going down the hill, in a cold rain and dark end of the afternoon. I passed by « Les Ateliers de Marinette », Saint-Georges street. They have the largest choice and the best price for films and photography chemicals. I had then a nice hot chocolate there before returning home to process my film.
Outdor, I used on the SOM Berthiot FLOR 3.5/75mm taking lens, a push-on Semflex hood and the Semflex yellow x2 filter. I protected also the viewing lens with a 42mm FOCA push-on AUV filter. Indoor, I used no filter for the taking lens. Light metering was done outdoor with my Minolta Autometer III (1983) and its 10° selective viewer privileging the shadow areas. The yellow filter absorption was compensated by metering for 250 ISO instead 400. Indoor, I metered mostly incident light with integrating opale dome.
View Nr. 5: 1/10s f/3.5 focusing at 1 m
Dyonisian sarcophagus*** (detail), December 5, 2025
Musée Gallo-Romain Lugdunum
69005 Lyon
France
_______________________
*** Dating to the 3rd century AD, this sarcophagus, imported from Rome, comes from the mausoleum of the Acceptii. The central scene, now very fragmentary, depicts the triumph of Bacchus (god of wine). The left side of the sarcophagus portrays the marriage of Ariadne and Bacchus, while Silenus figures on the right side. This satyr (half-man, half-goat) who was responsible for educating Bacchus, is shown drunk on his donkey, accompanied by his retinue. At the corners of the sarcophagus, two lions and two gorgons (evil creatures with snakes for hair) guard the tomb.
Fragments of Paros marble, 3rd century AD, discovered in 1870 in the rue de Marseille (Lyon 7th arrondissement).
_________________________________
After completion, the film was processed in a Paterson developing tank with a spiral adapted to the 120-format film. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+25and the film processed for 9 min 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 film.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 15.0.1 of November 2025) and edited them 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:
This beautiful French Semflex TLR OTO 3.5 B year 1959 is equipped with a French SOM Berthiot Flor 1:3.5 f=75mm (4 elements of the Tessar type). I got the camera from a neighboring collector in Lyon, France, who is progressively reducing a very large camera collection. He provided already to me my nice FOCAsport II two years ago.
The SEM company ("Société des Etablissements Modernes de Mécanique") was founded in France by Paul Royet in 1946, in the small city of Aurec near Saint-Etienne (Loire) and about 65 km away from Lyon. The SEM camera's were known especially for the TLR’s Semflex that were a great commercial success in France until the 70's (last production 1976). The camera's are constructed around an injected aluminum alloy chassis, very resistant and rigid permitting precise optical alignments. The focusing mechanism is made of a cam system like the Rolleiflex giving an accurate and smooth focusing. SEM constructed their own shutters called « Orec » with 5 leaves capable of the 1/400s to 1s with B.
Semflex received in majority French optics Berthiot with 3 or 4 lenses (Cooke triplet and Tessar type, respectively). Some camera's were also mounted with Pierre Angénieux X1 lenses.
Semflex were trusted TLR camera's used by amateurs and for professional purposes. From 1949 to 1976, 171.000 Semflex were produced in many different types and versions. This OTO 3;5 B, type-30, (1955-199) is the top of the TLR line year 1959. I got the camera with the original SEMFLEX box and the user manual. The accessories include the specific SEM ever-ready leather bag in very good condition, the quite rare quite rare bipolar to PC port flash relay Semflex and a short (10 cm) shutter release cable.
The OTO 3.5 B is covered with a black leather and the metallic parts covered with black enamel. This model has a specific bayonet mount fro lenses accessories but still accepts the push-on normal SEM filter and shade hood.
Strangely, the SEMFLEX’s has no lens caps in a the available list of accessories. I adjusted two black caps of 35mm film canister to protect the two lenses.
The shutter (OREC 1s-1/400s + B) was functional including the slow speeds but has a propension sometimes to open slowly (closure is normal) due likely to a sticky lubricant somewhere. I gave the camera to the same local expert who already maintained my other Semflex 3.5 Standard. The complete cleaning and lubricating was done and the shutter returned in its original specs.
The OTO (or OTOMATIC) series has a coupled film advance to the shutter cocking. The film advance is of the « double-stroke » type (like early Leica M3) with automatic frame counter. I tested successfully the flash synchronization with the GODOX Lux Master electronic flash and its synchro cable connected to the SEM bipolar relay.
Reference : SEM et les SEMFLEX, Patrice-Hervé Pont, FOTOSAGA, 1995.
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.
Atlanta Scavenger Hunt 9 - Topic 6 - My unfinished Project
With the arrival of my Canon 30D I've started digitizing my stamp collection. I've got over 500 photos already and thousands to go.
Go to Page with image in the Internet Archive
Title: Text-book of the principles and practice of nursing
Creator: Harmer, Bertha, author
Publisher:
Sponsor: Open Knowledge Commons, U.S. National Library of Medicine
Contributor: U.S. National Library of Medicine
Date: 1922
Language: eng
Description: Includes index
digitized
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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