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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
Slides my mom had which I have cheater-digitized; I shot the slides with my dslr while they were on the slide viewer. The year on this one might have been about 1970.
AND MY MOM OWNED A WAGON WHEEL COFFEE TABLE.
A new photowalk to the confluence Rhône-Saône on August 10, 2024, Lyon, France, with my FOCA Universel RC camera, a rare, ultimate, and last evolution 1962 of the French range-finder 35mm FOCA Universel camera's (1948-1963) .
For this tour, I equipped the FOCA with the Oplarex lens 1:1.9 f=5cm. The lens had a FOCA 42mm push-on yellow filter (x2.5) from view 1 to 30 where I dropped accidentally the filter with the additional shade hood. The aluminum filter mount distorted and could not be mounted to the lens anymore. It needed to be re-adjusted at home using a small pliers to straighten the filter mount to the right shape. I then finished the film with a FOCA DYMA filter (x3.5) I had in my photo bag.
In the afternoon the outdoor temperature reached 33°C with a very bright and clear sunny weather.
I used an Adox CHS II 100 36-exposure film (100 ISO). Expositions were determined taking into account the filters light absorption, using an Autometer III Minolta light meter fitted with a 10° finder privileging the shadow areas.
Les Ponts de Perrache sur la Saône, August 10, 2024
69002 Lyon
France
After full exposure, the film was revealed using Adox Adonal developper at dilution 1+50 at 20°C for 13 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 :
Only a bit more than 2000 FOCA URC were only produced in the O.P.L. (« Optique et precision de Levallois » S.A.) in Châteaudun, Eure, France, in 1962 and 1963 before stopping definitively the manufacturing of the curtain-shutter camera’s. The FOCA Universel RC is considered as the most beautiful and sophitisacted FOCA ever produced in France. A small series of FOCA Universel RC were delivered to the French Navy "Marine Nationale" and "Armée de l'Air".
The evolution of the FOCA Universel to the « RC » version included a complete new system of wide viewfinder at 1:1 ratio with collimation in orange color and coupled full parallax compensation. I got the camera on September 9, 2023 at the photo fair of the Photography Museum of Saint-Bonnet-de-Mure, France. It took about 3 months of reflexion and discussion with a retailer to take the decision. The camera was provided with the normal 5-lens OPLAR optics 1:2.8 f=5cm of the same period (model-6 version-10, 1961) with front cap and FOCA AUV 42mm push-on filter, the specific URC ever-ready leather bag in perfect condition, and the original edition of the user manual.
From back of photo: "Grandma Gleeson, Aunt Ted, Emma DeHart, Dolly, Uncle Howard Gleeson, Florence DeHart, Aunt Lydia Warrington, Aunt Blanche Gleeson."
193--I011
Lydia P. Eastlack Gleeson, 1872-1953
Florence (Ted) Budd Gleeson, 1901-1980
Emma Campbell Gleeson DeHart, 1904-1995
Ernestine (Dolly) DeHart Renaud, 1935-2024
Howard W. Gleeson, 1904-1967
Florence L. DeHart Burns, 1934-
Lydia Gleeson Warrington, 1899-1988
Blanche R. Haines Gleeson, 1904-1969
From back of photo: "Grandad Eastlack. Pauline and Patsy Gleeson. Great grandfather of Pauline and Patsy."
193--I009
John Eastlack, 1845-1935
Charlotte Irene "Patsy" Gleeson Parrish, 1929-2018
Pauline Gleeson Hall, 1925-2013
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.
Esplanade de 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.
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: "Dolly, 4 age. Florence, 5 age. DeHart. Jul. 22, 1939."
Florence L. DeHart Burns, 1934-
Ernestine (Dolly) DeHart Renaud, 1935-2024
From back of photo: "Corky. Jack Albers."
Maureen (Corky) Griep Burrill, 1943-2006
John (Jack) H. Albers, 1915-1987
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
From back of photo: "Son of Charles C. and Lydia Eastlack Gleeson. James H. Gleeson. Brother of Emma G. DeHart. Uncle of Florence D. Burns, Ernestine Ann (Dolly) Renaud."
193--I003
James H. Gleeson, 1912-1986
Digitized with Negative Lab Pro v2.1.2
Leica M6 | 21mm Color Skopar 3.5 Voiglander | 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
From back of photo: "Son of Charles C. and Lydia E. Gleeson. Husband of Mary Kathryn (Kitty) Pryor Gleeson. James H. Gleeson. August 26, 1947. Age 35. Taken just before he was married. Father of Linda Kay G. Abel, Barbara Ann Gleeson, James H. Gleeson, Jr. Brother of Emma G. DeHart. Uncle of Florence D. Burns, Ernestine Ann (Dolly) Renaud."
James H. Gleeson, 1912-1986
From back of photo: "Frances Platt - 15. Emma Gleeson DeHart. Age 16. Cousins. Sutton's Print."
1920-I001
Frances E. Platt DeHart, 1906-1930
Emma Campbell Gleeson DeHart, 1904-1995
From back of photo: "65 [years] old. Grandma Gleeson. July, 1938."
Lydia P. Eastlack Gleeson, 1872-1953
From back of photo: "Mother Gleeson, Emma Gleeson DeHart, Florence DeHart (2 months old)."
Lydia P. Eastlack Gleeson, 1872-1953
Emma Campbell Gleeson DeHart, 1904-1995
Florence L. DeHart Burns, 1934-
From back of photo: "Ted Gleeson (Florence), Mother Gleeson, Emma DeHart, Pauline Gleeson. 1948."
Florence (Ted) Budd Gleeson, 1901-1980
Lydia P. Eastlack Gleeson, 1872-1953
Emma Campbell Gleeson DeHart, 1904-1995
Pauline Gleeson Hall, 1925-2013
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.
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
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