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In France,at century 19, the French military strategy included the heavy defense of main cities like Lyon. Lyon was defended by 17 different forts located in two concentric defense lines. This time, on January 28, 2025, I went especially to Dardilly, about 15 km away, north to Lyon to see the Fort du Paillet. However the weather soon degraded and my photo session was shorter than expected. The film was completed the day after in Lyon and along the Saône river going to La Mulatière by bicycle with a more pleasant sunny weather.
I used my Zorki version-1 type-D camera (year 1955, see the details given below)) equipped its Industar-22 1:3.5 f=5cm standard lens. With sunny weather on January 29, 2025, I exchanged the anti-UV 36mm push-on filter by a Yellow x2.5 FOCA filter. For the whole views the lens was also protected of parasite lights with a generic cylindrical stainless steel hood (36mm push-on too).
I had the bad idea to pick up in my fridge a Svema (Свема) FOTO 200 film probably of the same batch as the one done in 2022 (flic.kr/s/aHBqjAsaLd). This batch was badly damaged on the second half of the film and this cartridge too. Here, I succeeded to salvage 20 frames to be presented, the rest is so affected by the degradation of the emulsion (see the contact sheet provided). What is more the cartridge was so hard to unroll that I had to move the spool in a similar reusable 135-format cartridge... Still, I noticed during the photo session that the advance was irregular.
Svema FOTO 200 is a super-panchromatic film coated on a very thin polyester flat base that looks very closed to the aerial film Agfa Aviphot 200. The film an extended sensitization in the red to the near IR at 780 nm, The film was exposed for 160 ISO using a Minolta Autometer III and its 10° finder for selective measurements privileging the shadows zones of the scenes.
Typically, with poor light conditions and AUV filter, exposures were at 1/60s f/4.5. With sunshine, and the yellow filter I exposed for 80 ISO giving 1/100s and f/8 or f/11
Place Colbert, January 29, 2025
69001 Lyon
France
After exposures the film was processed using Adox Adonal (equivalent to Agfa Rodinal) developer at dilution 1+50, 20°C for 14min according to data found on www.digitaltruth.com).
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 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.
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About the camera and the lens:
This camera is a practically mint sample of Zorki 1 arrived to me in Lyon, France, January 10, 2023.
The camera looked exiting from the KMZ factory in USSR almost 70 years later spent in a time capsule ... with almost no traces of use. According to a custom receipt of July 28, 1955, signed in Vienna, Austria, the camera body and lens are the original matched ones. As for the original FED, FED-Zorki and Zorki's ("ФÐД", "ФÐД-Зоркий", „Зоркий“), the Zorki 1 was a straight legal copy of the Oskar Barnack Leica II after the cancelation of German camera patents following the end of WWII.
This Zorki 1 is a type D model PM1115 (year 1955 according sovietcams.com/index7584.html). Type D Zorki's were produced from 1953 to 1955 in about 250.000 units with serial numbers ranging from #470.000 to (in 1955) #55 45.000. The original lens of this Zorki units is an collapsible lens Industar-22 1:3.5 f=5cm.
In the rear pocket of the ever-ready leather bag was still deposited the Austrian custom receipt from 1955 and a film label of Agfa negative-color CN17 likely from the 60's.
I recognize Nan Sanservino at front right. Sitting beside her is Mrs. MacGregor. Marion Grandstrom is second from the left at the next table back.
From back of photo: "Lydia Gleeson Warrington, Theodore Warrington. Taken in Woodbury, Mother's backyard."
Lydia Gleeson Warrington, 1899-1988
Theodore (Ted) B. Warrington, 1898-1990
This image is a colour composite of the Eagle Nebula (M 16) made from exposures from the Digitized Sky Survey 2 (DSS2). The field of view is approximatelly 3.8 x 3.3 degrees.
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 v2.1.2
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: "Age 27. Charles Gleeson. Husband of Lydia Eastlack Gleeson. Wedding picture. Father of Charles, Lydia, Florence (Ted), Howard, Emma, James. For Dolly. Your grandfather Gleeson. Haberle, 210 N. Eighth St., Philadelphia."
189--I002
Charles C. Gleeson, Sr. 1869-1931
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From back of photo: "Onondaga Lake. Liverpool, New York. 1941. Ernestine (Dolly) DeHart (Renaud), Florence Lydia DeHart (Burns), Blanche (Haines) Gleeson, Emma (Gleeson) DeHart, James Charles Gleeson, Mother (Lydia P. Gleeson)."
Ernestine (Dolly) DeHart Renaud, 1935-2024
Florence L. DeHart Burns, 1934-
Blanche R. Haines Gleeson, 1904-1969
Emma Campbell Gleeson DeHart, 1904-1995
James C. Gleeson, 1939-2012
Lydia P. Eastlack Gleeson, 1872-1953
From back of photo: "Aunt Bertha Allen, sister of Lydia Eastlack Gleeson."
Bertha Eastlack Allen, 1880-1964
From back of photo: "1945. Emma G. DeHart. [W]ife of Ernest R. DeHart. Mother of Florence & Dolly."
Emma Campbell Gleeson DeHart, 1904-1995
Test film of my FOCAsport Model-1 year 1955, a 35mm French camera produced by O.P.L. (Optique et Précision de Levallois) is its factory of Châteaudun, France.
The FOCAsport camera was loaded according the user manual with a FOMAPAN 200 36-exposure film exposed for 160 ISO when used with a FOCA AUV filter (coefficient. x1, no correction) or 80 ISO to compensate (when used) the absorption of a FOCA Yellow filter x2,5, fitted to the lens with a FOCA metal shade hood.
I used a Minolta Autometer III with a 10° finder for selective light measurements privileging the shadow areas.
Yellow filter x2.5
"La Vogue des Marrons" * Boulevard de la Croix Rousse, November 9, 2023
69004 Lyon
France
After complete exposure, the film was processed using Tetenal Ultrafin Liquid developper at dilution 1+20 and 20°C for 7min30. 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 plus some documentary smartphone color pictures.
About the camera :
Due to a large promotion in Europe of the Kodachrome film by Kodak (Kodak-Pathé in France) a large market was opened to quality but more affordable camera's than the top-of-the-line FOCA camera's with their curtain Leica-type shutter. In 1955 O.P.L. released the first FOCAsport with a build quality equivalent to the FOCA but with a more affordable 3-element fixed lens NEOPLAR 1:3.5 f=4,5cm with zone focusing, a central leaf shutter ATOS II (ATOS was a French company) with 2 leaves limiting a bit the shortest exposition time to 1/300s up to the second plus the B pose. Focusing is obtained by moving the front lens only.
The FOCAsport, ancestor of compact 35mm camera's, were very popular. A bit more than 300.000 FOCAsport's were produced until 1965 in 12 different versions. They were also sold tax-free in many military stores for soldiers of the French Army, in France, occupied Germany and oversea's.
The camera was found from a French eBay dealer for less than 30€ including the delivery, the plain leather ever-ready FOCA bag is in a pristine condition and full operating camera functions.
*About "La Vogue des Marrons":
La Vogue des Marrons is a traditional Lyon funfair and a major event in Croix-Rousse district, from October to mid-November. Installed every year for about a month, it is the latest fashion of the year, and extends over a good part of the Boulevard de la Croix-Rousse, the entire Place de la Croix-Rousse and Place des Tapis, and blocks the exit from the rue Terme tunnel. This is a perfect occasion to taste the first grilled chestnuts of the year there.
Born more than 150 years ago, it has become a Lyon tradition alongside the food market, traboules or authentic bistros.
Finally getting the hang of photographing 3D objects from the archive.
In this photo I was photographing a prisoner of war tag from the Second World War. It is made from thin wood, then number penciled on the other side; the tag is strung with two different sizes of twine.
From back of photo: "Emma G. DeHart's Grammie Eastlack. Mother of Lydia Eastlack Gleeson."
1919-I002
Mathilda Budd Eastlack, 1850-1928
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 v2.1.2 | Lomography
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
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 Saint-Pothin, 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.
Photos of the digitization team working on photographing and indexing art. Pictures taken June and July 2015.
From back of photo: "1941. Onondaga Lake, Liverpool, N.Y. Emma (Gleeson) DeHart (seated). Lydia P. (Eastlack) Gleeson."
Emma Campbell Gleeson DeHart, 1904-1995
Lydia P. Eastlack Gleeson, 1872-1953
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
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