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I bought this Minolta SRT-100b brand-new in 1975 as a kit including the camera body, a standard lens MC Rokkor PF 1:2 f=50mm and an ever-ready Minolta bag. I was 17 and it has been a big deal to collect the money to buy it with my first student summer jobs in the two years before. I hesitated a long time to buy instead a Russian Zenit was then less expensive, but I finally found this promotional starter kit from a local retailler in Blois, France (my native city) in my price range.
The Minolta SRT-100b (1975-1980) was an economical entry-level version of the famous SRT-101 Minolta SLR (also in my personal collection since 2014). Compared to the ST-101, Minolta removed the delayed shutter firing mechanism, the mirror lock-up system, and the shutter speed display in the viewer. It has still the first multi-zone (2!) exposition "CLC" CdS build-in lightmeter. The on/off circuit has always been a bit difficult to use due to an hesitating contact somewhere.
I used my SLR-100b for about 10 years before having my second Minolta SLR camera X-500 in 1985. I kept however my SRT-100b as back-up but not really used it intensively afterward. The camera was stored carefully in an aluminum case with most of the rest of my equipment.
After visual check of the camera, I fitted its original standard lens MC Rokkor PF 1:2 f=50mm that is still in perfect condition, for a photowalk. The SRT-100b was loaded with an Ilford HP5+ exposed for its nominal 400 ISO sensitivity. The weather very windy but with mild temperature (17°C) and some scarce sun apparitions during the afternoon. The MC Rokkor PF lens 1:2 f=50mm was fitted with a protective Cokin anti-UV 55mm filter plus a generic cylindric metal shade hood. I used my external Minolta Autometer III to determine exposures with its 10° viewer for selective metering.
Place Bellecour, statue equestre de Louis XIV,*** November 25, 2024
69002 Lyon
France
***The Monument to Louis XIV is a bronze equestrian statue of the King Louis XIV made by the sculptor François-Frédéric Lemot located on Place Bellecour in Lyon, France, dating from 1825. It has been listed as a historic monument since March 25, 2016.
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After completion, the film was processed using 300 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 6min 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) 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.
From back of photo: "Janet R. Jean (Beryl's sister)."
Janet G. Griep Renaud Lee, 1909-1986
Jean L. Albers Whitmire, 1929-2023
Nikon FM2, 50mm 1:1.4, ADOX CHS 100, processed on a JOBO ATL 800, digitized on a Epson F-3200, © Rui Delgado Alves, 2013
From back of photo: "Fort Liverpool, New York. Mother (Lydia P. Gleeson) and granddaughter Florence Lydia DeHart (Burns). 1941."
Florence L. DeHart Burns, 1934-
Lydia P. Eastlack Gleeson, 1872-1953
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From back of photo: "November 29, 1938. Jackie. Age 3 yr., 3 months. Florence. Age 4 yr., 4 months."
Ernestine (Dolly) DeHart Renaud, 1935-2024
Florence L. DeHart Burns, 1934-
From back of photo: "Mother's Day, 1948. Woodbury. Dolly, Florence, Emma."
Florence L. DeHart Burns, 1934-
Emma Campbell Gleeson DeHart, 1904-1995
Ernestine (Dolly) DeHart Renaud, 1935-2024
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
This a second film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test the DX ISO coding, the spot metering, and the motorized film rewind. During the first test film I used mostly my external lightmeter Minolta Autometer III to check that the metering of the camera was consistent with. Here, I decided I leave the Autometer at home and to use only the Nikon F4 metering.
The Nikon F4 was loaded with a Rollei RPX100 which is the former Agfa APX100 well-known for the particular large tone range. From view 1 to 24, the AF Nikkor lens 1:1.4 f=50mm was fitted with a Yellow screw-on 52mm filter and from view 25 to the end with a Hoya HMC anti-UV protection filter. A generic cylindric metal shade hood was used all the time.
The film sensitivity was set by the camera automatically from the DX code of the Rollei RPX100 35mm cartridge. The first test film was a Fomapan 200 which is not DX coded. The Nikon F4 allows a manual ISO setting. In the DX mode, if no cartridge is present or if a not DX-coded cartridge is inserted, a red LED is blinking and not action of the shutter is possible.
The spot metering in the Nikon F4 if located behind the mirror in the reflex chamber and combined with the CCD focus sensor. The the matrix and center averaged mode is operated by different photo-diodes in the removable DP-20 photometric viewer. I mostly used the spot metering mode in my usual way, privileging the shadows. I saw that the matrix mode gave very closed results. The measure were usually manually reported to the camera in the "M" mode except for one view (Nr. 3) where I left the Nikon choosing the shutter speed (approx. 1/3000s) according to the aperture (full aperture in this case f/1.4).
As for my medium-format session, I took a bit of time to note on a session ticket the main parameter (shutter speed, aperture, focusing distance). The weather was still very mild and sunny during all the session in the afternoon.
View Nr 33: 1/125s f/4 focus at infinite
Hoya HMC AUV 1A filter (x2)
Place Neuve Saint-Jean, November 8, 2024
69005 Lyon
France
After completion, the film was rewound using the rewinding motor (lever R1 then lever R2). During the film rewind (manual or auto) the view counter decrements and I switched-off the R2 lever just arrived at zero. I terminated the process manual to keep the film leader outside the cartridge.
I then processed the film 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 version 14 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.
The results show that the Nikon F4 spot metering is perfectly calibrated and consistent with my traditional way to determine the exposition. The DX coding. is operating correctly but no confirming indication of the ISO value is displayed on the camera (excepted the blinking red LED if the DX code is not correctly detected). As for all SLR's of this generation, a small window on the left-side of the camera back allows the reading of the film characteristics. All the light-tight foams are in perfect order for a camera of this age (35-year old).
Overall this second session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera. It's areal joy to use.
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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.
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Timely, with students doing e-Portfolios.
Cost Savings potential.
Low-hanging fruit.
Wouldn't require the library scanning the document since they're already in an electronic form.
Green initiative.
I'll be doing a half-day digitization workshop at Computers in Libraries on April 6, from 1:30 - 4:30 p.m. The workshop will cover four specific areas:
* Scope
* Selection
* “Scanning” (Conversion)
* Sustainability
For more information, go to www.infotoday.com/cil2008/
From back of photo: "Dolly, 1 year. Florence, 3 years."
Florence L. DeHart Burns, 1934-
Ernestine (Dolly) DeHart Renaud, 1935-2024
From back of photo: "Our last Christmas with Mother, 1952. Front row: Dolly, Mother, Florence. Second row: Norman Heritage, Emma, Florence G. (Ted), Linda, Jim, Barbara. Back row: Ernest, Kitty, Lydia, Ted W."
Ernestine (Dolly) DeHart Renaud, 1935-2024
Lydia P. Eastlack Gleeson, 1872-1953
Florence L. DeHart Burns, 1934-
Norman R. Heritage, 1930-1992
Emma Campbell Gleeson DeHart, 1904-1995
Florence (Ted) Budd Gleeson, 1901-1980
Linda K. Gleeson Abel, 1948-
James H. Gleeson, 1912-1986
Barbara Gleeson, 1951-
Ernest R. DeHart, 1903-1991
Mary Kathryn (Kitty) Pryor Gleeson, 1927-2015
Lydia Gleeson Warrington, 1899-1988
Theodore (Ted) B. Warrington, 1898-1990
From back of photo: "Dolly, Florence. 1937."
Florence L. DeHart Burns, 1934-
Ernestine (Dolly) DeHart Renaud, 1935-2024
From back of photo: "Emma, Ted, Mother, Lydia. 1948."
Emma Campbell Gleeson DeHart, 1904-1995
Florence (Ted) Budd Gleeson, 1901-1980
Lydia P. Eastlack Gleeson, 1872-1953
Lydia Gleeson Warrington, 1899-1988
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
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Check out embroidery digitizing samples of the work done by our experienced embroidery digitizers for customers worldwide.
ADB Vice President Bambang Susantono on 11 October 2019 in Manila delivered the keynote speech at the 2019 Financial Executives of the Philippines (FINEX) Conference. In his address he stressed the need to balance risks and opportunities and highlighted how digitization and innovation can deliver benefits across multiple sectors, and how ADB is encouraging digital technology projects for developing Asia.