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From back of photo: "Aunt Elsie Eastlack. Uncle Joe Eastlack (brother of Lydia E. Gleeson). Esther Chambers.
Elsie L. Heritage Eastlack, 1881-1969
Josiah B. Eastlack, 1878-1969
Esther Hearing Chambers, 1908-1987
I got to play again today. My pomegranate was so good I think i will buy another and another and another..
Copyright Tom Stanley Janca
IMG_5172e8
As part of my little explorations of the villages of the Mont d’Or massif and the Saône river valley North to Lyon city, France, I had the idea the visit Genay on December 9, 2025, by a very clear and mild afternoon (16°C) with a strong South wind.
I brought along with me my lovely Rolleiflex 3.5F (1960-1964, see below for details) loaded with a Rollei RPX400 black-and-white film. The camera was equipped with a Rollei Orange 1.5—3 filter together with the original Rollei RII shade hood on the taking lens. The film was exposed for 100 ISO to compensate the orange filter absorption. Light metering was done using an external Minolta Autometer III equipped with a 10° finder for selective metering privileging the shadow areas or its opale dome for incident light integration.
View n°11 1/125s f/5.6 focusing @ 6m, Rollei RII Orange filter and Rollei RII shade hood.
Le Château de Rancé, December 9, 2025
Rue du Château
69730 Genay
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 120-format film with 500 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+25 . The film was processed for 12 min at 20°C with regular 10s agitation every minute.
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 120-format film.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic 15 (15.0.1, Nov. 2025) and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's possibly together with some documentary smartphone color pictures.
About the camera:
I got this stunning Rolleiflex 3.5F from a French artist near Paris, France. The camera came in it original box and leather bag with accessories and a reference book year 1955. The whole kit is in a remarkable state of conservation.
The Rolleiflex 3.5F is the model-3 that Rollei-Werke Franke & Heidecke produced in about 50.000 units in Germany from 1960 to 1965. The Rolleiflex originates from 1928 for the very first model and was produced still in a limited number until the years 2000’s. The 3.5F model 3 was available etheir with a Schneider-Kreuznak Xenotar taking lens or the Call Zeiss Planar 1:3.5 f=75mm as this camera. The Rolleiflex, that was a quality reference for many professional photographers in the 50’s for the medium-format 6X6 camera’s. Many worked both with the Leica M3 (starting from 1954) as small-format 24x36mm camera and the Rolleiflex for other appliances. The Rolleiflex remained one of the most iconic and trusted camera of all the times.
This specific 3.5F is labelled on the right side with nice badge made of enameled brass « T » « Telos » that was the exclusive first French importer of Rollei to France until 1972.
The Rolleiflex 3,5 F model 3 is equipped with the Synchro-Compur central shutter MXV CR00 with cone-wheel differential. The distance scale is only in meters here with automatic DOF indication. Serial number with ‘3,5F’ prefix on of top name shield.
I detailed the camera and accessories and studied carefully the user manual and the book to before familiar this beauty before waiting for a quiet moment to prepare for a test film. I did not trust the old leather original neck strap to carry this precious machine on the field to avoid the real risk to drop the camera. I ordered a new one from a manufacturer in China for a safe operation of the field.
From back of photo: "She got this play suit for Christmas too, also doll. Dec. 1960. Arizona."
Camille Burns Boisvert, 1959-
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From back of photo: "Trees growing out of pavement Natural Bridge. Dolly & Jimmie G."
Ernestine (Dolly) DeHart Renaud, 1935-2024
James C. Gleeson, 1939-2012
A turntable, 2 lasers, and in 3 minutes you can turn any object into a print-ready CAD file. In other words, it's a 3D scanner, which coupled with a MakerBot, gives you a 3D copier.
From back of photo: "Florence Budd Gleeson. Taken when she went to Australia. 1971. Age 71."
Florence (Ted) Budd Gleeson, 1901-1980
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.
November 25, 2024
69001 Lyon
France
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.
2021-12-03: Image of a delegate speaking during a conference on DIgitization and revenue mobilization - AEC 2021.
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