View allAll Photos Tagged digitizing
Your work document contains sensitive information and needs to be stored securely. If you are looking for the best electronic document storage then get the Origami Imaging Solutions DMS today.
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
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.
August 10, 2024
69004 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.
Highly skilled #embroiderydigitizers give shape to any of your designs Tajima Embroidery Machine - Tajima Group Madeira USA bit.ly/19CjKmx
My first color film with my Wirgin Edixa-Mat Reflex Mod D-L year 1965, June 11-12, 2014, Lyon, France.
The film was a Silberra Color 50 given for free by "Ateliers de Marinette", my main analog film provider. After processing, the four first frames and the last 7 ones were found not useable due to uncontrolled light exposure/leaks likely during the film preparation or its loading in the 135 cartridge.
The Edixa-Xenar lens equipped with a coated Hoya HMC Skylight (1B) screw-on 49mm protective filter plus a generic cylindrical metal shade hood. Expositions were determined for 50 ISO using an Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas.
The weather was cloudy June 11 and sunny on June 12. I used exposition times of 1/1000s to 1/30s were used from the full aperture aperture to f/9.
June 11, 2024
69004 Lyon
France
After exposure, the film was processed using the Kodak C-41 protocol by a local lab service leading a very dense negative views with high contrasts on a brownish base mask.
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. For this series, I used the CineStill light source CS-lite a 9200 K temperature color. 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 Vivo Y76 color pictures.
About the camera and the lens :
The German Edixa SLR’s are captivating camera’s constructed by Wirgin Kamerawerke, Wiesbaden, from 1954 to 1968 in various versions. Edixa Reflex was designed by Heinz Waaske (1924 – 1995) a German camera designer who also invented other famous camera’s as the Edixa 16 and the Rollei 35.
My Edixa-Mat Reflex Mod D-L is a late model 1965. The model D-L was the top of the line of Edixa-mat equipped with different advanced functions that look like some of my Ihagee Exakta Varex, in particular a special horology mechanism giving self-shutter release tunable from 9 to 2s that could be converted also for long-exposures. Similarly to the Exakta Varex,the shutter has two exposition time registers from 1/30 to 1/1000s for the regular times and a switchable second register giving 1/8 to 1s. The Wirgin Edixa-mat Reflex has as well an interchangeable finders with a waist-level finder with loup and the prism finder. This Edixa series has the automatic mirror flip-back after release. It of course fully mechanical without built-in light metering system.
The camera body has the common M42 lens screw mount and operates the M42 lenses with automatic preselection diaphragm (or manual lenses too). I got the camera with likely its original normal lens conceived for the Edixa by Schneider-Kreuznach in Götingen, Germany, called Edixa-Xenar 1:2.8 f=50mm. The Xenar lens series are derived from the Zeiss Tessar formula with 4 lenses in 3 groups. Its serial number indicates that the lens was manufactured after September 1964 or current year 1965. The lens has a special depth-of-field visual indicator under a transparent ring varying according the aperture value.
I also got both the waist-level finder and the prism finder as well, two shutter-release adaptors for the use of standard cable release, and two accessories or flash shoes adaptation to the prism finder. The lot also included a Ihagee set of extension rings for Exakta's that joined my Varex IIa set.
Specimen digitization project at the National Herbarium, National Biodiversity Centre, Seribithang, Bhutan
For Samsung Galaxy S6 SM-G920/G920A/G920P/G920R4/G920T/G920F/G920V LCD Screen and Digitizer Assembly Replacement - Gold - See more at: www.rootmi.com/for-samsung-galaxy-s6-sm-g920-g920a-g920p-...
Make your look super amazing and eye catching by #3D_Puff_Embroidery digitizing. #3D_puff_design gives adorable look towards you & your stuffs .
For more designs Visit our blog
From back of photo: "Ocean City. Aug. 1941. Dolly 6 yrs. Florence 7yrs."
Ernestine (Dolly) DeHart Renaud, 1935-2024
Florence L. DeHart Burns, 1934-
My first color film with my Contax F / Zeiss Tessar lens at the Botanical Garden of Lyon, France.
The Contax F was equipped of the Carl Zeiss Jena Tessar normal lens 2.8/50mm with an aluminum 42mm push-on FOCA (France) shade hood with protective AUV Hoya filter (40.5mm screw-on). The camera was loaded with a 36 exposure CineStill 400D color negative film. Exposures were determined for 400 ISO using a Minolta Autometer III Minolta light meter fitted with a 10° finder for selective measurements privileging the shadow areas. The outdoor views were done at 1/100s. Indoor, in the green houses, I used the 1/50s or the 1/20s from the full aperture f/2.8 to f/4.
Tropical Green Houses, January 24, 2024
Jardin Botanique de Lyon
Parc de la Tête d'Or
69006 Lyon
France
After completion, the film was processed by a local lab service using the C-41 protocol. 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.
---------------
About the camera and its normal lens:
The VEB Pentacon Dresden company was the name chosen in the 50's for the suite of Zeiss Ikon Dresden after the WWII in the former Deutsche Demokratische Republik (DDR).
Looking for a matching Carl Zeiss Jena Tessar lens for my Pentacon (Contax D), I found for the same low price a combo with later Contax F (1957) in working condition. The camera has the Ernemann tower logo but is branded "Contax". The Contax F is a small improvement of previous "Spiegel Contax" including a Fresnel lens to improve the viewing screen plus a system to automatically close the iris by pressing the shutter release. Both Zeiss Ikon and Contax brands were contested to the Zeiss branch on the other side of the west-east internal German border.
To avoid legal problems for exportation, Zeiss Ikon Dresden deposited two new possible trade marks resulting from the contraction of the words "Pentaprism" + "Contax" giving "Pentacon" and "Pentax". The name of Pentax was sold to Asahi Opticals in 1956 and the SLR Contax continued its distribution either under the name "Contax" for the internal East market, and "Pentacon" for export.
A new logo symbolizing the Ernemann tower of the Dresden Zeiss Ikon factory. For a time the "ZI" initials were included in the logo before disappearing later.
The M42 lens, branded "Carl Zeiss Jena", is a mid 50's Tessar 1:2.8 f=50mm, is in perfect mechanical and optical conditions. The lens could fit 42mm push-on or 40.5mm screw-on filters and shade hoods.
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.