View allAll Photos Tagged lead
"Lead, Kindly Light, amidst th'encircling gloom,
Lead Thou me on!
The night is dark, and I am far from home,
Lead Thou me on!
Keep Thou my feet; I do not ask to see
The distant scene; one step enough for me."
- J.H. Newman
Shot on the iPhone
Hard to believe it's 33% elemental lead, right?
I marked, cut and beveled this bauble myself. It's a difficult thing to do for two reasons, one, you have to look through the bauble to the surface being cut, and two, after you make a cut, the cut surface it turns opaque! That's not a problem until you've cut halfway around the bauble, then suddenly you can't see what you're trying to cut anymore!
A well pad for a hydraulically fractured gas well sits in a manmade clearing in the rolling hills near Duckworth, W.Va. Photo by Mike DuBose, UM News. Aerial photography flight courtesy of SouthWings.
St Peter and St Paul, East Harling, Norfolk
With its aisles, clerestory, porch and chancel, St Peter and St Paul is a textbook example of its century, although there are a number of curiosities that add even more interest. The vestry on the north side of the chancel, for example, which was once a shrine chapel, retains its image niche on its eastern face. And there are more image niches, these with elaborate foliage pedestals, in the buttresses of the tower; everything is topped off by a lead and timber fleche which was apparently the model for the one at St Peter Mancroft in Norwich, a church which has several features in common with this one.
The tower is a delight, the buttressing and pinnacles exactly in proportion to make it appear to rise like a fairy castle from the ground. The south porch, by contrast, is, despite its flushwork, rather austere, a result of its rebuilding early in the 19th century before the ecclesiological movement took hold. All in all, this is as good as 15th century rebuilding gets, the money coming thanks to Anne Harling having no less than three husbands who all wanted to spend as little time in purgatory as possible.
You step down into a wide space which, on a dull day, can be rather gloomy. Although inevitably heavily restored by the Victorians, St Peter and St Paul does not have that depressingly anonymous urban feel you so often find in churches of this size. This is partly because the beautiful parclose screen in the south aisle partitions off so much space, creating a sense of rooms within rooms, altering the way your eyes are inevitably drawn to the east. The rood screen must have been vast here; its dado survives at the west end, a deeply traceried affair with its features presented in carving rather than painting.
When the rood screen was in its proper place, to move from the nave into the chancel must have been like stepping from darkness into light. This is because of the feature that makes East Harling famous, the vast east window with its 15th century glass. After St Peter Mancroft it is the best collection in Norfolk. Unusually, the provenance of the glass is fairly well-documented: we can be fairly certain that it came from this church originally. Still present after the Reformation, it was removed by the Harling family to the Hall in the early 17th century. They may have been Laudians wanting to preserve it from the intentions of the puritans, or merely thought it would look nice in their dining hall; whatever, we know that shortly before Francis Blomefield visited here in the 1730s it was returned to the church and set in its present configuration.
In 1939, when war threatened, it was removed again, being reset just before Cautley visited in the early 1950s. There are parts of at least three sequences here, two of which were almost certainly in the east window originally, and one which almost certainly wasn't.
Essentially, the window contains two rosary sequences; the Joyful Mysteries of the Blessed Virgin, which include the Annunciation, the Nativity and the Assumption, and the Sorrowful Mysteries of the Blessed Virgin, which include the Crucifixion and the Deposition. However, this is open to interpretation, as we shall see. There is also the figure of St Mary Magdalene, which may once have been associated with a nave altar, and would have been located in a window there.
The five lights contain four rows of panels, making twenty altogether.
Top row:
I. Annunciation: Mary at her prayer desk. Gabriel, crowned and haloed, with a sceptre of lilies, kneels in supplication.
II. Visitation: Elizabeth, hooded to show her age, places her hand on Mary's pregnant belly.
III. Nativity: Two midwives look on. The infant in the manger is rayed; a horned cow gazes in awe.
IV. Adoration of the Shepherds: One holds a lamb, one plays pipes. A third appears to offer a fleece.
V. Adoration of the Magi: Two of the wise men gauge each others' reactions as the third offers his gift.
Second row:
VI: collection of fragments.
VII: Presentation in the Temple: Joseph carries the doves, Mary offers the child to Simeon. Anna is not shown.
VIII: The Finding in the Temple: Head covered, Mary bursts in among the men to find her son teaching.
IX: The Wedding at Canaa: Christ, seated at the top table, blesses a chicken and a ham. Mary directs the servant.
X: collection of fragments.
Third row:
XI: Mary of Magdala: Mary holds her long hair ready to anoint Christ's feet. Probably not from this window originally.
XII: The Betrayal at Gethsemane: Judas kisses Christ; Peter cuts off the ear of the high priest's servant.
XIII: Crucifixion: Mary swoons in John's arms.
XIV: Deposition from the cross: The pieta. Tears spring from Mary's eyes.
XV: Assumption of the Blessed Virgin: Mary is assumed bodily into heaven.
Bottom row:
XVI: Donor: Probably Robert Wingfield, second husband of Anne Harling.
XVII: Resurrection: Christ steps fully clothed from the tomb. Unusually, the soldiers are awake.
XVIII: Ascension of Christ: Mary, surrounded by disciples, watches as her son ascends to heaven.
XIX: Descent of the Holy Spirit: Mary, surrounded by disciples, receives the Holy Spirit at Pentecost.
XX: Donor: Probably William Chamberlain, first husband of Anne Harling.
Nowadays, we tend to think of the rosary as consisting of three sequences of five mysteries each, but in the late middle ages things were much more flexible, and rosary sequences often consisted of seven mysteries. The Glorious Mysteries sequence, of which the Assumption is now a part, is a later development, and the two adorations shown here are subsumed into a single mystery. There are a couple of images here that don't quite fit; the Wedding at Canaa is obviously a Marian text, and yet is not traditionally a rosary subject. Similarly the Betrayal, the only one of the images not to feature Mary. I wonder if what we have here are parts of two separate sequences, a Marian sequence of mysteries (I-V, VII-IX, XV), and a Passion sequence (XII-XIV, XVII-XIX). They are both clearly the work of the same workshop, and Mary is always shown with the same face and dress, but this would not preclude them from being two sequences.
Why were they here at all? We need to get away from thinking of such things as a 'poor man's bible', the need for which was superseded at the Reformation. These were devotional objects, designed to be used as meditations while praying and saying the rosary. They were created in the 15th century, a time when the mind of the Church was fiercely concentrated on asserting orthodox Catholic doctrine in the face of local superstitions and abuses. As such, they were anathema to the reformers, and were later elsewhere destroyed for being superstitious, not for being superfluous. An 18th century antiquarian mind, ignorant of the nature of Catholic devotion, might easily mix the two sequences into historical order, and possibly misunderstand the Assumption (obviously, as Mary reappears two images on at the Ascension, it is out of order). I wonder what they thought it was?
A couple of other things about the east window that you shouldn't miss. Firstly, everywhere you look there are tiny baskets - Mortlock calls them 'frails', and tells us that they were simple rush baskets used by workmen to carry tools. Also, though not in such profusion, there are bodices. These symbols are repeated elsewhere in the church in stone on tombs, and as such must be symbols of the Harling family.
Another symbol is high up on the north side, a red squirrel. Curiously, this also appears in the painting A Lady with a Squirrel and a Starling by Hans Holbein, now thought to be a portrait of Anne Lovell - the squirrel is a symbol of the Lovell family, who took over the local manor here from the Harlings in the 16th century, and the starling represents Ea- well, you guess.
In July 2006, Chris Harrison and I came across
some more glass from East Harling in the Norfolk County Archaeologist Service archive at Gressenhall. It was probably removed from the church for safety in 1939, and then not replaced, possibly ending up at the museum of church art in Norwich at St Peter Hungate, disappearing into storage when that closed in 1993. It depicts a Bishop and Christ seated in Majesty, and the lozenges in between carry the telltale frails and bodices familiar from other glass within the church.
Within the screen is a large chapel, containing two major tombs. One is in alabaster, an early 17th century memorial to Sir Thomas and Lady Alice Lovell (remember the squirrel?) who died in 1604. The piece is good - too good, its 1950s restoration gives it a Festival of Britain air. Their symbols lie at their feet - his a magnificent peacock, hers a gruesome Saracen scalp held aloft.
The other appears to be a composite. It lies to the east, and the two effigies are clearly not from this tomb; they simply don't fit. They are supposed to be Robert Harling, died Paris in 1435, and his wife Dame Joan. Neither are buried here - she is at Rushford near Thetford, he is in some corner of a foreign field that is forever French schoolchildren on picnics excitedly tugging old thighbones from the soil - but in any case it is the trimmings of the tomb rather than the effigies that are most of interest, including a pelican in her piety and one that is almost a lily crucifix.
On the north side of the chancel is a fine tomb with brass inlays - the brasses now gone. Not as magnificent as either of the two previously mentioned, it is actually the most significant, as this is where you'll find Anne Harling, wife of the serial rebuilders of this church. Look out for those flails again.
What more? 17th century Lovells (remember the squirrel) have in-yer-face memorials either side of the sanctuary - that to the north curiously with no inscription. There are hatchments, remains of a wallpainting that are too indistinct to interpret (but may be seven works of mercy), a good set of royal arms, medieval heads, curious 19th century bench ends of a lion and a wild man, heraldic misericords, a Dec font - well, come and see for yourself. You know you want to.
Click here to learn more about Camp Click here to learn more about Camp Humphreys
U.S. Army photos by Anthony Langley
Ducks top Hoyas in Armed Forces Classic at Camp Humphreys
By Tim Hipps
U.S. Army Installation Management Command
CAMP HUMPHREYS, South Korea – In a season opener between teams led by newcomers, Joseph Young scored 24 points to lead No. 19 Oregon to an 82-75 victory over Georgetown in the 2013 Armed Forces Classic here.
The Ducks and Hoyas tipped off Nov. 9 at 10:16 a.m., on a Saturday morning in the Humphreys Community Fitness Center. For college basketball fans across America, the game was one of many season openers on Friday night. Only one, however, was played before 2,100 U.S. troops and their family members, along with a worldwide television audience on ESPN.
“We’re about to start the journey to determine who is the best team in college basketball, the best team in the country, and we’re doing it in front of the best team in the world,” ESPN announcer Jay Bilas said. “I’m in absolute awe of the commitment, the sacrifice, of our men and women in uniform.”
Young, a junior guard who transferred from Houston is a son of Michael Young, who played for the high-flying “Phi Slama Jama” teams of the early 1980’s. He grabbed five rebounds and was perfect on 12 free throws in his first game as a Duck.
Joshua Smith, a 6-foot-10, 350-pound junior center who transferred from UCLA, led Georgetown (0-1) with 25 points on 10-of-13 shooting and 5 of 9 free throws before fouling out of his first game as a Hoya with 9 seconds remaining.
Jason Calliste made all 11 of his free throws and scored 16 points for Oregon (1-0). Mike Moser added 15 points, seven rebounds and a career-high six steals, the most by an Oregon player in 15 seasons. Darius Wright was the last Duck to post six steals in a game against USC on Jan. 7, 1999.
“We came a long way, so we really didn’t want to lose this one,” Moser said. “It definitely feels good to go home – a 12-hour ride – with a win.”
Damyean Dotson grabbed eight rebounds and Johnathan Loyd had seven assists for Oregon. Loyd recorded his 304th career assist for a spot on the Ducks’ top 10 list.
The Hoyas shot 1 of 15 from 3-point range, failed to find much offensive continuity, and were outrebounded, 40-32.
“Things we can control, we have to control,” Georgetown coach John Thompson III said. “We had too many untimely unforced turnovers. We got our rhythm offensively, but we gave up a lot of threes in a row – it felt like four or five. The timing of that is what we have to learn. When we had to get a stop or a rebound, we didn’t.”
Oregon took an 18-7 lead via a 12-2 run, capped by two free throws by Calliste with 12:27 remaining in the first half. Calliste also converted a three-point play that gave the Ducks a 30-23 lead with 5:25 remaining in the period. Oregon led, 37-34, at halftime.
Georgetown took its first lead since 2-0 on a steal by Markel Starks and Smith’s feed to Jabril Trawick for a layup and a 40-39 lead with 18:06 left. D’Vauntes Smith-Rivera’s jumper put Georgetown ahead, 42-39. Loyd responded with a 3-pointer, Young followed with a layup, and the Ducks led the rest of the way.
Starks finished with 16 points and four assists for Georgetown. Trawick added 11 points and three rebounds. Before departing, Moser saluted the troops who welcomed the Ducks to Camp Humphreys, their most distant regular-season game site in school history.
“We had a lot of fun,” Moser said. “Getting a chance to hang out with the troops for a couple days inspired us to try and come out here and win this game.”
Played on Veterans Day weekend, the game featured a military theme throughout. Rather than players’ last names, Army values, such as “Courage,” “Integrity” and “Respect,” adorned the back of Georgetown’s camouflage-patterned jerseys. The backs of the Ducks’ camouflage-patterned jerseys displayed: “USA.” Members of both coaching staffs wore military-style cargo pants and combat boots.
“This was an unbelievable experience,” Thompson said. “It was a privilege to play in this environment, and it was a privilege to play in front of the Soldiers. One of the most rewarding times was serving lunch yesterday and getting the chance to interact with the young men and women stationed here at Camp Humphreys.”
Georgetown players Nate Lubick and Starks also were appreciative.
“This was a great opportunity to get a close-up look at what life is like for the men and women who protect our country,” Lubick said. “We’re very fortunate to have the opportunity to come here and play a game to thank them for all they do.”
“We’re blessed to have the chance to come here and see and tour the base and the helicopters,” Starks added. “It’s amazing all that they do and we’re really thankful to get the chance to meet everyone here.”
Folks at Camp Humphreys thought likewise.
“It’s such a blessing,” said Cassie Gaudette, wife of Army Capt. Brian Gaudette. “I don’t think that they can truly understand how exciting and wonderful it is to have a little piece of home and have the teams come here to South Korea. We’re originally from Eugene [home of the Oregon Ducks], so this was really exciting to see.”
Oregon played without sophomores Dominic Artis and Ben Carter, who were suspended nine games for violating NCAA rules by selling school-issued athletic apparel. If only they knew what they missed.
These were all shot inside a tent at the Tulsa Oktoberfest. I was very happy with the fairly clean quality of the set of images given the high iso I needed to get shots without too much blur. Plus, I was using a slow lens.
This was Ben Thomas's last performance with the Midnight Sun. I was very happy to be able to isolate him for this shot (uncropped). He was also the only guitarist in the band but lead guitar sounds better than just guitarist.
I love this Eden, she's so sweet and pretty!!
Eden is wearing the Touch of Frost Eugenia's dress, Splendid Jordan necklace, Haute Societe Vero's shoes and her sister's purse. :)
Lead Foot - Cobbler's shoe form (sorry...it's actually cast iron not lead), machined stainless steel wheels, RC engine, conduit fitting, propane torch tip, carburetor float, lamp switch, jig clamps and typewriter parts. one foot long (of course!), 7" wide, 4" tall.
ITS San Giorgio (L 9892) is the lead ship of the San Giorgio-class amphibious transport dock of the Italian Navy.
Pictured here departing Portsmouth Naval Base after a short visit.
Royal Navy aircraft carrier HMS Queen Elizabeth is on the left of the image
Sorted all my unpainted lead. Here is the result. Some boxes are filled, some have just a handful. The goal now is to tackle them one by one and get them finished off.
Sitter: Unknown
Studio T.J. Calvert, Preston.
Plain back photo postcard.
Thomas J. Calvert occupied studios at the following addresses:
42 Fishergate 1901 - 17
18 Cannon Street 1926 - 27
The snowy landscape might lead you to believe otherwise but burning conditions were good in far northern California, and our Applegate Field Office crews made progress on the Modoc Gulch prescribed fire project south of the community of Dorris. Teams were burning piles of juniper and brush that were built by hand and with the help of machines. The piles resulted from juniper thinning designed to improve wildlife habitat and reduce wildfire risk in the area. Crews successfully completed work on 75 acres within the 800-acre project area.
Burning is conducted in accordance with a burn plan that allows for ignition of the piles only when weather allows for safe and successful burning and smoke dispersion. Work will continue through winter and early spring on this and other burn projects.
Photo by Scott Joyce, BLM
Galena-sphalerite-quartz (lead-zinc ore) from Mexico. (4.2 cm across at its widest)
Silvery-gray = galena (PbS)
Mottled brownish-gray = sphalerite (ZnS)
Whitish-gray = quartz (SiO2)
A mineral is a naturally-occurring, solid, inorganic, crystalline substance having a fairly definite chemical composition and having fairly definite physical properties. At its simplest, a mineral is a naturally-occurring solid chemical. Currently, there are over 5200 named and described minerals - about 200 of them are common and about 20 of them are very common. Mineral classification is based on anion chemistry. Major categories of minerals are: elements, sulfides, oxides, halides, carbonates, sulfates, phosphates, and silicates.
The sulfide minerals contain one or more sulfide anions (S-2). The sulfides are usually considered together with the arsenide minerals, the sulfarsenide minerals, and the telluride minerals. Many sulfides are economically significant, as they occur commonly in ores. The metals that combine with S-2 are mainly Fe, Cu, Ni, Ag, etc. Most sulfides have a metallic luster, are moderately soft, and are noticeably heavy for their size. These minerals will not form in the presence of free oxygen. Under an oxygen-rich atmosphere, sulfide minerals tend to chemically weather to various oxide and hydroxide minerals.
Galena is a lead sulfide mineral (PbS). It has a metallic luster, silvery-gray color, cubic crystals, cubic cleavage, is moderately soft, and has a very high specific gravity (it's very heavy for its size).
Galena is the most important lead ore mineral. It's principally found in hydrothermal vein systems and in Mississippi Valley-type deposits. Silver (Ag) can fall into the lead position as an impurity, sometimes in relatively high proportions. This results in argentiferous galena, (Pb,Ag)S.
Historically, lead from galena has been used as a gasoline additive, a paint ingredient, and for making bullets. Lead is also used to make various metal products, batteries, and radiation shielding.
Locality: Meche Mine (a.k.a. Moche Mine), Zacatecas, central Mexico
--------------------------------
Photo gallery of galena:
Sitter: Unknown
Studio: E. Wade, Preston.
Plain back CDV.
Edward Wade occupied studios at 36, Fishergate from 1860-69
Roman portable shrine made from lead, depicting the goddess Minerva. She is shown wearing a helmet and is holding a shield in her right hand and a spear in her left. This was recovered from the Greyhound Yard site Dorchester, Dorset. This object is currently held at the Dorset County Museum.
This is the historic Tamworth Castle in Tamworth, Staffordshire.
Dates from the 11th century (rebuild by the Normans). Was home of the Mercian kings (9th and 10th centuries).
The castle is Grade I listed.
TAMWORTH
SK2003NE HOLLOWAY
670-1/9/75 (East side)
11/05/50 Tamworth Castle
(Formerly Listed as:
TAMWORTH
The Castle)
GV I
Castle, now museum. Late C11 motte and bailey castle; rebuilt
C12,early C13 repairs or reconstruction; C12-C13 north wing,
probably with 1st floor hall; early C15 hall range; C16
warder's lodge; early C17 south wing; c1800 alterations. Stone
rubble with ashlar and brick with ashlar dressings; tile and
flat lead roofs. Shell keep with north-east tower with
warden's lodge to south, and later ranges forming H-plan
house. Curtain walls have embattled parapets. Tower has
battered base, flat buttresses and rounded turrets; C14
two-light traceried window and top window with label mould
over 3 round-headed lights with transom. Warder's house to
left has C14 pointed entrance in canted bay under gable; late
C16 double-chamfered-mullioned windows of 3 and 4 lights.
South wing has c1800 facade; ashlar; ground floor windows of 3
pointed lights; 5- and 7-light 1st floor windows with
transoms, similar 3-light windows to 2nd floor. North range
has 2 square projections forming bases of bay windows
demolished c1800; 3-light transomed windows in splayed
surrounds with brattishing; 6-light and 3-light windows above;
similar windows to right, with French window, and to left,
over corbelled base to oriel. Inner court has warder's lodge
to south east: 2 storeys with attic; renewed
double-chamfered-mullioned windows with leaded glazing; coped
gable with kneelers. South range: brick with ashlar dressings;
2 storeys; 2-window range; quoins, plinth, platt bands and C19
embattled parapet; entrance to right in doorcase with
4-centred head, remains of paired pilasters to entablature
with cresting and armorial panel; ground floor has 3-light
windows with pegged casements; 1st floor 4-light transomed
ovolo-mullioned windows; 2nd floor has 3-light
double-chamfered-mullioned windows. Hall has brick plinth,
exposed wall post and large C17 wood-mullioned and transomed
windows with leaded glazing, forming glazed wall; stair turret
to right has 2-light hollow-chamfered-mullioned windows; east
end of north range mostly brick; blocked 1st floor door to
west end.
INTERIOR: hall has tie beam and double collar trusses with
struts and wind braces, ovolo-mouldings with fillets to posts
and soffits of trusses; enriched doorcases and fireplace with
Mannerist detail, moved from house in Kent, c1822.
Tudor-headed main entrance with studded door. Closed-well
stair to north wing, which has 3 rooms with fireplace and
doorcases from house in Kent. South wing has two 1st floor
rooms with C17 panelling and contemporary fireplaces with
pilasters and entablatures and enriched overmantels, one with
flanking figures and relief carving of biblical scenes;
armorial panels, c1800. Warder's house has similar 1st floor
room with panelling and fireplace overmantel. Tower has stair
with strapwork panels and top splat balusters; room with
panelling and Tudor-arched fireplace. The castle has been
inhabited since the Norman conquest, with a break in the mid
C19, when it was used in connection with the nearby mills
(dem); it was bought by the local council in 1897 and opened
to the public. James I stayed at the castle; Sir Walter Scott
referred to it in his poem Marmion.
(Ballard E: Tamworth Castle Museum: Tamworth: 1987-; The
Archaeological Journal: Meeson R: The Timber Frame of the Hall
at Tamworth Castle, Staffs: London: 1983-; Buildings of
England: Pevsner N: Staffordshire: London: 1974-: P. 277-8).
Listing NGR: SK2061303913
Sitter: Unknown
Studio: Phil Waine. 56, Friargate, Preston.
PPC Dated April 20, 1940
Waine occupied studios at the above address from 1904 to the the mid 1970's
Mr and Mrs Nyirienda have been chosen to act as lead farmers in their community.
FYF's innovative 'lead farmer' approach draws on the skills of the farmers themselves and empowers them to ‘show the way to success’ to their fellow farmers.
Each lead farmer is trained to demonstrate sustainable farming techniques to 100 fellow farmers.
By employing these techniques farmers are already seeing massively improved crop yields, meaning that they can feed their families throughout the year.
Visit our website to read more about our lead farmer approach www.fyf.org.uk/news/leadfarmers.htm or our blog findyourfeet.wordpress.com/category/food-crisis/ for a reflection on different agricultural models.
© André Distel - Website - Google+ - Facebook
Press "L" to view large on black
Salar de Surire is a remote as you can be in the Atacama Desert. The closest village is Putre, which is about 2-3 hrs drive. A path goes around a huge salt flat. As we drove out there for hours we were the only tourist on the way seeing nothing but the occasional truck from the borax plant. Vicunas were standing almost next to us and were part of the experience up there. Do not attempt to go there without a 4WD. We got stuck several times and had river crossings, which had not been able to do with any other car but a 4WD.
A truly remarkable location totally off the beaten path. There are five kinds of flamingos in the world. Three of those live in the Atacama desert. I was desperately trying to capture them however, they were gone, before I could set up to take the shot. Very shy animals – so I waited until they had calmed down again, the camera ready to take the shot. This one turned out to be one of my favorites with the matching title “Take the Lead”. Beautiful wildlife in a stunning desert 4500m above sea level.
Even though the colors are a bit more flat than my usual photos, it remains one of my personal favorites.
Cheers,
André
Shot at St Thomas mount immediately after the sunset. Loved the way the cross was lit by the light on one side.
D300 + 14-24
I am taking up indoor and outdoor photo-shoots, family events, portraits and model portfolio shoots in and around Chennai. Prospective models interested in building their portfolio can also contact me for details. You create moments, I turn them into memories that you can cherish forever.
For details on how to schedule a session or discuss rates and reach me check out My WebSite.
A scouting trip to Minera Lead Mine, near Wrexham, Wales. It was a nice muddy walk, however the sky wasn't as dark as I hoped. Image made with 4x 20 second exposures, stacked with Sequator for noise reduction
Trying out the 75-200 mm zoom lens with my old Minolta SRT 101 SLR 35 mm camera. Went back into Boston to the Chadwick Lead Works building trying out the zoom lens at its maximum. This closeup of the 1887 building is one of the results (I cropped out nothing).
Minolta SRT 101 SLR
Minolta MD 75-200 zoom lens
f/4.5 1/60
Kodak Ektar 35mm film (ISO 100)
Photoshop Elements
Negative scanned on Canon f8800 flatbed scanner