View allAll Photos Tagged model3
By a very clear spring weather, I loaded in my Rollei 3,5F (likely year 1962, see below details) with of a roll of Rollei film Superpan 200 for photowalk in Lyon city, France.
I used the film Rollei Superpan 200 many times in 35mm format but it is the first time for me in 6x6 format. Superpan 200 is the former Agfa Aviphot 200 used in aerial photography. The film is sensitized in the red to 760nm in the near infrared band and consequently called « superpanchromaric ». Rollei Superpan is coated on a maskless PET (polyethylene teraphtalate) support with anti-halation layers that dissolve in the developper upon processing.
The camera was fitted with the original Rollei RII shade hood for all the session. I used also the Rollei Orange 1.5—3 for views 1-10 and a protective Rollei Anti-UV -0.5 on the viewing lens. With the orange filter I exposed the film for 80 ISO instead of the nominal 200 ISO to compensate the filter absorption. Light-metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas.
View Nr. 7: 1/60s, f/14, focusing @ 5m, Rollei Orange 1.5...3 filter.
Lyon City Hall and Fontaine Bartholdi***, March 31 2025
Place des Terreaux
69001 Lyon
France
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*** The Fontaine Bartholdi is a fountain sculpted by Frédéric Auguste Bartholdi and realised in 1889 by Gaget & Gautier. It was erected at the Place des Terreaux, in Lyon, France, in September 1892. On 20 April 1857, the Bordeaux city council decided to hold a competition to create a fountain for Place Quinconces. Frédéric Bartholdi, then aged 23, won the contest. However, the city hall of Bordeaux decided not to carry out his project. After Bartholdi had made the Statue of Liberty in New York in 1886, the mayor of Bordeaux contacted him, but his new project was canceled after much hesitation. It was finally achieved in 1888, but it was deemed as too expensive and therefore was sold to Lyon. It was unveiled as part of the Exposition Universelle (1889). The fountain was eventually put at the Place des Terreaux and is currently still there.
The fountain depicts France as a female (Marianne) seated on a chariot controlling the four great rivers of France, represented by wildly rearing and plunging horses, highly individualized but symmetrically arranged, with bridles and reins of water weeds. The fountain weighs 21 tons and is made of lead supported by a frame of iron and was presented at the Exposition Universelle of 1889. It has been classified as monument historique since 29 September 1995.
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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. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+50 and the film processed for 17min at 20°C.
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 70mm films.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic (Version 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG.
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 or K4F that Rollei-Werke Franke & Heidecke produced in about 50.000 units in Germany from Nov. 1960 to Dec. 1964. 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 K4F 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.
gorgeous @teslamotors #model3 lowered on @unpluggedperformance moderate drop kit and smoked the headlights with @stekautomotiveusa and got it all wrapped up with @3m #battleshipgray vinyl as well accented the vehicle with custom anodized blue calipers which really pop behind these new #blaquediamond 20 inch BD-F18 wheels @bdwheels and locked in all this perfection with @ceramicprousa #ppf/vinyl to protect the wrap and keep it looking perfect
By a very clear spring weather, I loaded in my Rollei 3,5F (likely year 1962, see below details) with of a roll of Rollei film Superpan 200 for photowalk in Lyon city, France.
I used the film Rollei Superpan 200 many times in 35mm format but it is the first time for me in 6x6 format. Superpan 200 is the former Agfa Aviphot 200 used in aerial photography. The film is sensitized in the red to 760nm in the near infrared band and consequently called « superpanchromaric ». Rollei Superpan is coated on a maskless PET (polyethylene teraphtalate) support with anti-halation layers that dissolve in the developper upon processing.
The camera was fitted with the original Rollei RII shade hood for all the session. I used also the Rollei Orange 1.5—3 for views 1-10 and a protective Rollei Anti-UV -0.5 on the viewing lens. With the orange filter I exposed the film for 80 ISO instead of the nominal 200 ISO to compensate the filter absorption. Light-metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas.
View Nr. 9 : 1/125s, f/9, focusing @ infinite, Rollei Orange 1.5...3 filter.
Place Rouville, March 31 2025
69001 Lyon
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. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+50 and the film processed for 17min at 20°C.
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 70mm films.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic (Version 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG.
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 or K4F that Rollei-Werke Franke & Heidecke produced in about 50.000 units in Germany from Nov. 1960 to Dec. 1964. 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 K4F 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.
By a very clear spring weather, I loaded in my Rollei 3,5F (likely year 1962, see below details) with of a roll of Rollei film Superpan 200 for photowalk in Lyon city, France.
I used the film Rollei Superpan 200 many times in 35mm format but it is the first time for me in 6x6 format. Superpan 200 is the former Agfa Aviphot 200 used in aerial photography. The film is sensitized in the red to 760nm in the near infrared band and consequently called « superpanchromaric ». Rollei Superpan is coated on a maskless PET (polyethylene teraphtalate) support with anti-halation layers that dissolve in the developper upon processing.
The camera was fitted with the original Rollei RII shade hood for all the session. I used also the Rollei Orange 1.5—3 for views 1-10 and a protective Rollei Anti-UV -0.5 on the viewing lens. With the orange filter I exposed the film for 80 ISO instead of the nominal 200 ISO to compensate the filter absorption. Light-metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas.
View Nr. 4 : 1/250s, f/5.6, focusing @ infinite, Rollei Orange 1.5...3 filter.
Saint-Georges, March 31 2025
Quai Tilsitt
69002 Lyon
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. 500 mL of Adox Adonal (Agfa Rodinal) developer were prepared at the dilution 1+50 and the film processed for 17min at 20°C.
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 70mm films.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic (Version 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG.
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 or K4F that Rollei-Werke Franke & Heidecke produced in about 50.000 units in Germany from Nov. 1960 to Dec. 1964. 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 K4F 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.
4-5 days' wind movement, from Helsinki
via sensors and Processing, into form
Wind movement measurement data (wind direction, velocity and temperature) was used to generate a 3d form, which was then cut out of wood.
( Digital wind meets wood :)
The wind line's direction is the compass direction of the wind, the wind's velocity is translated into the sculptural/formal wind line's direction. And, the wind's temperature is translated into the wind's height. The plateau represents 0°c. When the wind line is above, the temperature is somewhere above zero degrees, when the wind is cold, it digs into the wood surface.
The project is made possible via (Processing and) a kind cooperation between the Media Lab and School of Design/Paja (special thanks Hannu, the machine master!) Of the Helsinki Aalto University/Art & Design campus.
The data very generously comes from the Finnish Meteorological Institute's Testbed Helsinki Project.
gorgeous @teslamotors #model3 lowered on @unpluggedperformance moderate drop kit and smoked the headlights with @stekautomotiveusa and got it all wrapped up with @3m #battleshipgray vinyl as well accented the vehicle with custom anodized blue calipers which really pop behind these new #blaquediamond 20 inch BD-F18 wheels @bdwheels and locked in all this perfection with @ceramicprousa #ppf/vinyl to protect the wrap and keep it looking perfect