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The Pentagon 17 (see below for details about the camera) is equipped of a 1mm jack connector for the use of remote shutter release. This jack is generic and used on many other camera's (at least Ricoh camera's and Canon).
I found for 7€ a no-name device with a reference "RS-60E" (this is so far a Canon reference). The remote command reproduce the two-level contact of the shutter release and could blocked for long exposure in the B mode.
April 22, 2025
69004 Lyon
France.
About the camera Pentax 17:
Since last Christmas, it was on display in the middle of « reusable » cheap camera’s in the window of my local photography store. But this camera is not cheap and sold at 10-times the price of those « reusable » film camera’s. The Pentax 17 is a novel film camera released by Pentax (a brand belonging to Ricoh Imaging, Japan) in June 2024.
The history of « Pentax » name is still something worth to mention. After the WWII, in Dresden (that was heavily destroyed by the bombing of Feb. 13-15, 1945), Germany, The Zeiss Ikon company could not produce anymore the legendary original Contax (a high-reputation professional range-finder 35mm released in 30’s) camera that was taken by Russia and transferred to Kiev, Ukraine, in the USSR. However the brand name Contax survived and the German engineers designed something completely new within several years : the Contax S (S for « Spiegel mirror reflex ») that integrated a pentaprism for a full redressed reflex viewer observation. Zeiss Ikon Dresden registered to new trademarks derived from the words « Pentaprism » and « Contax » that were « Pentax » and « Pentacon ». If Pentacon became the new name of the company in Dresden, the trademark Pentax was bought by Asahi Optical Company in Japan, and became a formidable industrial and commercial success. Asahi Pentax, then Pentax alone, produced amazing quality camera’s including the legendary « Spotmatic » (a 35mm SLR) and stunning medium-format camera’s heavily used by professional photographers. Many of these camera’s of the past century are still operative and appreciated by film photography enthusiast’s.
Production of film camera’s vanished progressively in the mid 2000’s, as digital camera’s became of better quality and finally of generalized appliances in photography. The Pentax 17 was introduced to the market in June 2024, it was a big surprise for all the film photography lovers. Seeing a newly engineered brand-new film camera was a sort of renaissance of the film photography today of a growing interest worldwide.
The camera is a « half-frame » format on the traditional double-perforated 35mm film giving 17x24mm photograms. This format was not as popular as to classical 24x36mm (full-frame) format of most of the 35mm camera’s. However famous and quality half-frame camera’s were produced in the past including, the long series of Olympus Pen for example. Then, the Pentax 17 immediately attracted the attention of experimented film photographers and camera collectors, probably more than the officially targeted customers of the younger generations. Less than a year after, the future of the Pentax 17 and the film photography project of Pentax is questioned today. The chef-engineer who conducted the project in Ricoh company recently left and the marketing of Pentax 17 is now a question.
This finally decided me to buy an exemplary from my local shop and to discover this strange machine. The camera is of course guaranteed, even with a there-year extension after the camera registration on the Pentax website. The whole ergonomic is clearly derived from classical past 35mm camera’s with a fully mechanical film advance and rewind, a collimated Albada viewer, no digital display at all, only levers, barrels, crank and wheels… However inside is a automatic electronic exposure system with flash, the focusing is manual but the electronic mechanism moves the whole optical group with a micro motor.
The lens is a Cooke triplet 1:3.5 f=25mm equivalent to a 37mm of a 24x36mm format. The Cooke triplet is a photographic lens designed and patented in 1893 by Dennis Taylor who was employed as chief engineer by T. Cooke & Sons of York. It was the first lens system that allowed the elimination of most of the optical distortion or aberration at the outer edge of the image. It likely for this reason that the lens is unscripted curiously « Traditional » on the front lens ring… It is known that a Cooke triplet lens could give surprisingly good results with only three separated optical elements. The Cooke Triplet is still widely used in inexpensive cameras, including variations using aspheric elements, particularly in cell-phone cameras. The Cooke triplet consists of three separated lenses positioned at the finite distance. It is often considered that the triplet is one of the most important discoveries in the field of photographic objectives
The lens receives 40.5mm diameter thread filters that I use for my Zorki / Leningrad lenses Jupiter-8 2/50mm, Jupiter-11 4/135mm and Jupiter-12 2.8/35mm. The metal shade hood Minolta D42KA could mounted on the filter but I have to check is there is vignette induced.
The camera size is close to the original dimensions of a thread-mount Leica (called also the original Barnack Leica) which are, in a way, a sort of « Gold » size in the 35mm camera’s. I compared with my Zorki 1D year 1954 that is a straight reproduction of the Leica Iic. The upper deck of Pentax 17 is designed very clearly as a classical 35mm and we even find the original logo of Asahi Optical Company. The rewind crank is also a revival of past design seen on old Pentax SLR as my year-1971 Spotmatic SP in this seres of pictures.
The Pentax 17 is very light (about 300g) compared to those old ancestors that weight easily the double or the triple. It is then an effortless camera to carry. The Pentax 17 fits in the small ThinkTank bag (called « Mirorless Mover 5 ») that I recently bought to safely carry a film back of my Hasselblad or my Bronica 6X6 camera’s. In this tiny bag, the camera is protected for the element and vibrations due to cycling for instance.
For the first film, I loaded a Washi-X 100 ISO color film that is probably a Kodak Aerocolor film based on a Kodak Ektar formula coated on a maskless PET (polyester teraphtalate) base, spooled by the French film company Washi. This will give normally 72 views and I just exposed 44 in 2 days both during a bicycle tour and a photowalk. I’ll do the rest for testing all the functions of the Pentax 17 soon.
My final idea of this first approach of the 2024 Pentax 17 is a very interesting camera for film camera lovers but will it seduce the potential customers who discover film photography?
Reference
analoguewonderland.co.uk/blogs/film-photography-blog/pent...
Key features and specifications
* Half-frame image capture (17 x 24mm)
* 37mm (equiv.) FOV F3.5 lens
* Zone focusing system with 6 zones
* Circular leaf shutter (F3.5-16)
* Built-in flash (6m/20ft at ISO100)
* Optical tunnel viewfinder with frame lines
* Exposure from 1/350 sec to 4 sec (+ Bulb)
* Supports films from ISO 50 to ISO 3200
Specifically the lens has:
1. HD coating, which maintains high performance of the lens, by using this PENTAX multi-coating. This also enables high contrast and high definition right to the edges.
2. SP coating (Super Protect) which helps to repel water and oil from the lens.
The fact that the focusing on the Pentax 17 is electronic i.e. the lens only moves when you half-press the shutter gives me faith that autofocus was already considered in the R&D stage.
Reference: APAAME_20221115_FBal-4
Photographer: Fadi Bala'wi
Credit: APAAME
Copyright: Creative Commons Attribution-Noncommercial-NoDerivative Works
Costume Reference 10: 1950 to Present Day
Written by Marion Sichel
Illustrated by Marion Sichel
Batsford, 1983
72 Pp
713415096
Hardcover
A good reference for clothing from the '50s to '70s with nice illustrations.
Five Angels for the Millennium 2001 Bill Viola born 1951 Purchased jointly by Tate, London courtesy of Lynn Forester de Rothschild, the Whitney Museum of American Art, New York courtesy of Leonard Lauder, and the Centre Pompidou, Paris courtesy of Lily Safra, 2003 www.tate.org.uk/art/work/T11805
Reference: APAAME_20191029_RHB-0097
Photographer: Robert Bewley
Credit: Aerial Photographic Archive for Archaeology in the Middle East
Copyright: Creative Commons Attribution-Noncommercial-NoDerivative Works
© DW/Björn Kietzmann
Members of DW Akademie's "Global Reference Group" met in Bonn on June 20, 2024: (front row, left to right) Htaike Htaike Aung, Blandine Angbako, Natalia Kurkiukova; (middle row, left to right) Faruq Faisel, Soumaya Berjeb, Zenzele Ndebele, Odanga Madung, Michelle Nogales; (back row, left to right) Erick Huerta Velázquez, Nadim Nashif, Hamouda Soubhi.
My newest tool - a double sided ruler with my business names printed on each side, for size reference shots. The handmade side.
Thomas Gainsborough - British, 1727 - 1788
Seashore with Fishermen, c. 1781/1782
West Building, Main Floor — Gallery 58
From a rocky shoreline, we look on several light-skinned people working by the sea with a boat and a net in this freely painted, almost square seascape. The scene is framed by a silhouette of low boulders along the lower right corner, and a towering cream-white rock rising two-thirds of the way up the composition to our left. Scrubby, celery-green vegetation grows on the rocky outcropping. Near the center, close to the towering white rocks, three people sit, reaching for something near one end of a boat while a fourth person braces against the rock, presumably to push the boat out to the sea. Closer to us, three people on the shore work with a net. Two stand with the net hooked over their shoulders, and a third person crouches in the water with head down. The people all wear simple shirts and pants in shades of tan, mustard yellow, burnt orange, and pale blue. All but two wear hats. The sea meets the shore with frothy white foam and cresting, low waves. The sea beyond fades from pale sage green to arctic blue along the horizon, which comes about a third of the way up the composition. Two sail boats tilt against the wind in the distance. Pale, smoky lavender-purple clouds drift across the ice-blue sky.
Gainsborough's landscapes are highly personal statements that evolved from ideas and images he developed in his studio, either directly on canvas or in scale models. In this work he focused on the physical exertions of fishermen as they confront strong winds and pounding surf. Even the massive cliff on the far side of the cove, its thrusting diagonal posed against the wind, seems to echo the efforts of the men struggling to launch their boat into the waves.
Gainsborough owned works by Dutch marine painters, and their influence is evident here. His own free and suggestive painting technique, however, gives the scene a unique degree of freshness and spontaneity. He applied his paint in thin, translucent layers that are accented by deft touches of impasto, particularly in the fishermen's clothing and on the white foam of the waves. A restrained palette of browns and creams suggests the shore and rocks; gray-greens, gray-blues, and white highlights describe the sun-filled expanse of the sea, while the sky is colored with delicate hints of purple, blue, and pink.
More information on this painting can be found in the Gallery publication British Paintings of the Sixteenth through Nineteenth Centuries, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Thomas Gainsborough was born in Sudbury, Suffolk, the youngest of the nine children of John Gainsborough and the sister of the Reverend Humphry Burroughs; he was baptized in Sudbury on 14 May 1727. He attended Sudbury Grammar School, of which his maternal uncle was the master. He took to sketching at an early age, and when he was thirteen prevailed upon his father to send him up to London to become an artist. A pupil of the French illustrator and draftsman Hubert Gravelot, Gainsborough was intimately involved with avant-garde rococo art and design, and seems to have assisted Francis Hayman on his genre paintings for the decoration of Vauxhall Gardens.
After a short period on his own in London between about 1744 and 1748, during which he painted small-scale portraits and landscapes in the manner of Jan Wijnants and Jacob van Ruisdael, and married Margaret Burr, Gainsborough returned to his native Suffolk. After a few years in Sudbury he moved, in 1752, to the larger seaport town of Ipswich. There is only one, uncorroborated, reference (to a visit to Flanders in later life) to suggest that he ever traveled abroad, as was customary among his fellow artists. By 1759, still finding it difficult to make ends meet and now with two daughters to support, he realized he had exhausted the possibilities of local patronage and moved to the fashionable spa town of Bath, where he achieved instantaneous success.
Set back by a nervous illness in 1763, he later became a founding member of the Royal Academy of Arts, contributing to its first exhibition a scintillating female full-length portrait in the manner of Van Dyck. Unlike many of his contemporaries, Gainsborough customarily painted his portraits entirely with his own hand; his only known assistant was his nephew Gainsborough Dupont, who was apprenticed to him in 1772.
In 1774 Gainsborough moved to London, where he settled in a wing of Schomberg House, Pall Mall. In 1777 he received the first of many commissions from the royal family. In 1780 he exhibited a wide range of landscape compositions, and in 1783 made a tour of the Lake District in search of picturesque scenery. An original printmaker, he experimented in these years with soft-ground etching and aquatint; influenced by Philippe-Jacques de Loutherbourg's popular entertainment, the Eidophusikon, he also constructed a peep-show box in which transparencies were seen magnified and lit by candles from behind, producing a dramatic and colorful effect. After quarreling with the Royal Academy about the hanging of his pictures (he rarely participated in Academy affairs), from 1784 onward Gainsborough arranged annual exhibitions in his studio. He was by then comparatively well off. He died of cancer in London on 2 August 1788.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.