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On Saturday November 29, 2024. I went to Saint-Bonnet-de-Mûre, near Lyon, France for the last monthly meeting of camera collectors. I found there a stunning lens AF-Nikkor 1:1.8 f=85mm for my Nikon F4 (year 1989). There was also the same lens in the "D" version appeared in 1995 with the Nikon F5. "D" stands for "Distance" that is coded in this Nikkor lenses series and used for the 3D-matrix metering of the Nikon F5. I choose better the non-"D" significantly less expensive and that match better with the period of my Nikon F4 body. I found also a nice small Nikon shoulder bag all black, that I found discrete enough to carry the heavy and massive Nikon F4 that weight more than a medium-format camera.
After detailing the lens and checking the correct functioning fitted to the camera, I loaded on Monday December 2, 2024 an
Ilford HP5+ with the DX coded nominal 400 ISO film sensitivity. Due to some other businesses that took longer than expected, I had to wait a couple of days before going quietly to the "Parc de la Tête d'Or" for testing the lens.
The AF Nikkor lens 1:1.8 f=85mm was fitted with a protective Hoya Skylight (1A) 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. For focusing I used either the single autofocus mode or the manual mode on complicated scenes inside the tropical green houses. As for my medium-format sessions, I took a bit of time to note on a session ticket the main parameters (shutter speed, aperture, focusing distance, flash control mode, etc). When indicated, I used also my Nikon Speedlight SB-26 in the TTL mode.
Documentary smartphone picture
December 2, 2024
69006 Lyon
France
After completion at view 37, the film was rewound using the rewinding motor (lever R1 then lever R2). During the film rewind (manual or auto) the view counter decrements and I switched-off the R2 lever just arrived at -2 to keep the leader out of the cartridge. I then processed the film developed 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.
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About the camera :
Maybe it would have been better not to ask for this question: « what’s new do you have at the moment?» to my local photo store, because Christine grab underneath the counter, stating « I have that … » . What a beast ! A Nikon F4 in the exact state of the Nikon brochure year 1990, presented with the standard AF Nikkor 1:1.4 f=50mm. I was already hooked by the machine. After two days, I decided to buy it even with some little common issues found on early Nikon F4 (see below), fortunately not affecting the whole, numberous functions of this incredibly complex professional SLR of the year 1990’s.
Nikon F4 came to the market on September 1988 starting with the serial number 2.000.000. Fully manufactured in Japan (modules came from 3 different Nikon factories) the F4's were assembled in Mito, Ibaraki (North to Tokyo) Nikon plant (no more in the mother factory of Tokyo Oi like the Nikon’s F). When I lived in Tokyo in 1990-1991, Nikon F4 was the top-of-the-line of Nikon SLR camera’s. I saw it in particular in Shinjuku Bic Camera store when I bought there, in December 1990 my Nikonos V.
Nikon F4 incorporates many astonishing engineering features as the double vertical-travel curtain shutter capable of the 1/8000s. Compared to the Nikon F3, the F4 was an AF SLR operated by a CCD sensor (200 photo sites). The film is automatically loaded, advanced with to top speed of 5,7 frame/s !! With the MB-21 power grip (F4s version). The F4 is a very heavy camera (1.7kg with the AF Nikkor 1.4/50mm), incredibly tough and well constructed. This exemplary is devoid of any scratches or marks, and in a condition proving that it was not used for hard professional appliances, for those it was however intended. The camera has still it original Nikon neck strap, the original user manual in French. The lens is protected by a Cokin (Franc) Skylight 1A 52mm filter and the original Nikon front cap. The two small LCD displays (one on the F4 body, one in the DP-20 finder) are both affected by the classical syndrome of « bleeding ». Fortunately, all information could still be read. One says that 70% of the early Nikon F4 suffer from this problem but also found on other models.
According its serial number and the production rate of about 5000 units/month, this Nikon F4s was probably manufactured in Mito, Ibaraki, Japan in May 1989.
The camera was exported abroad thereafter attested by the presence of the golden oval little sticker("Passed" on the DP-20 viewfinder. In order to certify the quality production, two Japanese organizations, the Japan Camera Industry Institute (JCII) and the Japan Machinery Design Center (JMDC), joined forces to verify and mark the conformity of products for the foreign market. This is how, between the 1950s and 1980s, this famous little gold sticker was affixed, with the legendary "Passed", meaning that the device had been checked. Finally, when we say that the device had been checked, the production line had been checked because each device could not be checked individually.
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About the flash :
I received from a German seller for 50€ this Nikon Speedlight electronic flash SB-26 that was, at the time of Nikon F4, the most powerful dedicated Nikon flash (Guide Number 36 at full power and 100 ISO).
The SB-26 communicates with the Nikon F4 body (and many other Nikon camera's) and can be operated in many different modes including TTL real-time metering with automatic equilibration of the ambient light using the 5-zone matrix metering done by the DP-20 photometric viewer as well in the center-weighted mode. Other possibilities include the normal TTL mode, an Auto mode using the own sensor of the flash and a manual mode with 7 power levels.
The flash head can cover the optical field from super-wide angle lenses 18-20mm, wide-angle lenses 28mm and 35mm, normal lenses 50mm, and long-focal lenses at 70mm and 85mm. The head can be rotated according two axis for indirect lightening. In addition, the SB-26 has a special focusing aid for the Nikon F4 autofocus system, projecting in the the darkness a red focusing image. SB-23 flash can be also used as master or slave flash in a coordinated flash system.
The flash requires 4 AA alkaline cells for approximately 100 lights at full power and much more with energy recycling at lower power levels.
SAMEER SYED - HAPPY BIRTHDAY TO THE COOLEST LITTLE GUY I KNOW.
MY LOVING BROTHER - SAMEER
PHOTOSHOOT IN BHOPAL.
#BEINSPIRED #BIRTHDAY #CELEBRATE #LOVE #BROTHER
Same picture as JetBlue Tails, but processed differently.
Created by selecting the tails of the JetBlue planes (and port-a-potty) and desaturating the rest.
I think these three jigsaws were probably cut by the same unknown master cutter.
Left: Bronwen & Emma at work on the Pears jigsaw. I am still waiting for the photo of the completed jigsaw Bronwen!
Vintage Pears After School by Fred Morgan, 1893 Pears Annual, 2repl, Box with 1923 loan date (lower row, centre-right)
Details of After School, lower row & middle right)
Top Centre: Vintage 732pc The Hornpipe, 7pcmiss. This jigsaw was posted by Frances N and it is in a poor condition but well worth mending (it would be a sin not to restore it!). The edge pieces with their looping longarms, the wavy line with pointed oval-beads, the keyhole shapes with extra rings or haloes and the crosses all remind me of the other two jigsaws.
Top Right: Pears Vintage 693pc Macaroni by Sani, 1893 Pears Annual, 1repl (cut by laser), 23x19in. Crosses & linked Swastikas, the complex keyhole feature, and pointed ovals beaded on a dividing cut all make me think that this was the same cutter as that of Hornpipe. The dark, plain areas of the jigsaw showcase the glorious cutting. The jigsaw was bought from the same seller as After School. The box of this jigsaw is a plain brown cardboard with a small red-edged hand-written label (noting a lost piece).
Screenshot: Dirty
Larger screenshot of the same cheater listed.
Caught on our BattleField Heroes game server, cheating.
Our opinion is that this player lacks character with playing this game, and that lack of character is reminiscent of the lack of character in real-life. We believe that once a cheater always a cheater, so we ban the player's "Player" account(s).
Player Name: TheGaminBallards
Player URL: www.battlefieldheroes.com/en/player/2294871512
Hero Name: YoungPwner
Hero URL: www.battlefieldheroes.com/en/heroes/211584346
Date Caught: 04/29/2015
IP Address: 68.189.**.***
ISP: Charter Communications
HostName: 68-189-**- ***.dhcp.prtv.ca.charter.com
Hero short GUID: 13E21362
Location: California, United States
Near: Morgan Hill
~ GGC/PB Ticket #77929 ~
More: On file
(67.169)
* At the time of capture, a computer at this IP Address was caught with cheat-ware, while playing the game. Either our software found it on their computer or our software caught it in a screen shot of their computer. Ip Addresses can change if dynamic, so after time a person with this IP Address may not be the cheater caught.
La Vida Orchard Samal is a Bed and Breakfast located in the heart of Samal Island. The property is ideal for small group outings, couples and even solo explorers. They can also host different events specially if you are into having garden parties in the evening. The property is just 15 minutes from city center of Samal (Peñaplata) and is 2 minutes walk to the beach
visit www.nognoginthecity.com
Same Old Same Old
Featured Jan Wood & James Fagan Tait / Photos by Peter Pokorny
Same Old Same Old by Jan Wood & James Fagan Tait
Directed By Kaitlin Williams
Featuring Jan Wood, James Fagan Tait And Michael Shamata
Set, Props, & Costumes By Jessica Oostergo
Lighting By Jono Kim
Sound By Brian Linds
Director Of Photography Peter Carlone
Movement Coach Treena Stubel
Edited By Cande Andrade
Camera Operation & Tech Support Keith Houghton
Live Mixing By Greg Smith
Stage Manager Caryn Fehr
Assistant Stage Manager Becca Jorgensen