On December 19, 2024, I paid a visit to the two museums hosted in Gadagne, an imposing Renaissance ensemble in Lyon St-Jean, France. The first museum in devoted to the Puppetry and the second is the Lyon's History Museum (www.gadagne-lyon.fr/en).

I loaded my Nikon F4 (year 1989, see the details about the camera bellow) with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modified the nominal DX-coded 400 ISO sensitivity.

I choose the AF Nikkor lens 1:1.8 f=85mm with a protective Hoya HMC UV 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. I brought along too the Nikon SB-26 flashlight in my bag in case of necessity.

Cathédrale Saint-Jean Baptiste, December 19, 2024

69005 Lyon

France

After at view 30, the last seven views were completed the day after with a series a views of my Hasselblad 500 C/M camera at home. The film was then rewound (manually) and processed the film developed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min30 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 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with frame or the full size JPEG's together with some documentary smartphone color pictures.

--------------

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.

____________

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.

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A second session of "Near-IR" photography after the test one. Lyon, France, August 22, 2023.

Using a super-panchromatic film with an extended sensitivity in the red band and the very beginning ("near-infra red") of the infra-red domain, it would be possible to get special effects closed to infra-red photography.

I selected here a Rollei Retro 400S (Agfa Aviphot 400) originally used in aerial photography for its capacity to differentiate green tones and to clear in part the atmospheric haze. The Agfa Aviphot sensivity curve starts to decrease at 670 nm to fall at zero around 820 nm. The band starting at 780 (up to 2500nm) is called the "near infra-red" band.

The 36-exposure film was loaded in my Minolta X-500 SLR camera (year 1984) fitted with a normal lens Minolta MD 1:1.2 f=50mm.The lens was equipped with a 55mm screw-on IR filter with a cutoff at 720nm. Since the filter is so dark for a comfortable through-the-lens viewing, a FOCA "Universel" external view finder was used for an easy framing.

After the test film, the whole film was exposed this time only for 25 ISO using my Minolta Autometer III external light meter equipped with a selective 10° finder. The X-500 light metering system has not been used and was the camera was used in the manual mode using the exposure times typically of 1/125s or 1/60s and f/5.6 to 8.

Expositions were done in the morning between 10 and 12 am by a hot and bright sunny day.

Jardin Botanique de Lyon, August 22, 2023

Parc de la Tête d'Or

69006 Lyon

France

After completion, the film was processed using Adox Adonal developer (equivalent to Agfa Rodinal) at dilution 1+25, 20°C for 10min30. The film was then digitalized 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 then processed without intermediate files in LR and edited to the final jpeg pictures.

All frames 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 :

Minolta X-500 SLR was manufactured in Japan and released in 1983, two years after the famous X-700. Minolta X-500 was considered sometime as a more rational camera than X-700 without the contested "Program" P mode, and a more useful viewer displaying the manually selected shutter time plus the recommended one in the manual mode.

I bought this X-500 brand-new in my native city (in Blois, France) in 1984 from a trusted camera shop with three brand -new MD lenses : the MD 1:2 f=85mm, MD 1:2.8 f=20mm and a MD 1:2.8 f=35mm that are still in my lenses collection. The MD 1:1.2 f=50mm was purchased as a vintage lens on line in the mid 2010's.

A fourth study film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test in this session the matrix zone metering in the "A" automation mode (aperture priority) combined with the TTL mastering of the Nikon Speedilght SB-26 electronic flash for automatic equilibration of ambient and artificial light (fill-in exposition).

The Nikon F4 was loaded this time with an Ilford FP4+ with the DX coded nominal 125 ISO film sensitivity (transmitted to the SB-23 that displays it). The weather was quite darkened at first, but the sun appeared slightly in the middle of the afternoon. The AF Nikkor lens 1:1.4 f=50mm was fitted with a protective Hoya HMC anti-UV 52mm filter plus a generic cylindric metal shade hood.

For focusing I used all the time the single autofocus mode. 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).

View Nr 36: Body "M" mode, SB-26 "M" mode (1/8th power), 1/15s f/5.6, focus @ 3.5 m

At Home, November 18, 2024

69004 Lyon

France

After completion, 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 9min 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.

The results show that the Nikon F4 matrix metering coupled to the automatic shutter timing and TTL control of the SB-26 Speedlight torch gives amazingly well-exposed view quite consistent with my traditional way to determine the exposition manually for fill-in exposure mixing ambient and electronic torch.

Overall this third session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera even when the SB-26 is fitted to the camera body.

--------------

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.

____________

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.

After working on the first film done 3 days before in Lyon, district of La Part-Dieu, France, I returned there with the same equipment to extend a bit the series with ten new views. Then, I went by walk to the park "Tête d'Or" which not far away, and I did the rest of the film at Botanical Garden.

My Nikon F4 was loaded with an Iford HP5+ 36-exposure film. The film cartridge is DX-coded and I did not modify the nominal DX-coded 400 ISO sensitivity.

The AF Nikkor lens 1:2 f=35mm was equipped for the whole session with an Hoya HMC UV 52mm screw-on protective filter. A rectangular Minolta shade hood D54KC designed for the MC-Rokkor 1:2.8 f=35mm lens was used for the whole session. The light metering was done through the lens (TTL) either in the matrix or the spot metering of the Nikon F4 used in the "A" aperture-priority auto mode or the manual mode. The weather was covered with mist and still a bit cold (±0°C outside).

Fill-in flash using the Nikon SB-26 flashlight the TTL mode

Grandes Serres Tropicales, January 17, 2024

Botanical Garden

Parc de la Tête d'Or

69006 Lyon

France

I used my Nikon SB-26 flashlight when indicated. After completion the film was rewound and processed using 350 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 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.

--------------

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.

____________

About the lens:

The AF-Nikkor 1:2 f=35mm lens is part of the kit around my Nikon F4 year 1989. The kit now includes 3 very classical AF-Nikkor lenses of the same period of the Nikon F4 camera body, including the standard 1.4/50mm, the 1.8/85mm and the 2/35mm. The choice of fixed-focal lenses instead of zooms was already in 1989 a bit old-fashioned. However many photographers preferred still the homogenous rendering of a photo series done with a single focal lens. Generally speaking, a 35mm focal is a charming moderate wide-angle, very easy to use and particularly adapted for architectural and street-photography.

The AF-Nikkor 1:2 f=35mm is not a rare lens. However, when looked on eBay there was not tens of them available in EU. I bought a good one form a Belgian seller at a normal price (180€). The lens is in very good mechanical and optical condition and came with the rear and front caps. I sourced the dedicated Nikon HN-3 shade hood separately for 10€ .

____________

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.

5-21-2018

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A second session of "Near-IR" photography after the test one. Lyon, France, August 22, 2023.

Using a super-panchromatic film with an extended sensitivity in the red band and the very beginning ("near-infra red") of the infra-red domain, it would be possible to get special effects closed to infra-red photography.

I selected here a Rollei Retro 400S (Agfa Aviphot 400) originally used in aerial photography for its capacity to differentiate green tones and to clear in part the atmospheric haze. The Agfa Aviphot sensivity curve starts to decrease at 670 nm to fall at zero around 820 nm. The band starting at 780 (up to 2500nm) is called the "near infra-red" band.

The 36-exposure film was loaded in my Minolta X-500 SLR camera (year 1984) fitted with a normal lens Minolta MD 1:1.2 f=50mm.The lens was equipped with a 55mm screw-on IR filter with a cutoff at 720nm. Since the filter is so dark for a comfortable through-the-lens viewing, a FOCA "Universel" external view finder was used for an easy framing.

After the test film, the whole film was exposed this time only for 25 ISO using my Minolta Autometer III external light meter equipped with a selective 10° finder. The X-500 light metering system has not been used and was the camera was used in the manual mode using the exposure times typically of 1/125s or 1/60s and f/5.6 to 8.

Expositions were done in the morning between 10 and 12 am by a hot and bright sunny day.

Jardin Botanique de Lyon, August 22, 2023

Parc de la Tête d'Or

69006 Lyon

France

After completion, the film was processed using Adox Adonal developer (equivalent to Agfa Rodinal) at dilution 1+25, 20°C for 10min30. The film was then digitalized 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 then processed without intermediate files in LR and edited to the final jpeg pictures.

All frames 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 :

Minolta X-500 SLR was manufactured in Japan and released in 1983, two years after the famous X-700. Minolta X-500 was considered sometime as a more rational camera than X-700 without the contested "Program" P mode, and a more useful viewer displaying the manually selected shutter time plus the recommended one in the manual mode.

I bought this X-500 brand-new in my native city (in Blois, France) in 1984 from a trusted camera shop with three brand -new MD lenses : the MD 1:2 f=85mm, MD 1:2.8 f=20mm and a MD 1:2.8 f=35mm that are still in my lenses collection. The MD 1:1.2 f=50mm was purchased as a vintage lens on line in the mid 2010's.

A second session of "Near-IR" photography after the test one. Lyon, France, August 22, 2023.

Using a super-panchromatic film with an extended sensitivity in the red band and the very beginning ("near-infra red") of the infra-red domain, it would be possible to get special effects closed to infra-red photography.

I selected here a Rollei Retro 400S (Agfa Aviphot 400) originally used in aerial photography for its capacity to differentiate green tones and to clear in part the atmospheric haze. The Agfa Aviphot sensivity curve starts to decrease at 670 nm to fall at zero around 820 nm. The band starting at 780 (up to 2500nm) is called the "near infra-red" band.

The 36-exposure film was loaded in my Minolta X-500 SLR camera (year 1984) fitted with a normal lens Minolta MD 1:1.2 f=50mm.The lens was equipped with a 55mm screw-on IR filter with a cutoff at 720nm. Since the filter is so dark for a comfortable through-the-lens viewing, a FOCA "Universel" external view finder was used for an easy framing.

After the test film, the whole film was exposed this time only for 25 ISO using my Minolta Autometer III external light meter equipped with a selective 10° finder. The X-500 light metering system has not been used and was the camera was used in the manual mode using the exposure times typically of 1/125s or 1/60s and f/5.6 to 8.

Expositions were done in the morning between 10 and 12 am by a hot and bright sunny day.

Jardin Botanique de Lyon, August 22, 2023

Parc de la Tête d'Or

69006 Lyon

France

After completion, the film was processed using Adox Adonal developer (equivalent to Agfa Rodinal) at dilution 1+25, 20°C for 10min30. The film was then digitalized 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 then processed without intermediate files in LR and edited to the final jpeg pictures.

All frames 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 :

Minolta X-500 SLR was manufactured in Japan and released in 1983, two years after the famous X-700. Minolta X-500 was considered sometime as a more rational camera than X-700 without the contested "Program" P mode, and a more useful viewer displaying the manually selected shutter time plus the recommended one in the manual mode.

I bought this X-500 brand-new in my native city (in Blois, France) in 1984 from a trusted camera shop with three brand -new MD lenses : the MD 1:2 f=85mm, MD 1:2.8 f=20mm and a MD 1:2.8 f=35mm that are still in my lenses collection. The MD 1:1.2 f=50mm was purchased as a vintage lens on line in the mid 2010's.

On December 19, 2024, I paid a visit to the two museums hosted in Gadagne, an imposing Renaissance ensemble in Lyon St-Jean, France. The first museum in devoted to the Puppetry and the second is the Lyon's History Museum (www.gadagne-lyon.fr/en).

I loaded my Nikon F4 (year 1989, see the details about the camera bellow) with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modified the nominal DX-coded 400 ISO sensitivity.

I choose the AF Nikkor lens 1:1.8 f=85mm with a protective Hoya HMC UV 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. I brought along too the Nikon SB-26 flashlight in my bag in case of necessity.

Cathédrale Saint-Jean Baptiste, December 19, 2024

69005 Lyon

France

After at view 30, the last seven views were completed the day after with a series a views of my Hasselblad 500 C/M camera at home. The film was then rewound (manually) and processed the film developed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min30 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 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with frame or the full size JPEG's together with some documentary smartphone color pictures.

--------------

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.

____________

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.

CST 9165 (WB)

Specificity:Specific

Sensitivity:Reasonably sensitive

Sample:Mouse Fibroblast whole cell lysate.

Buffer:5% Milk, TBST.

Dilution:1/1000

Other experiment details:

1/40000 Rabbit secondary.

Antibody works well, but generally cannot be reused.

Full Review: 1dbio.org/qK7SLG

On December 19, 2024, I paid a visit to the two museums hosted in Gadagne, an imposing Renaissance ensemble in Lyon St-Jean, France. The first museum in devoted to the Puppetry and the second is the Lyon's History Museum (www.gadagne-lyon.fr/en).

I loaded my Nikon F4 (year 1989, see the details about the camera bellow) with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modified the nominal DX-coded 400 ISO sensitivity.

I choose the AF Nikkor lens 1:1.8 f=85mm with a protective Hoya HMC UV 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. I brought along too the Nikon SB-26 flashlight in my bag in case of necessity.

Smartphone documentary picture

Palais Gadagne, December 19, 2024

69005 Lyon

France

After at view 30, the last seven views were completed the day after with a series a views of my Hasselblad 500 C/M camera at home. The film was then rewound (manually) and processed the film developed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min30 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 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with frame or the full size JPEG's together with some documentary smartphone color pictures.

--------------

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.

____________

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.

A fourth study film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test in this session the matrix zone metering in the "A" automation mode (aperture priority) combined with the TTL mastering of the Nikon Speedilght SB-26 electronic flash for automatic equilibration of ambient and artificial light (fill-in exposition).

The Nikon F4 was loaded this time with an Ilford FP4+ with the DX coded nominal 125 ISO film sensitivity (transmitted to the SB-23 that displays it). The weather was quite darkened at first, but the sun appeared slightly in the middle of the afternoon. The AF Nikkor lens 1:1.4 f=50mm was fitted with a protective Hoya HMC anti-UV 52mm filter plus a generic cylindric metal shade hood.

For focusing I used all the time the single autofocus mode. 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).

View Nr 19: Body "A" mode with matrix metering for controlling both the ambient and flash power TTL giving 1/60s f/4, focus @ 1.6 m

Autumn Leaves, November 18, 2024

Parc de la Cerisaie** - Villa Gillet

69004 Lyon

France

** PARC DE LA CERISAIE, WHOSE NAME COMES FROM THE PRESENCE, OLD, OF A CHERRY ORCHARD ALREADY BELONGS TO THE CITY OF LYON: SINCE 1976.

Previously owned by the Gillet family, precursors of silk dyeing at the beginning of the 20th century, the park and the Villa built in 1911 by the architect Joseph Folléa communicated at the time directly with their factory installed on the banks of the Saône. In the 60s, their vast industrial empire merged with the Rhône-Poulenc group of which Renaud Gillet was president from 1973 to 1979.

Very quickly, the City of Lyon chose to open this park to the people of Lyon and to direct its vocation towards the Arts. Thus, during the 2nd and 3rd sculpture symposiums of 1980 and 1982 the park hosted many works. Some of them are still there.

The villa, renovated in 1986, also became a place dedicated to the Arts. Initially, it was the headquarters of the Fonds Régional d'Art Contemporain (FRAC), the organization supporting creation, before it was transferred to the Institut d'Art Contemporain de Villeurbanne.

Today, the villa houses three cultural institutions: La Villa Gillet, which defines itself as a Contemporary Research Unit and is interested in all forms of culture (literature, human, political and social sciences, history, or contemporary arts), the Agence Rhône-Alpes pour le Livre et la Documentation (ARALD) whose objective is to promote the culture of writing and activities related to books, and the Groupe Musiques Vivantes de Lyon which works for the creation and diffusion of acoustic music.

After completion, 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 9min 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.

The results show that the Nikon F4 matrix metering coupled to the automatic shutter timing and TTL control of the SB-26 Speedlight torch gives amazingly well-exposed view quite consistent with my traditional way to determine the exposition manually for fill-in exposure mixing ambient and electronic torch.

Overall this third session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera even when the SB-26 is fitted to the camera body.

--------------

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.

____________

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.

A second session of "Near-IR" photography after the test one. Lyon, France, August 22, 2023.

Using a super-panchromatic film with an extended sensitivity in the red band and the very beginning ("near-infra red") of the infra-red domain, it would be possible to get special effects closed to infra-red photography.

I selected here a Rollei Retro 400S (Agfa Aviphot 400) originally used in aerial photography for its capacity to differentiate green tones and to clear in part the atmospheric haze. The Agfa Aviphot sensivity curve starts to decrease at 670 nm to fall at zero around 820 nm. The band starting at 780 (up to 2500nm) is called the "near infra-red" band.

The 36-exposure film was loaded in my Minolta X-500 SLR camera (year 1984) fitted with a normal lens Minolta MD 1:1.2 f=50mm.The lens was equipped with a 55mm screw-on IR filter with a cutoff at 720nm. Since the filter is so dark for a comfortable through-the-lens viewing, a FOCA "Universel" external view finder was used for an easy framing.

After the test film, the whole film was exposed this time only for 25 ISO using my Minolta Autometer III external light meter equipped with a selective 10° finder. The X-500 light metering system has not been used and was the camera was used in the manual mode using the exposure times typically of 1/125s or 1/60s and f/5.6 to 8.

Expositions were done in the morning between 10 and 12 am by a hot and bright sunny day.

Jardin Botanique de Lyon, August 22, 2023

Parc de la Tête d'Or

69006 Lyon

France

After completion, the film was processed using Adox Adonal developer (equivalent to Agfa Rodinal) at dilution 1+25, 20°C for 10min30. The film was then digitalized 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 then processed without intermediate files in LR and edited to the final jpeg pictures.

All frames 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 :

Minolta X-500 SLR was manufactured in Japan and released in 1983, two years after the famous X-700. Minolta X-500 was considered sometime as a more rational camera than X-700 without the contested "Program" P mode, and a more useful viewer displaying the manually selected shutter time plus the recommended one in the manual mode.

I bought this X-500 brand-new in my native city (in Blois, France) in 1984 from a trusted camera shop with three brand -new MD lenses : the MD 1:2 f=85mm, MD 1:2.8 f=20mm and a MD 1:2.8 f=35mm that are still in my lenses collection. The MD 1:1.2 f=50mm was purchased as a vintage lens on line in the mid 2010's.

Fotógrafo - Marco Antonio

Stylist - Alessandro Lázaro

Beauty - Gil Anderson

Modelo - Catharina Zaninelli

working on my cultural sensitivity... but this is a little out there guys.

5-21-2018

Olympus E-510 ISO Sensitivity Web Page of Okirakubirder2

The Moon has moved too far east to be in the same frame as these two now. So I slapped the 300mm lens on and took a bunch of pix. There is a fine line between digital sensor sensitivity and noise: low ISOs give the cleanest image but the faintest stars for a given exposure. Whereas high ISO give the noisiest images but with the brightest stars. After playing with them all in post-processing, I decided that ISO 400 with some wavelet denoising was the best compromise. Taken April 27, 2009.

On page 6 of the textbook, read through Minor White’s notion of how a photographer walking down an average block “in a state of sensitized sympathy to everything to be seen…. would be exhausted and out of film” before finishing the short walk. Choose a short span of what you consider to be “average space,” a place that has nothing of obvious note about it (could be indoors, outdoors, but normally considered to be “unremarkable” by you) and put yourself in this kind of state of “sensitized sympathy” and hyper-acute awareness to your visual sense, and use this state of mind as the basis of a photographic exploration.

Reasons & Remedy for Tooth Sensitivity: On drinking cold water or a sip of tea or coffee makes you uneasy or eating ice-cream or yogurt is a nightmare, you may have a common problem known as “sensitive teeth.”

Various causes of sensitivity in teeth include:

1. Forceful brushing of teeth – it is the most common cause of tooth sensitivity.

Remedy:

✓ Gentle brushing of teeth

✓ Use soft bristle brush

✓ Change brush after 3- 6 months ( as the bristles wear away)

✓ Do brushing in up-down movement

2. Tooth decay

Caries in tooth lead to tooth sensitivity. Caries remove the protective enamel layer exposing dentine layer to food and fluids. Dentine carries nerves which causes sensitivity

Remedy: Treatment involves removal of tooth decay and placement of protective barrier on dentine that is a filling material

3. Old tooth fillings – over a period of time fillings may crack or break or get removed which leads to sensitivity.

Remedy: Change of filling in tooth

4. Exposed tooth roots- as a result of aggressive tooth brushing, gum recession and gum disease. It causes tooth sensitivity.

Remedy:

✓ Use soft bristle brush

✓ Visit your dentist for gum disease treatment

If your sensitivity is extreme and persists no matter what you do, please visit your dentist for an oral examination. Visit to dental specialist can determine the most likely cause of your tooth sensitivity and the best solution for your particular condition.

#ToothSensitivity #DentistConsultation #ParthaDental #DentalClinic

For the first black-and-white film with my new camera Pentax 17 (see below for the details about the camera), I loaded a special film given to me as a gift by « Ateliers de Marinette », Lyon, France. The film was spooled for 30-exposures (60 expected for the Pentax 17 that a half-frame camera) and is a bulk Ilford PanF Plus expire in 2005. The film is however well conserved and it could shot for the original 50 ISO sensitivity.

The Pentax 17 was equipped with an Anti-UV 40.5mm Hoya HMC filter. For the camera transportation, I used a small camera bag ThinkTank « Mirrorless Mover 5 » that was well protecting the camera from possibly damaging vibrations when using my bicycles.

The expositions were automatically metered by the camera system using the « P » program modes with, or without, flash. For very bright scenes the exposition was corrected by +0.3 to +1EV to compensate the biais induced (and reversely -0.3 to 0.7 EV for very dark scenes to objects).

Confluence Saône-Rhône, April 14 2025

69002 Lyon

France.

After completion the film was processed according the Marinette advice in Adox Adonal developer at 1+25 dilution for 7min at 20°C.

Single-frame digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm at approximate reproduction ratio of 1:2. The diffuse 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 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.

About the camera :

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.

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.

A fourth study film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test in this session the matrix zone metering in the "A" automation mode (aperture priority) combined with the TTL mastering of the Nikon Speedilght SB-26 electronic flash for automatic equilibration of ambient and artificial light (fill-in exposition).

The Nikon F4 was loaded this time with an Ilford FP4+ with the DX coded nominal 125 ISO film sensitivity (transmitted to the SB-23 that displays it). The weather was quite darkened at first, but the sun appeared slightly in the middle of the afternoon. The AF Nikkor lens 1:1.4 f=50mm was fitted with a protective Hoya HMC anti-UV 52mm filter plus a generic cylindric metal shade hood.

For focusing I used all the time the single autofocus mode. 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).

View Nr --: Body "A" mode with matrix metering for controlling both the ambient and flash power TTL giving 1/60s f/2, focus @ -- m

November 18, 2024

Parc de la Cerisaie - Villa Gillet

69004 Lyon

France

After completion, 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 9min 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.

The results show that the Nikon F4 matrix metering coupled to the automatic shutter timing and TTL control of the SB-26 Speedlight torch gives amazingly well-exposed view quite consistent with my traditional way to determine the exposition manually for fill-in exposure mixing ambient and electronic torch.

Overall this third session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera even when the SB-26 is fitted to the camera body.

--------------

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.

____________

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.

Police sensitivity training, slightly chilling.

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For the first black-and-white film with my new camera Pentax 17 (see below for the details about the camera), I loaded a special film given to me as a gift by « Ateliers de Marinette », Lyon, France. The film was spooled for 30-exposures (60 expected for the Pentax 17 that a half-frame camera) and is a bulk Ilford PanF Plus expire in 2005. The film is however well conserved and it could shot for the original 50 ISO sensitivity.

The Pentax 17 was equipped with an Anti-UV 40.5mm Hoya HMC filter. For the camera transportation, I used a small camera bag ThinkTank « Mirrorless Mover 5 » that was well protecting the camera from possibly damaging vibrations when using my bicycles.

The expositions were automatically metered by the camera system using the « P » program modes with, or without, flash. For very bright scenes the exposition was corrected by +0.3 to +1EV to compensate the biais induced (and reversely -0.3 to 0.7 EV for very dark scenes to objects).

Documentary smartphone picture

Serre aux Camélias, April 17, 2025

Grandes serres tropicales

Jardin Botanique de lyon

Parc de la Tête d'Or

69006 Lyon

France.

After completion the film was processed according the Marinette advice in Adox Adonal developer at 1+25 dilution for 7min at 20°C.

Single-frame digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm at approximate reproduction ratio of 1:2. The diffuse 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 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.

About the camera :

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.

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.

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With every passing day world is getting smaller and smaller than before. Advancement in communications technology has merged with the increasing economy of the world, to provide better options to people of different nations, languages, cultures in doing good business with one another.

Using a super-panchromatic film with an extended sensitivity in the red band and the very beginning ("near-infra red") of the infra-red domain. Then it would be possible to get special effects closed to infra-red photography.

I chose here a Rollei Retro 400S (Agfa Aviphot 400) originally used in aerial photography for its capacity to differentiate green tones and to clear in part the atmospheric haze. The Agfa Aviphot sensivity curve starts to decrease at 670 nm to fall at zero around 820 nm. The band starting at 780 (up to 2500nm) is called the "near infra-red" band.

The 36 exposure film was loaded in my Minolta XD5 SLR camera fitted with a normal lens Minolta MD 1:1.2 f=50mm and the lens equipped with a 55mm screw-on IR filter with a cutoff at 720nm. Since the filter is so dark for a comfortable through-the-lens viewing, a FOCA "Universel" external finder was used for an easy framing.

For each view, a bracketing of 3 pictures were done at settings starting for 50 ISO determined with a Minolta Autometer III light meter equipped with a selective 10° finder, then a frame +1EV, and the third at +2EV using the exposure times (1/250s, 1/125s and 1/60s) at the same diaphragm (typically between 4 and 5.6). The 36-exposure film will then fit a dozen of scenes.

Exposition were done between 2 and 4 pm by a hot (36°C) and bright sunny day.

Jardin Botanique de Lyon, August 1, 2023

Parc de la Tête d'Or

69006 Lyon

France

After completion, the film was processed using Adox Adonal developer (equivalent to Agfa Rodinal) at dilution 1+25, 20°c for 10min30. The film was then digitalized 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 then processed without intermediate files in LR and edited to the final jpeg pictures.

The 3 bracketed views of each scene gave significant results suitable for digital processing. Views "1" (50 ISO) are a bit under-exposed and views 3 (12 ISO) over-exposed. Best ones are usually the views "2" for 25 ISO.

Selected views among the bracket of 3 frames of the film are presented (excepted for some) 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 :

Minolta XD5 was manufactured in Japan and released in 1979, two years after the XD7 (XD11 in certain markets). The Minolta XD series was resized to the "gold dimensions" of the Barnack Leica (approx. 13x3x5 cm) as Olympus did for its OM1 several years before. Minolta XD5 is very closed to the XD7 body with only a few features suppressed. It has the same electronic shutter made of vertical metal blades and was the first SLR offering a double automatism with aperture priority (A) or shutter priority (S) when coupled to a new series of Minolta MD lenses. XD bodies served has basis for the Leica R4 to R7 SLR's and was developed consequently with Leitz. XD camera were more expensive than Minolta X-700 and X-500 famous SLR's and co-existed to the Minolta catalog from 1981 to 1984.

I found this XD5 from my local photography shop in March 2023 with its likely original normal lens : a Minolta MD (III) 1:2 f=50mm. For an unknown reason (maybe a bayonet mount imperfectly mounted), the camera does not give a perfect focus at infinite with trusted lens known to give exact results with my other Minolta's SLR camera's. This is significant starting from f/5.6 and neglect able at f/8. The camera however give correct focusing bellow 10-15m.

Adox is one of the older companies (founded in Germany in 1860) for photochemical products. The Adox films are commercially available in different formulations as the black-and-white Adox CHS 100 II at 100 ISO that I like to use for time to time and special high-resolution films derived from technical extra-fine grain films as the HR-50 and Scala 50 at 50 ISO. The film is called « super panchromatic » with an extended spectral sensitivity in the red to the near-IR band. It is said that, recently, HR-50 film was released under the Leica brand (Leica Monopan 50). Processing of these 50 ISO film with extra-fine grain developper gives interesting rendering, with of very smooth and rich tone range and a very high resolution. Both Scala 50 and HR-50 are coated on clear thin (0.1 mm) polyester teraphtalate (PET) basis with black and blue dies layers that dissolve in water for anti-halo properties.

In order to test the HR-50 film, I prepared here 1L of Adox Atomal 49 stock solution, thought to be identical to the former Agfa Atomal 49 and one of the recommended developers for HR-50. This developper is prepared from 3 separate powders A, B, and C to be dissolved in a given order explained clearly by the guide for preparation by Adox. Atomal 49 is known as an extra-fine developper, controlling well the contrast of highly contrasted films. I still did not use it because of the limited conservation time of the prepared stock solution (6-8 weeks) while the concentrate Adonal developper (identical to the original Agfa Rodinal in formulation of 1891) can be conserved indefinitely.

For testing the HR-50 film I picked up my Leica M3 (year 1956, see the details below about the camera) and its original standard collapsible lens Leitz Wetzlar Summicron lens 1:2 f=5cm with a 39mm Leitz Leica screw-on yellow filter, a 42mm push-on Leica lens cap and an original Leitz shade hood (Ref. Leitz IROOA). The film was exposed over two days on July 26 and 27, 2025 during two photo walk in my district, Lyon, France. Light metering was done using a Minolta Autometer III (1985) equipped either with a 10° finder for selective metering privileging the shadow area’s, or an integrating opal dome for incident-light metering. The filter light absorption was compensated by metering for 32 ISO instead of 50.

View Nr. 28: 1/100s f/5.6 focusing at 30m. Leitz Leica E39 "dunkelgelb" (dark yellow type 1, Ref. Leitz HOOBE or 13086 H)

July 27, 2025

Montée du Lieutenant Allouche***

69004 Lyon

France

_______

*** ALLOUCHE Fernand, Élie [Pseudonyms in the Resistance: Lieutenant Terrot, Fournet, Marius Cousty], born November 9, 1924, in Constantine (Algeria), summarily executed on August 19, 1944, in Grenoble (Isère); student at the La Martinière school in Lyon (Rhône, now the Lyon metropolitan area), surveyor student; member of the Resistance, certified as a member of the French Combatant Forces, Action R1 network, and a member of the Secret Army, certified as a lieutenant of the French Forces of the Interior and interned as a member of the Resistance (D.I.R.)

During 1942, although it is not known exactly how or when, he managed to reach London and was assigned to the Manchester Parachute School, from which he graduated as a lieutenant. A P2 agent of the Action R1 network, reporting to the BCRA from April 1, 1943, he was parachuted into France in May 1943.

He returned to Lyon and led sabotage and material recovery operations.

Arrested on November 5, 1943, and imprisoned in Saint-Paul Prison in Lyon, he escaped on May 5, 1944, from the Antiquaille Hospital in Lyon, where he had been hospitalized for treatment.

He then joined the Vercors Maquis, Sector 8 of the AS-Isère, and joined the General Staff, for which he carried out numerous reconnaissance and mine-laying missions.

When the 6th Alpine Chasseurs Battalion was reconstituted, he took command of the 3rd Platoon of the 2nd Company (Chabal Company). With his platoon, and despite being wounded, he managed to escape the Vercors encirclement and reach the Isère Valley after completing his last barrage mission at "Les Baraques-en-Vercors."

He was arrested again in Valence on July 25, 1944, and released on August 5, 1944.

Having returned to the Lyon region, he was arrested again on August 8, 1944, in Rillieux (Ain), now Rillieux-La-Pape (Lyon Metropolitan Area).

On August 13, 1944, he escaped again from the Grange-Blanche hospital, where he was being treated for his wound.

He reached Grenoble but was arrested at his base, Porte de France, on August 19, 1944, by French Waffen-SS soldiers. There are different accounts of his death: some say he escaped from the Gestapo compound in Grenoble, was caught, and shot dead by a burst of machine gun fire on Rue Nicolas Chorier.

According to others, he died under torture or was tortured and then shot in the back of the head.

He received the mention "Mort pour la France" (Died for France) and was registered as a member of the French Combatant Forces and French Forces of the Interior with the rank of lieutenant, and was interned as a member of the Resistance. He was awarded the Croix de Guerre 1939-1945 with palms and the Resistance Medal, and posthumously elevated to the rank of Chevalier of the Legion of Honor.

The street where he lived in Lyon (Montée du Mont Sauvage) is now named Montée Lieutenant Allouche.

_________

After completion to view Nr. 37, the film was processing in the Atomal 49 stock solution as recommended by Adox for 8min30 at 20°C.

Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The diffuse light source was a LED panel CineStill Cine-lite.

The RAW files obtained were inverted within the latest version of Adobe Lightroom 14 (14.4, June 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 together with some documentary smartphone color pictures.

About the camera and the lens :

This Leica M3 circa 1956 (Ref. Leitz ISUMO), double stroke, was sold to me with a Leitz Wetzlar Summicron collapsible normal lens 1:2 f=5cm of the same period equipped with a 39mm screw-on protective filter, a 42mm push-on Leica lens cap and an original Leitz shade hood (Ref. Leitz IROOA).

The camera was serviced in Paris, France, in 2018 by Gérard Métrot at Photo-Suffren, (a Leica boutique) who worked on the maintenance of camera's of famous French photographers as Henri Cartier-Bresson and Robert Doisneau. The camera was inspected by Odéon-Photo, Paris, another historic Leica place in Paris, in April 2024.

I sourced at the same time in Germany a stunning Leitz Leica leather bag (Ref; Leitz IDCOO) of the same model that appeared on the back cover page go the Leica brochure year 1954. This bag can accommodate the camera and a mounted Leica-Meter type M. The interior in covered with a carmin velvet in perfect condition.

The Leica M3 is one of the most iconic range-finder 35mm camera of the 50's and the 60's. It was produced in Wetzlar, Germany, in different versions at 226178 exemplars, between 1954 (n° 700000) and 1966 (n° 1164865, www.summilux.net/materiel/Leica-M3) . The Leica M3 was the result of the study of a "super-Leica" that was started before WWII and only achieved in the 50'S.

The greater improvement of the M3 compared the classical Leica's was in a magnificent and very complex range-finder combined to the view finder permitting the framing with the two eyes open, integrating the frame in the real and normal vision. The shutter integrates too the normal and the slow speeds in the same barillet. The film advance of this version of Leica M3 is also the typical "double-stroke" advance that was exclusive to the Leica M3 first versions.

The camera was transported to me from Paris to Lyon, France on April 26, 2024 and the bag arrived the day after.

Trumbull Sensitivity Day 2010 - Hwang, Massari, Soto, Nurse 2

A third study film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test in this session the matrix zone metering in the "A" automation mode (aperture priority). I had too my external lightmeter Minolta Autometer III equipped with the integrating dome for incident light metering. For a single view (Nr 24), I used the "EL" (exposure lock) functions to privilege the shadow area and the last view (Nr 37) was exposed in the incident light metering mode (external metering).

The Nikon F4 was loaded this time with a Kodak Professional 400TX (Tri-X) with the DX coded nominal 400 ISO film sensitivity. The weather was quite darkened with an average afternoon temperature was of 7°C. I exposed the film over two consecutive days on November 12, 2024 from view 1 to 26 and the day after for the rest. The AF Nikkor lens 1:1.4 f=50mm was fitted with a protective Hoya HMC anti-UV 52mm filter plus a generic cylindric metal shade hood.

For focusing I used all the time the single autofocus mode. 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).

View Nr 7: "A" mode with matrix metering giving 1/45s f/2 focus @ 0.67m

Grandes Serres, November 12, 2024

Parc de la Tête d'Or

69006 Lyon

France

After completion, 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 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 7min30 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.

The results show that the Nikon F4 matrix metering coupled to the automatic shutter timing gives amazingly well-exposed view quite consistent with my traditional way to determine the exposition manually.

Overall this third session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera. It's a real joy to use.

--------------

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.

On December 19, 2024, I paid a visit to the two museums hosted in Gadagne, an imposing Renaissance ensemble in Lyon St-Jean, France. The first museum in devoted to the Puppetry and the second is the Lyon's History Museum (www.gadagne-lyon.fr/en).

I loaded my Nikon F4 (year 1989, see the details about the camera bellow) with a Rollei RPX 400 which is the former formula of the Agfa APX 400. The film cartridge is DX-coded and I did not modified the nominal DX-coded 400 ISO sensitivity.

I choose the AF Nikkor lens 1:1.8 f=85mm with a protective Hoya HMC UV 62mm screw-on filter plus its dedicated Nikon HN-23 metal shade hood. I brought along too the Nikon SB-26 flashlight in my bag in case of necessity.

Ambiant light, M mode, 1/60s f/2, spot metering

Indian shadow theater puppets

Palais Gadagne, December 19, 2024

69005 Lyon

France

After at view 30, the last seven views were completed the day after with a series a views of my Hasselblad 500 C/M camera at home. The film was then rewound (manually) and processed the film developed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min30 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 14.1.1) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with frame or the full size JPEG's together with some documentary smartphone color pictures.

--------------

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.

____________

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.

A fourth study film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test in this session the matrix zone metering in the "A" automation mode (aperture priority) combined with the TTL mastering of the Nikon Speedilght SB-26 electronic flash for automatic equilibration of ambient and artificial light (fill-in exposition).

The Nikon F4 was loaded this time with an Ilford FP4+ with the DX coded nominal 125 ISO film sensitivity (transmitted to the SB-23 that displays it). The weather was quite darkened at first, but the sun appeared slightly in the middle of the afternoon. The AF Nikkor lens 1:1.4 f=50mm was fitted with a protective Hoya HMC anti-UV 52mm filter plus a generic cylindric metal shade hood.

For focusing I used all the time the single autofocus mode. 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).

View Nr 20: Body "A" mode with matrix metering for controlling both the ambient and flash power TTL giving 1/60s f/4, focus @ 1.15 m

Hereda helix, L., November 18, 2024

Parc de la Cerisaie** - Villa Gillet

69004 Lyon

France

** PARC DE LA CERISAIE, WHOSE NAME COMES FROM THE PRESENCE, OLD, OF A CHERRY ORCHARD ALREADY BELONGS TO THE CITY OF LYON: SINCE 1976.

Previously owned by the Gillet family, precursors of silk dyeing at the beginning of the 20th century, the park and the Villa built in 1911 by the architect Joseph Folléa communicated at the time directly with their factory installed on the banks of the Saône. In the 60s, their vast industrial empire merged with the Rhône-Poulenc group of which Renaud Gillet was president from 1973 to 1979.

Very quickly, the City of Lyon chose to open this park to the people of Lyon and to direct its vocation towards the Arts. Thus, during the 2nd and 3rd sculpture symposiums of 1980 and 1982 the park hosted many works. Some of them are still there.

The villa, renovated in 1986, also became a place dedicated to the Arts. Initially, it was the headquarters of the Fonds Régional d'Art Contemporain (FRAC), the organization supporting creation, before it was transferred to the Institut d'Art Contemporain de Villeurbanne.

Today, the villa houses three cultural institutions: La Villa Gillet, which defines itself as a Contemporary Research Unit and is interested in all forms of culture (literature, human, political and social sciences, history, or contemporary arts), the Agence Rhône-Alpes pour le Livre et la Documentation (ARALD) whose objective is to promote the culture of writing and activities related to books, and the Groupe Musiques Vivantes de Lyon which works for the creation and diffusion of acoustic music.

After completion, 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 9min 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.

The results show that the Nikon F4 matrix metering coupled to the automatic shutter timing and TTL control of the SB-26 Speedlight torch gives amazingly well-exposed view quite consistent with my traditional way to determine the exposition manually for fill-in exposure mixing ambient and electronic torch.

Overall this third session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera even when the SB-26 is fitted to the camera body.

--------------

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.

____________

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.

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A fourth study film with my Nikon F4 to test further of its numerous functions. In particular, I would like to test in this session the matrix zone metering in the "A" automation mode (aperture priority) combined with the TTL mastering of the Nikon Speedilght SB-26 electronic flash for automatic equilibration of ambient and artificial light (fill-in exposition).

The Nikon F4 was loaded this time with an Ilford FP4+ with the DX coded nominal 125 ISO film sensitivity (transmitted to the SB-23 that displays it). The weather was quite darkened at first, but the sun appeared slightly in the middle of the afternoon. The AF Nikkor lens 1:1.4 f=50mm was fitted with a protective Hoya HMC anti-UV 52mm filter plus a generic cylindric metal shade hood.

For focusing I used all the time the single autofocus mode. 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).

View Nr 36: Body "M" mode, SB-26 "M" mode (1/8th power), 1/15s f/5.6, focus @ 3.5 m

At Home, November 18, 2024

69004 Lyon

France

After completion, 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 9min 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.

The results show that the Nikon F4 matrix metering coupled to the automatic shutter timing and TTL control of the SB-26 Speedlight torch gives amazingly well-exposed view quite consistent with my traditional way to determine the exposition manually for fill-in exposure mixing ambient and electronic torch.

Overall this third session with the Nikon F4 confirms that the camera is very pleasant to use despite its 1.7kg (fitted with its standard 1.4/50mm). The minimalistic Nikon neck strap remains comfortable and well proportionated to the camera even when the SB-26 is fitted to the camera body.

--------------

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.

____________

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.

Fotógrafo - Marco Antonio

Stylist - Alessandro Lázaro

Beauty - Gil Anderson

Modelo - Catharina Zaninelli

5-21-2018