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apertureonepointfour "No matter what camera you use—the main thing is that you shoot!" apertureonepointfour, 2020 Welcome! This space is dedicated to exploring the fascinating world of cameras, lenses, and photographic gear—all through the lens of a dedicated collector with a deep-rooted passion for both the art of photography and the technology behind it. "It’s not the gear, it’s the finger on the shutter." apertureonepointfour, 2025 Wondering where the name comes from? It’s a nod to two of my all-time favorite lenses: the classic Canon New FD 50mm f/1.4 and the razor-sharp Sigma Art 40mm f/1.4 for Sony E-mount. My journey into photography began way back in 1982 when I picked up my first camera at the age of 11. Over four decades later, the spark is as bright as ever. I love sharing my hands-on experiences, tips, and reviews with the community—both on my YouTube channel @apertureonepointfour and directly here on my website. Glad to have you here! about me Hey man are you crazy Do you take photos with a digital camera and use flash lamps ?! Yes, I am!!! It's funny, it's crazy and it's a real head turner !!! But watch out! Never connect flash lamps directly to your digital camera! Your camera's electronics could be damaged. Interested in exploring further? Here is just a small selection of featured topics available for "quick access"! Rollei 35 Tessar 3.5 40mm T * Rollei 35 S with Sonnar 2.8 40mm HFT here is the article Rollei 35 Tessar 3.5 40mm T * Rollei 35 S with Sonnar 2.8 40mm HFT here is the article Nikon F5 the last AF-KB analog workhorse with changeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about film here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article Contaflex Super BC here is the article different systems here is the article Join the Conversation! Leave a Comment! A website truly comes alive through discussion, and I would love to hear your thoughts! Do you have personal experience with the cameras or lenses featured here? Is there a technical detail you would like to add, or do you have questions about the reviews? This comment section is your space. Share your own experiences with analog and digital photography, chat with fellow enthusiasts, or simply leave some quick feedback. I read every single comment and am always excited to hear from you. So, grab a cup of coffee, share your insights, and let’s talk photography! comments debug Comments (2) Rated 0 out of 5 stars. No ratings yet Add a rating Write a comment Write a comment Sort by: Newest Martin Weber 4d ago Vielen Dank für deine großartige Arbeit beim Erstellen dieser Webseite. Du schreibst über so viele Kamerasysteme, deine Begeisterung dafür ist total ansteckend! Viele Grüße "Der Minolta-Martin" Like Reply Stefan Lotz Admin 3d ago Replying to Martin Weber Vielen Dank für deinen Kommentar. Ich bin ein eben kleiner Foto-Nerd 😁. Like Reply

A Minolta MD 50mm f/1.4 lens (a classic "standard lens"). The focus ring is set to infinity and an aperture of f/8 has been selected. The zone that will appear acceptably sharp with these settings can be easily read directly from the lens barrel. Just look at the indicator markings below the feet and meter scales, as pointed out by the two yellow arrows! That's it! At f/8, the depth of field stretches from approximately 10 meters all the way to infinity (and visually even beyond on the scale)—indicated by the two white arrows! If you stop down to f/16, the depth of field expands even further, covering everything from 5 meters to infinity. You can now easily check and verify this on the scale yourself! The exact same Minolta MD lens, but now the distance scale is set to 3 meters (around 10 feet), with the aperture remaining at f/8. As you can see, the depth of field has shrunk significantly and now only stretches from approximately 2.5 meters to about 4 meters! Even if you stop all the way down to f/16, your subject will only appear acceptably sharp from about 2 meters to just under 10 meters. Tip: There are a number of apps for your smartphone that automatically calculate the depth of field for a variety of focal lengths and distance settings. Tip: As a rule of thumb, wide-angle lenses offer a greater (larger) depth of field than normal or telephoto lenses at the same distance from the camera to the subject. Here is the simple explanation of why this lens became the standard for the 35mm format: 1. The Optical Reason: A Natural Perspective When you look through the viewfinder of a camera equipped with a 50mm lens (while keeping your other eye open), you will notice that the scale and perspective of objects appear almost exactly as they do to the naked human eye. No Distortion: A wide-angle lens visually pushes objects into the distance and makes the foreground look massive. A telephoto lens, on the other hand, compresses the scene and pulls the background closer. The "Normal" View: The 50mm lens behaves neutrally. It reproduces perspective, depth, and spatial relationships between the foreground and background exactly the way we as humans are used to seeing. This is where the term "normal lens" originates. 2. The Mathematical Reason: The Sensor Diagonale In optical engineering, there is a fixed physical rule used to determine the normal focal length of any given camera system: The normal focal length mathematically corresponds to the diagonal measurement of the recording format (the image sensor or film negative). Therefore, the exact mathematical normal focal length for the 35mm format is actually just under 43mm (which is why a few legendary lenses were built with a 40mm or 43mm focal length). So why did 50mm become the standard? When Oskar Barnack designed the original Leica for the 35mm film format back in the 1920s, he opted for a 50mm lens (the legendary Leitz Elmar). First, a 50mm lens was optically less complex to calculate and manufacture with higher image quality at the time compared to an exact 43mm lens. Second, the slightly tighter field of view of a 50mm lens perfectly compensated for the fall-off in sharpness at the extreme corners of the film negative. Since the Leica was the system that made the 35mm format famous in the first place, the 50mm focal length historically became established as the undisputed standard for the "normal lens." back

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Thanks for your donation. With this you support the further maintenance and expansion of my site. I also use the donation to buy brochures, cameras, lenses and photographic accessories. So I can offer you new content in the future as well. And I keep saying "Thank you" for visiting my website and I hope you enjoy browsing! back to: Brochures and brochures

Slide film, my preferred recording material during the heyday of film photography – in color and black and white. My cameras were eating up this material like crazy. Agfa Dia Direct Black and White Slide Projection The film industry once offered dedicated black and white reversal films for slide projection. A well-known example was the Agfa Dia-Direct film: the purchase price included development costs, and the film had to be mailed directly to Agfa for processing. Production and sales of these specialty films have long since been discontinued. Agfa Scala 200 / 200X Black and White Slides: The Agfa Scala Era The Agfa Scala—and its successor, the Agfa Scala X—is widely considered the legendary successor to the Agfa Dia-Direct. Unlike standard films, the Scala was a true black and white reversal film. Prized for its high sensitivity and exceptional tonal range, it became the gold standard for B&W slide photography. Unfortunately, production ceased in the mid-2000s following Agfa's insolvency. However, if you are looking for black and white slides today, you are in luck: While Tetenal previously offered a B&W reversal kit for processing standard negative films, the Czech manufacturer Foma is the go-to source today. Their Fomapan Reversal Kit allows you to develop modern black and white films into stunning positive slides. Give it a try! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

35mm black-and-white film was my preferred recording medium, alongside photography on slide film. I have developed thousands of these black-and-white films since 1982. My favorite films were Ilford Pan F, HP5, and later Kodak T-Max 400. 1 A black-and-white negative film strip in a protective glassine sleeve. Featured here is Ilford Delta 400, which was my personal go-to black-and-white negative film throughout the 1990s. Ilford states the following about this film: "ILFORD DELTA 400 Professional revolutionized black and white photography upon its release, winning 'European Black and White Film of the Year 1991/92'. Its pioneering 'core-shell' crystal technology delivered an unprecedented, exceptional image quality. The outstanding sharpness and fine grain of the negatives amazed industry experts and photographers alike." "Despite their benchmark-setting characteristics, both films have been improved even further. To reflect these enhancements externally, the word 'PROFESSIONAL' was added to the product name. The 100 DELTA PROFESSIONAL and the recently upgraded and now renamed DELTA 400 PROFESSIONAL differ from their predecessors by the following advancements: Even higher negative sharpness and acutance. Increased latitude for handling underexposure. Significantly less degradation in image quality during push processing (see section 4.1). Greater compatibility and a wider choice of suitable film developers." comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Polaroid actually had 35 mm instant films in its range, but these are almost forgotten today. These products were called Polachrome, Polapan, and Polablue. They were 35 mm slide films that did not need to be sent to a photo lab after exposure, but were developed directly on site in a small, handy “AutoProcessor.” There were three types of film: Polachrome: color slide film (ISO 40) Polapan: black-and-white slide film (ISO 125) Polablue: special film with a blue color cast for graphic effects Polachrome It was actually a brilliant concept: a color slide film that could be easily developed at home right after exposure, allowing the photographer to hold the finished slides in their hands after a total processing time of just five minutes, including prep and post-work. No wet hands, no measuring of water or chemistry, and not even a darkroom was required. Every roll of film came bundled with its own processing pack. The exposed film and the pack were simply loaded into a Polaroid AutoProcessor, where development took place. Watch the video to learn more! Unfortunately, Polaroid discontinued this entire film lineup in the early 2000s. The most famous among them, Polachrome , was a true instant color slide film. Polapan In addition to the three film types mentioned above, Polaroid also manufactured Polablue BN , a high-contrast blue-and-white film rated at just ISO 8. Polapan , on the other hand, was a black-and-white slide film with a speed of ISO 125, which was available in both 12 and 36 exposure rolls. For a fun and experimental day of shooting, I highly recommend looking into Polapan and Polagraph films. However, it takes a bit of luck regarding the condition of the vintage stock. Out of five Polachrome films that I personally tried to shoot, I was unfortunately only able to develop a single roll. With all the others, the process failed completely due to the processing chemistry in the packs having dried out entirely over the decades. Polagraph Polagraph films were high-contrast black-and-white stocks, specifically designed by Polaroid for capturing charts, tables, and line art, though they can also be used beautifully for artistic and creative photography today. The viewfinder shot shown above was captured on Polagraph film, while the other two images (featuring the Hasselblad and the film packaging) were taken using Polachrome film. My final verdict: As long as there are still old, expired stocks floating around out there—go grab one for yourself! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Hasselbald V - das analoge Mittelformatsystem aus Schweden. Mit Objektiven von Carl Zeiss aus Oberkochen sorgt es für die Freunde der analogen Filmfotografie für umwerfende, detailreiche Bilder. Mein Mittelformattraumsystem. Hasselbald V-system Ever since I was young, there was an undeniable equation in my mind: medium format equals Hasselblad. The ultimate turning point came entirely unexpected when my father surprised me with a secondhand Hasselblad 500C/M and a Carl Zeiss Planar CF 80mm f/2.8 T*. What an absolute dream of a gift! In the years that followed, I had the privilege of shooting with plenty of other high-caliber medium format systems—like the Pentax 67, Mamiya 645 1000s, Mamiya C330f, Rolleicord, and the Mamiya Universal Press. Yet, in terms of overall prestige, build, and elegance, nothing quite holds a candle to a Hasselblad. The stellar performance and unique character of those legendary Carl Zeiss lenses from Oberkochen are simply in a league of their own. Hasselblad Product Catalog 2000 You can browse through this catalog and see which products Hasselblad had in store for this system in 2000. Hasselbald camera operator Hasselblad camera operator with models 201F, 203F, 205 TCC, 501c, 503cxi, 553 ELX and 903 SWC. The camera operator briefly introduces the models mentioned on a maximum of 1 page. A "MUST" for all Hasselblad lovers. Hasselblad brochure 1982 A little journey through time - the Hasselblad slide projector is also presented in the brochure! Hasselblad General prospectus The Hasselblad general brochure for the cameras 500EL / M, SWC / M, 2000FC and 500C / M with all lenses and accessories - absolutely worth seeing! Hasselblad 2000FC / M brochure A Hasselbald camera with focal plane shutter - but also suitable for central shutter lenses Hasselblad coming soon Another brochure / catalog awaits you here soon! You can receive a high-quality scan of the Hasselblad camera guides and product catalogs for a small contribution starting at €2.99 via PayPal. Your support helps me maintain and preserve this website. The digital files are usually sent out on the very same day payment is received, directly to the email address associated with your PayPal account. Thank you very much! 35mm panorama Do you already own a Hasselblad and want to shoot 35mm film in it just for fun? Maybe discover a new format? Expand your creative potential? Then this is an inexpensive way to get started with a new shooting format. Budget-friendly offers for the necessary film reels and viewfinder masks constantly pop up on online auction sites. Of course, you could also just crop a 6x6 negative or slide to get a panoramic format. But shooting 35mm film in a panorama format just looks way cooler. And cropping a roll of film is a sin :-) For me the 1st time After the film was loaded, the camera went for a walk with its owner. The first pictures were taken, and right away, the first obstacle appeared: portrait orientation. I was only able to take photos in portrait mode—unless I wanted to completely contort myself because of the waist-level finder. No, not this time. So, make sure to bring your prism finder with you! The A12 magazine with a difference Check out my video on this topic. You can find it on my YouTube channel "apertureonepointfour" or embedded further down this page. You are more than welcome to subscribe to my channel! A big "thank you" in advance for your support. And now? How do I get the film? All 12 pictures were in the box—an A12 magazine doesn't allow for more. And now what? I had wound the 35mm film onto a standard roll film spool. As you know, medium format roll films are not rewound; they are simply protected from light by their backing paper. Well, that meant the fun was over after just a short time. Back home, I carefully extracted the film inside a changing bag and rewound it manually into its original cartridge. That way, I could send it off for developing without any hesitation. Lesson learned once again! I need another set of those adapters that make 35mm film compatible with the 120 magazine. And, of course, an empty film cartridge to rewind it into. With that setup, changing the film should work seamlessly, even without a changing bag. More on this in my video! With this procedure, the 35mm film’s sprocket holes and the edge lettering are also exposed. You can either scan the entire film strip and crop the image later during post-processing, or you can keep the picture exactly as it is—in all its glory. For me, that’s definitely the cooler option. Hasselblad V-System: Four must-have accessories for your V-cameras (500cm, 500 EL-M, 500 EL-X)! Hasselblad V-System: Why you should buy older Carl Zeiss C-Lenses! Hasselblad Videos Hasselblad V-System: Using the non automatic bellows (inclusive a few tricks) Hasselblad: Format Masks 6x4.5 and 6x3 for the analog V-system Hasselblad V System: Waist level finder - Install diopter correction lens Hasselblad: Loading a C12 magazine with a superimposed Agfachrome 1000 RS-inclusive tips and tricks Hasselblad V-System: How to attach and remove an extension ring or a bellow! Hasselblad V-System: Use of tripod quick couplers Hasselblad V-System: Photographing classic cars with the 501c and the expired Agfacolor XRS 400 Disaster struck! Hasselblad crash while shooting rare expired Kodak Film Vericolor 160 Ich habe bisher zwei Leitfäden für euch zum Hasselblad V-System zusammengestellt: Der erste Leitfaden, "Hasselblad Modellhistorie" , behandelt alle jemals produzierten Hasselblad V-Kameras sowie die Objektive ohne Zentralverschluss, die ausschließlich an Modellen mit Schlitzversc hluss verwendet werden können. Der zweite Leitfaden, "Ein umfassender Systemüberblick" , führt euch in die Welt der Objektive mit Zentralverschluss ein, erklärt das modulare Magazinsystem und bietet eine detaillierte Übersicht aller jemals hergestellten Suchermodelle sowie ausgewähltem Spezialzubehör. Ich plane, diese Leitfäden stetig zu erweitern. Falls ihr Anmerkungen habt oder euch etwas auffällt, lasst es mich gerne in den Kommentaren wissen oder schreibt mir eine E-Mail. comments debug Comments Couldn’t Load Comments It looks like there was a technical problem. Try reconnecting or refreshing the page. Refresh

Sheet films are photographic films that are usually inserted into a sheet film cassette in complete darkness and are intended for large format cameras. Common sizes are 4×5 inches, 5×7 inches, or 8×10 inches. After exposure, the film is removed and developed. Due to their size, sheet films can capture a lot of detail and deliver the highest image quality, fine grain, and maximum sharpness. Sheet films for large format photography For large format photography, I use these two films almost exclusively. On the left is a Kodak Ektachrome E100, color slide film. Click here for the data sheet. Pictured on the right is a black-and-white negative film from Ilford. Click here for the data sheet. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Probiert und für phänomenal befunden - Kodak Motion Picture Film 3 im Gesamtpaket von Silbersalz35 Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm The Kodak Motion Picture Film 3 is offered in four different versions. For more information, check out the provider's website directly: www.silbersalz35.com You can find more of my experiences - including the Apollon 14K scan - right here. Important! This is unpaid advertising, I am simply completely blown away by this product! Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm The following films are currently available (May 2021) available: 50D (daylight) 250D (daylight / daylight) 200T (tungsten / artificial light) 500T (tungsten / artificial light) The terms Daylight and Tungsten refer to the color coordination of the film. The film is sent to silver salt for developing (not a "normal" C41 negative process). At the same time, you will receive the images scanned - and in excellent quality. Important! This is unpaid advertising, I am simply completely blown away by this product! Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm These three pictures were created with the 250D daylight version ("D" stands for daylight). This is a film for filmmakers, which is wound into KB cartridges by the company. Important! This is unpaid advertising, I am simply completely blown away by this product! New: 14K Apollon Scan by silbersalz An unprecedented resolution of approx. 14204 x 8820 scan resolution. Here you can learn everything about the fantastic scanning possibilities of silbersalz35. Check out more pictures, this time captured on the Kodak Motion Picture Film 500T. Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm, konvertiert in SW mit Photoshop CC Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm - im vollen Gegenlicht sind deutliche Überstrahlungen zu erkennen Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Instant films allow you to obtain finished prints immediately after taking a photo. Polaroid pioneered the process in 1948 with integral films, in which development and imaging take place in a single step. In addition to its own integral films, Polaroid and Fuji also offered split-image films, in which the negative and positive are separated from each other after a short development time. Today they are only available to a limited extent, mostly superimposed. Fuji FP100c Peel-Apart-Film Fuji FP-100C – Peel-Apart-Film This image was shot using a Polaroid back for the Mamiya Press on Fuji FP-100C instant film. Polaroid 600 Polaroid 600 Film Who doesn't know them - the legendary Polaroid photos? Family photos, party pictures, snapshots to pass around, so many memories have been captured on Polaroid instant film. A typical image defect can be seen on the right photo. Here, the chemistry was not distributed evenly when the film ejected. Therefore, the rollers in the ejection slot should be cleaned regularly. This keeps them moving smoothly and helps prevent these types of artifacts. Fuji FP100c Peel-Apart-Film Fuji FP-100C – Peel-Apart-Film This image was also shot using a Polaroid back for the Mamiya Press on Fuji FP-100C instant film and scanned with the Epson V850. Polaroid 600 Polaroid 600 Polaroid offered numerous models for the System 600. You can see an example here. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Black-and-white films for the C-41 process are special films that are developed like conventional color negatives instead of using the classic black-and-white process (B/W). They can be processed in standard C41 labs, offering easy handling, fast development, and color compatibility with scanners or photo prints. Typical example is the Ilford XP2 Super. Unfortunately, Kodak BW400CN has not been produced for years. Ilford XP 2 super Ilford XP2 Super Ilford XP2 Super is a unique black-and-white negative film. It is designed to be processed in standard C-41 color negative chemistry and therefore cannot be developed using conventional black-and-white developers. A distinctive characteristic of this film stock is its slightly pinkish base. Until 2014, Kodak offered a similar film with their BW400CN. The sample image shows two 6x6 negatives shot with a Rolleicord. Kodak and Fuji also offered this type of film, read more about it in the article below. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.