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 Jun 01 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 Jun 02 Replying to Martin Weber Vielen Dank für deinen Kommentar. Ich bin ein eben kleiner Foto-Nerd 😁. Like Reply

Nicht immer liefert der eingebaute Belichtungsmesser die gewünschten Ergebnisse, obwohl die Kamerahersteller immer weiter entwickelte Messverfahren in ihre Kameras integrieren. In diesem Artikel möchte ich euch die Grundlagen, gepaart mit etwas Hintergrundwissen, der Belichtungskorrektur näher bringen - und dieses so einfach wie möglich, aber dennoch effektiv. Light Metering and Exposure Compensation – Made Simple – Most modern SLR, DSLR, and mirrorless cameras feature a built-in light meter that offers a variety of different metering modes. No matter the camera, the technical goal of light metering remains identical: based on the selected film or sensor sensitivity (ISO, ASA, DIN), the camera aims to calculate the perfect combination of shutter speed and aperture value to ensure the main subject is correctly exposed. A "correctly" exposed image means it is neither too bright nor too dark—shadows don't block up (clip to pure black) and highlights aren't "blown out" or overexposed. Of course, this describes an ideal scenario. Depending on the scene's high contrast, this perfect balance often cannot be achieved in-camera and requires subsequent post-processing in the darkroom or on a computer. Camera manufacturers have continuously advanced built-in light meters, leading to a wide range of systems and brand-specific terminology on the market. A Quick Overview of Common In-Camera Metering Modes Center-Weighted Metering (Integral): This classic method utilizes the entire photographic frame to determine exposure. It factors in the whole image area equally, without placing special emphasis on any single section. Center-Weighted Average Metering: This mode evaluates all the light hitting the film or sensor but assigns significantly more weight to the center of the frame than to the edges. This is based on the practical assumption that the main subject is more frequently located in the center of the composition. Evaluative / Multi-Segment Metering: An excellent, universal metering mode that handles tricky situations like backlighting remarkably well. The camera automatically assesses the scene and adjusts exposure based on the specific shooting conditions. Multi-segment metering is simply another term for this mode, used by systems like the Pentax 645N or NII. However, as you can see in the video, even this advanced method has its limitations. Matrix Metering (Nikon Models): This setting delivers natural-looking exposure results in the vast majority of shooting environments. The camera measures brightness across a wide area of the frame, analyzing tonal distribution, color, and composition. When using a CPU-enabled lens (Type G, E, or D), it also factors in 3D distance information (3D Color Matrix Metering III). For other CPU lenses without distance data, it defaults to standard Color Matrix Metering III. Highlight-Weighted Metering (Nikon Models) : The camera biases the exposure strictly toward the brightest areas of the scene. This method is incredibly useful for preventing detail loss in the highlights, such as photographing stage performers under intense spotlights. Partial Metering: Only a specific, restricted part of the subject is used for the exposure reading. The partial metering area is indicated in the viewfinder and covers only a small percentage of the frame. For instance, on the Canon EOS R6, the partial metering area encompasses exactly 5.8% of the total frame. Spot Metering: An even more precise method where only a tiny fraction of the frame is metered. The spot circle is visible in the viewfinder; on the Canon EOS R6, it covers just 2.9% of the frame. On many modern bodies, the spot metering circle can be linked directly to the active autofocus point. Multi-Spot Metering: This allows you to take multiple individual spot readings (as described above) across different areas of the scene. The camera then calculates the precise average value. Note: Only use this under controlled lighting conditions. It requires experience to know which points to sample and whether the dynamic range of the scene can actually be captured by the film or sensor. Live View and Exposure Compensation Modern mirrorless digital cameras offer the distinct advantage of displaying the scene in the electronic viewfinder (EVF) or on the LCD exactly as it will be captured. If this setting is enabled, you can see the immediate impact of your metering and use the Exposure Compensation Button (marked with "+" and "-") to make adjustments and track them "live." This button alters the baseline exposure values calculated by the camera: The "+" Setting (Overexposure): Intentionally allows more light to hit the film or sensor than the meter suggested. The camera accomplishes this by either slowing down the shutter speed (e.g., from 1/125 sec. to 1/60 sec.) OR opening up the aperture (e.g., from f/8 to f/5.6 / a smaller f-number). The "-" Setting (Underexposure): Reduces the amount of light hitting the film or sensor. It speeds up the shutter time (e.g., from 1/125 sec. to 1/250 sec.) OR narrows the aperture opening (e.g., from f/8 to f/11 / a larger f-number). In both examples above, the exposure value was adjusted by exactly one full stop (EV). Vintage Camera Quirks On older analog cameras, you won't always find the modern "+" and "-" exposure compensation icons. Some vintage icons like the Canon A-1 or Contax RTS use multiplication factors instead: "x2" or "x4": Represents an overexposure of one or two full stops, respectively. "x1/2" or "x1/4": Represents an underexposure of one or two full stops compared to the calculated reading of the built-in light meter. A Clever Workaround for Analog Cameras However, there are many cameras designed for 35mm film (135 format) or other film sizes that lack a dedicated exposure compensation button. Fortunately, a manual override of the automatic exposure is still entirely possible with these models—as long as you can set the film speed manually. In the following example, let’s assume you are using a film with a base sensitivity of ISO/ASA 100 (21° DIN). For a "+" Correction (Overexposure): If you want to allow more light hit the film, you simply dial in a lower film speed on your camera. For a one-stop overexposure, you would change the setting to ISO/ASA 50 (18° DIN). For a more generous two-stop overexposure, you would select ISO/ASA 25 (15° DIN). For a "-" Correction (Underexposure): Conversely, if you want to underexpose the image, you would select ISO/ASA 200 (24° DIN) for a one-stop reduction in light, or ISO/ASA 400 (27° DIN) for a two-stop underexposure. By doing this, you have successfully "tricked" the camera's built-in light meter, forcing it to allow more or less light onto your film! In this short video, you can see the real-world visual results of using exposure compensation in the "+" range. Here I present you a .pdf file as a download with examples available for exposure correction, just click on the picture and the download will start! The document is downloaded in English! Important to Know! Every camera light meter is calibrated to a neutral gray value with a reflectance of exactly 18% of the incident light. If your subject deviates from this ideal baseline—such as bright white snow or dark black backgrounds—the camera’s automatic exposure will not be accurate. A Kodak Gray Card is a standard reference tool used to achieve precise exposure and accurate color balance in photography. It features a flat, gray surface with a calibrated tonal brightness that serves as a neutral point of reference. Positioned within the scene during setup, the gray card is framed by the lens to establish a reliable baseline for both exposure and color rendering. By placing the card close to the subject, photographers can adjust their manual camera settings to lock in the perfect look. Using a gray card is highly effective for securing dead-on exposures in tricky lighting conditions or when critical color accuracy is required, such as in studio work or product photography. By reading the card, the camera system or editor can calibrate exposure and color values against a known neutral baseline to deliver beautiful, true-to-life tones. Practical Metering Tip When shooting with a gray card, it is best practice to meter the card using your camera's spot or partial metering mode (or a dedicated handheld spot meter). Aim the metering circle directly at the center of the card and use that reading for your exposure. It is highly recommended to cross-check your gray card reading (reflected light measurement) with an incident light reading taken via a handheld light meter. In most cases—provided the gray card is placed in the primary light source—the two readings will match up almost perfectly. To achieve a flawless match, you may need to tilt the card slightly toward the key light. It takes a little practice to master, but this technique yields incredibly accurate and repeatable results. Original Product Information from Kodak KODAK Gray Card / R-27 KODAK and the Munsell™ Color Services Lab of X-Rite®, Incorporated, have partnered to develop an enhanced calibration target for your photographic needs. The KODAK Gray Card / R-27 features the world-renowned Munsell 18% Reflectance (Gray) Neutral Patch. The KODAK Gray Card / R-27 package includes one 4 x 5 inch (10 x 13 cm) card, one 8 x 10 inch (20 x 25 cm) card, and an instructional manual. You can find the PDF download of the original brochure right here (click the image to start the download). Kodak Graukarte Back in the heyday of film photography, Kodak offered a professional gray card as well. You can find detailed information about this vintage model, which I still personally use to this day, right here: Click on the image to start your download. In addition to Kodak, various other manufacturers have produced and continue to offer reliable gray cards. Here is another example of a model that I personally use in my daily photography work as well. Click on the image to instantly start downloading the PDF file. My service for you - an illustrated instruction manual in English - and created by myself! I couldn't find anything on the web of even remotely comparable quality. Just click on the image to start the download directly! Gossen Mastersix Instruction Manual You can watch my video series on how to use the Gossen Mastersix and explore its features on my YouTube channel! Episodes 1 through 4 are currently available. The final episode will be released on September 18, 2026!

Legal Notice (Impressum) Information pursuant to Section 5 TMG (German Telemedia Act) Stefan Lotz Kastanienweg 20a 53578 Windhagen Germany Contact Phone: +49 2645 975799 Email: info(at)apertureonepointfour.com Fax: +49 3222 1590075 Responsible for Content pursuant to Section 18(2) MStV Stefan Lotz Kastanienweg 20a 53578 Windhagen Germany Liability for Content As a service provider, I am responsible for my own content on these pages in accordance with Section 7(1) TMG under general laws. However, pursuant to Sections 8 to 10 TMG, I am not obligated as a service provider to monitor transmitted or stored third-party information or to investigate circumstances that indicate unlawful activity. Obligations to remove or block the use of information under general laws remain unaffected by this. However, liability in this regard is only possible from the point in time at which a specific infringement becomes known. Upon becoming aware of any such infringements, I will remove this content immediately. Liability for Links My website contains links to external third-party websites, over whose content I have no control. Therefore, I cannot assume any liability for this external content. The respective provider or operator of the linked pages is always responsible for their content. The linked pages were checked for possible legal violations at the time of linking. No unlawful content was recognizable at the time of linking. However, continuous monitoring of the content of linked pages is not reasonable without concrete evidence of a legal violation. Upon becoming aware of any legal violations, I will remove such links immediately. Copyright The content and works created by the site operator on these pages are subject to German copyright law. Reproduction, editing, distribution, and any other use outside the limits of copyright law require the prior written consent of the respective author or creator. Downloads and copies of this site are permitted for private, non-commercial use only. Insofar as the content on this site was not created by the operator, the copyrights of third parties are respected. In particular, third-party content is identified as such. Should you nevertheless become aware of a copyright infringement, please notify me accordingly. Upon becoming aware of any legal violations, I will remove such content immediately. Trademarks Any trademarks, brand names, product names, company names, trade names, logos, and emblems mentioned, used, or depicted in images belong to their respective owners or rights holders and are subject to German, European, and, where applicable, international trademark law. Registered or protected trademarks, brand names, names, logos, and emblems have not been specifically marked as such. The absence of such marking does not mean that these trademarks, brand names, names, logos, and emblems are free of third-party rights within the meaning of trademark law. The mere mention, use, or depiction of trademarks, brand names, product names, company names, trade names, logos, and emblems does not imply that they are not protected by the rights of third parties. The site operator holds no patent, trademark, or copyright rights to these third-party marks. Protected trademarks, brand names, names, logos, and emblems are mentioned, used, or depicted in product photos, images, or graphics by the site operator solely because they form a documentary part of the site's content. Their mention, use, or depiction is made in full recognition of all rights held by their respective owners. Note Regarding the Privacy Policy For information on the processing of personal data (including hosting, cookies, Google Ads, PayPal, and YouTube), please see the separate Privacy Policy for this website.

Die Modelle der Rollei 35 Reihe gelten als die kleinsten vollmechanischen 35mm Kameras, die je gebaut wurden sind und sie überzeugen mit hochwertigen Opjektiven von Carl Zeiss oder wesentlich seltener von Schneider-Kreuznach. Taucht ein in die Faszination dieser Kameras. Rollei 35 At the time of its release, the Rollei 35 was the smallest 35mm camera in the world, renowned for its outstanding lenses. To the best of my knowledge, a total of over two million units were manufactured. Excluding the numerous limited special editions, the main production models consist of the following: Rollei 35 (1966–1975): Tessar 40mm f/3.5 – the iconic "original model" (Made in Germany until 1971, then Made in Singapore). Rollei C 35 (1969–1971): Triotar 40mm f/3.5 – a simplified budget version without a light meter. Rollei B 35 / 35 B (1969–1978): Triotar 40mm f/3.5 – featured a battery-free selenium light meter. Rollei 35 Xenar (1972–1973): Schneider-Kreuznach Xenar 40mm f/3.5 – a rare variant equipped with a Schneider lens. Rollei 35 S (1974–1980): Sonnar HFT 40mm f/2.8 – the fast, premium model featuring Zeiss optics (Made in Singapore). Rollei 35 T (1976–1980): Tessar 40mm f/3.5 – the continuation of the classic Tessar model (Made in Singapore). Rollei 35 LED (1978–1980): Triotar 40mm f/3.5 – introduced a modern LED exposure indicator inside the viewfinder (Made in Singapore). Rollei 35 TE (1980–1982): Tessar 40mm f/3.5 – updated electronic version of the "T" with in-viewfinder LED metering (Made in Singapore). Rollei 35 SE (1980–1982): Sonnar HFT 40mm f/2.8 – updated electronic version of the "S" with in-viewfinder LED metering (Made in Singapore). Rolei 35 left to right: Film rewind crank, tripod thread (can still be seen below Picture counter), rear panel release, flash accessory shoe Rollei 35 S Rollei 35, Made in Singapore. Here with the five-lens lens with multi-layer coating HFT Sonnar 2.8 40mm Rolei 35 S with Voigtlander rangefinder An ingenious accessory: the Voigtländer rangefinder. Just like the built-in mechanisms found in classic rangefinder cameras (such as the Leica M3, M4, etc.), you use a double-image method where you rotate the dial until the two overlapping images align perfectly. Rollei 35 From my perspective, the advantages of this camera are: Small, lightweight, and compact Outstanding lenses (Tessar/Sonnar) Fully mechanical leaf shutter, including the aperture mechanism Built-in CdS light meter (on most models) A masterpiece of fine mechanics An unmistakable, iconic design This camera simply invites you to enjoy the pure joy of photography! Of course, this camera isn't perfect. To achieve its ultra-compact size, a built-in rangefinder had to be omitted. On the flip side, this forces the photographer to (re)learn how to work with the interplay of aperture and distance settings—the depth of field. A more conscious engagement with your subject and a wonderful slowing down of the photographic process are the welcome side effects. For critical close-up shots or when shooting wide open, I use an external Voigtländer rangefinder (see the pictures below). If you prefer, you could even carry a tape measure with you. Additionally, there is no automatic indicator or correction for parallax error. Quick Note on Parallax Error: Parallax compensation is necessary in viewfinder cameras to achieve a better alignment between the frame shown in the viewfinder and the actual image projected onto the film by the lens. This parallax effect occurs because the viewfinder does not look through the taking lens itself, but through its own separate optics offset parallel to it. The resulting effect is primarily a "shifted" image composition. The closer the camera is to the subject, the more pronounced this effect becomes. Furthermore, several controls are not located where you would traditionally expect them: the film advance lever is on the top left, and the hot shoe for the flash is mounted on the bottom of the camera. Yet, despite all this—or perhaps precisely because of it—this camera invites you to go out and discover the world through its lens! Rolei 35 p Top view of the controls (from left to right): Shutter button with a cable release socket, lens release button (Caution: The lens can and must only be collapsed/retracted when the shutter is cocked!), the light meter display, and the film advance lever. Rolei 35 S with Voigtlander rangefinder The distance measured on the rangefinder is then manually transferred to the lens. This makes shooting wide open or taking close-up shots completely hassle-free. In this video you can see how the Kodak Recording 2475 film is inserted into a Rollei 35. Have fun! Here you can listen to and watch the shutter sound of a Rollei 35 from 1/500 to "B"! In this video you see how to load a Kodachrome 64 into a Rollei S and you get some information about this film. In english. How to Load Expired Kodachrome 64 into a Rollei 35S First, you just have to look at this fantastic camera—you have to touch it, feel its mechanical precision, and simply enjoy it! In its heyday, this camera was mainly used by photographers who typically shot with a Single-Lens Reflex (SLR) camera but wanted a small, pocketable "walk-around" body equipped with an outstanding lens. And this camera truly delivers. The Carl Zeiss Sonnar 40mm f/2.8 is tack-sharp, offers high contrast, and is incredibly resistant to stray light. Loading a Rollei 35 camera is remarkably easy: Check the chamber: Make sure the film inside your camera is properly rewound or that there is no film left in the body. Cock the shutter: Always cock the shutter of the Rollei 35 before proceeding. Check the lens: The lens must be extended and locked into its shooting position. Turn the camera over: Flip the camera upside down to access the bottom plate. Remove the back: Release the small locking lever on the bottom and slide the removable back away from the camera body. Insert the film: Load the film cartridge as demonstrated in the video. Make sure the film tip is threaded carefully into the take-up spool. Fire the shutter: Press the shutter release button. Advance and check: Carefully advance the film one frame to ensure it is catching and tracking properly. Reassemble: Slide the back plate back onto the camera and lock the lever securely. Test the counter: Cock the shutter, press the shutter button, and verify that the frame counter is turning. Advance to frame one: Repeat this process until the frame counter explicitly displays "1". Now you are ready to go out and take great pictures! I In this video you can see how a Kodachrome 64 is inserted into the Rollei 35S and learn that you can still have these films developed today - but only for black and white slide film. In German. In this video, I’ll show you several ways to capture tack-sharp photos using your Rollei 35—or any other camera that lacks a built-in rangefinder but features a manual focus ring. Click on one of the pictures and open the gallery with pictures that were created with the Rollei 35 or Rollei 35S on different film materials. 1/3

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 Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Das Canon FDn 3,5 50-135mm war ein ungewöhnliches Standardzoom im Canon FD Programm. Es vereinte eine relativ hohe Lichtstärke mit einem Brennweitenbereich, der Fotografen ansprechen sollte, die eher ein Standartzoom vom Normalobjektiv und den leichten Telebrennweiten von 85, 100 und 135mm bevorzugen. Und es reiht sich ein in die hervorragende optische Qualität des berühmten Canon FDn 3,5 35-105mm. Erfahrt mehr auf dieser Seite! Canon nFD 3.5 50-135mm - an unusual standard zoom Canon offered a range of standard zoom lenses for cameras with FD bayonet. Among them were the fabulous goodies Canon (n)FD 2.8-3.5 35-70mm and Canon nFD 3.5 35-105mm. This 3.5 50-135mm zoom presented here is interesting for all those who like to combine a normal focal length with light telephoto lenses - and that with a relatively high speed of 3.5 in a compact design! Canon FD Gallery In this video you will get to know the lens and whether it is worth buying. - external link to YouTube - (c) Canon Camera Hall / Canon Lens Hall: https://global.canon/en/c-museum/product/nfd247.html Take a look at my diverse mix of sample photos and decide for yourself if the optical performance meets your needs. For me, this lens still gets a clear buying recommendation today for both your analog and digital cameras, provided that this focal length range appeals to you. Perhaps as a perfect pair in combination with the Canon nFD 3.5/20-35mm L?! Note: Clicking on an image will enlarge it! 100mm - f5.6 70mm- f8 135mm - f8 135mm - f5.6 50mm macro position - f5.6 50mm macro position - f3.5 50mm macro position - f16 70mm - f5.6 135mm - f3.5 135mm - f5.6 50mm- f8 50mm macro position - f8 50mm macro position - f5.6 50mm macro position - f4.5

Nicht immer liefert der eingebaute Belichtungsmesser die gewünschten Ergebnisse, obwohl die Kamerahersteller immer weiter entwickelte Messverfahren in ihre Kameras integrieren. In diesem Artikel möchte ich euch die Grundlagen, gepaart mit etwas Hintergrundwissen, der Belichtungskorrektur näher bringen - und dieses so einfach wie möglich, aber dennoch effektiv.

When I started photography in 1982, I mostly fed my camera slide film. Times have changed, and today my cameras only like color negative or black-and-white film. Color negative film Color Negative Film: Featuring Kodak Portra A processed color negative film strip—in this case, Kodak Portra. Color negative film is a photographic material that, after development via the global standard C-41 process, renders tones and colors in their inverted, complementary states. A defining characteristic of color negatives is their distinct orange mask. This mask is built into the emulsion layers to counteract dye deficiencies and optimize color filtration during darkroom printing or digital scanning. This tonal inversion is the physical foundation of the analog "negative-positive process". It is only in the subsequent step, either through traditional optical printing onto photographic paper in a darkroom or via modern digital scanning and inversion, that the final, color-accurate positive image is produced. This workflow allows an unlimited number of prints to be made from a single negative. What Makes the Kodak Portra Family Special: Originally introduced in 1998 and modernized in 2010, the Kodak Portra lineup (available in ISO 160, 400, and 800) is legendary among professional photographers worldwide. It is celebrated for delivering the world's finest grain in its speed class, outstanding scanning performance, and a beautifully warm, natural reproduction of skin tones. Furthermore, it possesses incredible exposure latitude. The film is exceptionally forgiving and can easily handle two to three stops of overexposure while maintaining flawless highlight detail. From a single negative, prints can be produced in a wide variety of dimensions and surface finishes (typically matte, luster, or glossy). Standard print sizes include: 9x13 cm and 10x15 cm: The classic formats for traditional photo albums. 13x18 cm and 20x30 cm: Ideal for portraits and smaller picture frames. Large formats (30x45 cm, 40x60 cm, 60x90 cm): Perfect for high-impact poster prints and gallery exhibitions. 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.

Tauche ein in die Welt der analogen Fotografie und lerne verschiedene Systeme kennen. Zum Schmöckern, Wissen vertiefen, Interessantes erfahren, erstaunt sein, zum Träumen - doch Vorsicht! Das Haben-Will-Gefühl stellt sich schnell ein... Here you can browse, search, find, and immerse yourself for hours to your heart's content. I deliberately chose not to sort everything alphabetically – because discovering things is so much more fun that way, isn't it? The documents are available for download as PDF files. Please note that some of them are quite large, several megabytes (MB). If you enjoy my work and would like to support me, you are welcome to make a small donation towards the upkeep of this website. I appreciate any support! Please note: These scans are for historical documentation purposes only. If you are the copyright holder and do not agree to the provision of this material, Please send us a brief message – the relevant material will be removed immediately. Even more Rolleivision Slide projectors of the extra class Canon EOS The goddess of the dawn including with EOS 1n - EOS 3 Gutters Light meters for every application Alpa Camera art from Switzerland Contax 167 MT Made for the legendary Carl Zeiss T * lenses Gutters Light meters for every taste Alpa Rolleivision twin MSC 300 Gossen Belichtungsmesser Hasselblad 205 TCC For Carl Zeiss T * TCC lenses Hasselblad Pictures from Australia Mamiya 6x4,5 6x6 and 6x7 - the latter also as a viewfinder camera Hasselblad The world of Carl Zeiss T * lenses for Hasselblad Leica R The digital - analog system Hasselblad The guide to the professional camera system Mamiya 645 Open your suitcase full of good ideas! Rodenstock For digital specialist format cameras Mamiya Medium Format Cameras Brochure in English Colour temperature meter The color temperature under control - thanks to Gossen Rollei First-class focusing screens are looking for an excellent camera Rodenstock Precision loupes and more Rodenstock Quality filter - Application examples included Zenza Bronica 6x4.5 medium format camera - here is a brochure in English Zenza Bronica 6x6 medium format camera - does it always have to be Hasselblad? Tamron SP 90mm Excellent optical performance Zenza Bronica A small brochure about the overall Bronica system Zenza Bronica more information about this camera system Rolleiflex Carl Zeiss lenses also for the Rolleifelx system Rodenstock Quality filters - a must-have: UV pole and neutral density filters Rolleiflex A 6003 professional would also be something Fenes Rollei The product range briefly presented Voigtlander The resurrection of viewfinder cameras - Bessa L and R Rolleiflex 6008 ingegral Color photo is full of praise! Canon EF lenses Era with the beginnings of IS lenses Zenza Bronica 6x7 system GS-1 in English Kodak Paper for Direct slide prints Canon EOS My system for a long time - some lenses remained Hasselblad The most comprehensive brochure of the 500 C / M EL / M SWC era Kodak Paper for B&W negative prints Voigtlander Lenses for the Bessa and can also be used digitally Tetenal Turns every black and white negative into a black and white image Leica News Immerse yourself in the fascinating Leica world Canon EF lenses The brochure with the 1st EF lens with IS / 75-300mm Tetenal This is how b / w films are developed Leica News Immerse yourself in the fascinating Leica world B + W filters My former bread and butter reading about filters! Canon EF lenses ... from the analog era Novoflex Accessories for the discerning photographer Canon EOS 1 The first professional auto focus Canon camera Kodak Filters for the professional photographer All sorts of interesting facts Voigtlander Bessaflex - R2S - R2C Bessa R - L - TM - R2A - R3A - Hasselblad the entire product catalog from 1996 Philips AG 3B Standard flash bulbs for color photography (therefore marking "B") Osram XM 5 Flash bulbs - also for short-time flash synchronization at the "M" contact Minolta 9000 AF The 1st 35mm autofocus mirror reflex camera for professionals including a sexy quick release lever Polaroid instant slide films easiest film development for home! Kodak T-Max All info about the extremely popular black and white films Osram XM 1 Standard flash light bulbs from Osram with plug-in base Philips PF 6 B Short-time synchronization also on the X contact! Kodachrome The special slide films from Kodak - ISO 25, 64 and 200 Kodak Ektachrome 200 prof. The 200 ASA standard slide film Blitzbirnchen Kodak Vericolor This is how color negatives become transparencies Kodachrome Advertising from 1956 Nikon F5 Nikon's last analogue workhorse with AF and interchangeable viewfinders. Here you can find out more! Canon T90 The Colani Canon Nikon F90x Analogue Nikon with all the features every photographer wants Agfa Process 44 Slide film development Made in Germany Agfacolor Process 70 Colour negative development Made in Germany Canon AE1 A brochure from 1977 Canon's successful model Canon FD lenses Brochure from 1979 Gepe Everything for archiving slides and negative films Agfa - a new ace up its sleeve Agfa Isopan Rapid 25 DIN Canon EOS 620 - RT Adjusting discs - installation made easy! Canon AV-1 A good introduction to the Canon FD world Kaiser photo technology The world of accessories Rodenstock quality filters and more Tenal TT Barite Vario B/W photo paper of variable hardness Tetenal Laboratory Information SW Positive Information that is worth knowing is presented in a compact form Tetenal RA4 Chemistry for processing prints from negative film Heliopan Filter System Made in Germany Leitz Summicron 3,5 und 5cm Lenses from ernst Leitz Wetzlar are still a dream today! Pentax Complete brochure 2000 Small, but fine manufacturer Rodenstock High-quality lenses for digital professional photography Zeiss Ikon Contessa LKE the easy way for great pictures Kodak Ektachrome 200 professional Would you like a little more ISO? Minolta MD-System The big system overview Kodak Gold II The standard Kodak color negativ film Agfa CT64 Agfafilms were always high on my list! Agfachrome CT 18 natural colors from Agfa Agfacolor CT 18 at that time still called Agfacolor CT, not Agfachrome as in later years Agfacolor CT 18 und CT 21 One f-stop more Kodacolor II 126 film Autoknips IV Self timer for cameras and lenses without self timer Pentax 645 Advertising Canon T90 Advertising Agfa Advertising REAL 1000 ISO Kodak Advertising Kodacolor II - 1975 Tamron Tamron General Catalog 2022 Rollei 35 The camera that can always be with you. Canon Quarz Data Back E For your Canon EOS 600, 620, 630, 650 or RT Canon EOS 620 Dealer brochure Canon EOS 630 / 600 Dealer brochure Kodak Infrared films A different view of the world - in black and white or color Nikon Af lenses 1985 The dawn of the autofocus age Osram XM1 and XM5 flashbulbs - a promotional sheet Canon FD System AE1 Programm - A1 - F1n - AL1QF - T-50 - T70 Minolta Remote Cord RC-1000 S Cable release for analogue AF cameras Kodak Vision 250D Motion Picture Film I am enthusiastic about this material: click here Agfacolor Professional The professional films from Germany XRS 100/200/400/1000 Canon AL1 qF Quick Focus for the FD-System Cokin Creative Filters the French rectangular filters at an affordable price Canon EOS 650 Canon EOS 620 Operating instructions for the first two EOS models! Gitzo A stable choice Canon AL-1qF Easier focusing without autofocus Gossen Multisix 1986 was the release year of this digital exposure meter - i still use it today Novoflex high quality accessories Tetenal Photokina novelties 1996 The specialist for the processing of analogue photographic material Tetenal Negafin Excellent SW developer Tenal cleaner cleaning and scrubbing - also in the laboratory Tetenal PK RA 4 kit fast and economical machine development of color color images Jobo Lab equipment for the photo lab - Jobo, that's all you need for your photo lab. Osram XM1/XM1b Flashbulbs a fun change today Schneider Kreuznach Filter System Filters and magnifiers Made in Germany Voigtländer Bessa L - the wide-angle queen Kodak Ektachrome SE Duplicating film SO-366 Kodak Ektachrome 400 professional Want even more ISO? Kodakcolor X A film from almost forgotten times Kodak senkt die Preise However, this was decades ago...today the prices are increased exclusively... Agfa CT18 The slide film from Agfa Rodenstock Large format lens Rotelar 180mm Agfacolor CT 18 Made in Germany Agfachrome 200RS The Agfa professional reversal film with ISO 200 Leica D.R.P. Pentax AG-80 Pentax 645N and NII focusing screen Pentax 645 Advertising Canon A1 Advertising Kodak Advertising 4 fast films by Kodak Visoflex II Mirror box for Leica M models Rolleicord IIc Instruction Canon EF Objektive Even today, every EF lens fits to every EOS with EF bayonet - without any functional restriction; with adapter even to the RF bayonet Canon Macro Lite ML-3 The companion for analog Canon EOS models and the Canon T90 in the field of macro photography. Canon EOS 650 Dealer brochure Polaroid SX-70 The cult camera from 1972 from Polaroid Anker 1 Canon EOS 620 und 650 Gepe Prospekt Cokin Filter Canon FD Prospekt 1979 Agfacolor Filme Chemie Canon AL-1 qF Prospekt Tetenal Prospekte Heliopan Filtr System Jobo Labortechnik Osram XM1 Pentax 64 Werbung Agfa Werbung echte 1000er Canon Händlerbroschüre und mehr Viktor Hasselbald A really fine brochure from 1980 Praktica super TL Camera construction from the German Democratic Republic TTArtisan 2,8 100mm Bubble Bokeh Hasselblad SWC/M The wide angle Hasselblad Praktica super TL Camera construction from the German Democratic Republic Kodak Recording 2475 Film - an old highly sensitive friend Praktica super TL - - Ilford Galerie Fine Art Album Mamiya 645 Pro A step towards the modern medium format camera - - Canon Lens Guide Book Canon Wonderland Mamiya 645 1000S a childhood dream of mine Canon FD Lenses Wonderland Mamiya 67 Pro-S Ideal format for the roll film Mamiya 6 Rangefinder camera for square format Pentax Spotmeter V even more infos about this light meter Mamiya RB 67 prof. S Still today a dream of many "analog" photographers! Pentax Spotmeter V Great spot meter for medium format, large format or anything else! Pentax 645n Bedienungs- anleitung great medium format camera with autofocus Mamiya Prospeke Canon FTb Dealer brochure Canon FD 4/400mm S.S.C. Instruction manual Canon FD 3,5/50mm Macro Instruction manual Canon T90 Instruction manual Adox - Adostop eco Stop bath for black and white development Tetenal Colortec C-41 Color negative processor for at home Canon FD Objektive a great overview Canon nFD 4/400m Instruction manual Canon Extnder 2x A Instruction manual TechArt LM-EA9 AF for Leica M to Sony E and for many other connections additionally with M to... adapter Adox - Adostop eco Stop bath for black and white development -I don't know why, but the picture is not displayed...maybe later? Tetenal Neofin Blue SW one-time developer Pentax SpotmeterV Continue here - for even more brochures, user guides, and promotions / Part 2 Discover my site! On my site there are not only brochures and manuals! Dive into the world of analog, hybrid and digital photography and have a look around - use the search function on the top right of my pages and the index! Have fun browsing! Index

Wissenswertes für jeden Beginner der analogen (und digitalen) Fotografie. Hier erfahrt ihr ein paar grundlegende Zusammenhänge von Blende-Zeit-Filmempfindlichkeit und einiges mehr. Viel Freude euch mit dem schönsten Hobby!! Read the best tip on the net here! Read the best tip on the net here! The doorbell rings, the mail carrier drops off a package, and your "new" used analog 35mm SLR has finally arrived! You eagerly tear open the box, inspect the camera, hold it, admire it, play around with the controls... and then you notice something else hidden in the packaging: an analog rangefinder camera! You think to yourself: "How awesome is that?!" Your immediate instinct is to pop a roll of film in and head straight outside to shoot. Totally understandable! But... STOP right there! While many of you are likely familiar with the fundamental relationship between light, aperture, and shutter speed, anyone who feels a bit rusty is more than welcome to stay and read on. Please don't expect a dry, scientific paper—this text is intentionally kept simple and easy to understand. If you're looking for highly technical deep dives, the internet is vast! Aperture and Shutter Speed Inside the camera, the film sits safely protected from light. However, to create an image, light must eventually hit that film. The film is coated with light-sensitive color layers—or silver halides in the case of black-and-white film. These layers are also responsible for the film's distinct "grain" and level of detail. We control the total amount of light hitting the film using two main parameters: the aperture, which functions just like the pupil of a human or animal eye and the duration of the light exposure, known as the shutter speed. The standard aperture scale in full stops looks like this: 1 – 1.4 – 2 – 2.8 – 4 – 5.6 – 8 – 11 – 16 – 22 – 32 – 45 – 64 Additionally, there are intermediate steps referred to as half or third stops. The progression in half stops typically runs like this: 1 – 1.2 – 1.4 – 1.7 – 2 – 2.4 – 2.8 – 3.4 – 4 – 4.8 – 5.6 – 6.7 – 8 – 9.5 – 11 – 13 – 16 – 19 – 22 – 27 – 32 – 38 – 45 – 54 – 64 The aperture also controls something else incredibly important in photography! Along with the focus distance set on your lens, it determines the zone that appears acceptably sharp in the image—this is known as the Depth of Field (DoF). Controlling which areas of an image are sharp vastly alters the overall mood and impact of your photo. That is why choosing the right aperture is one of the most powerful creative tools in photography! Strictly speaking, a lens can only lock focus on a single, flat plane in space. Anything in front of or behind this plane will inherently be more or less blurry. However, by adjusting the aperture size (abbreviated as f), we can expand this sharp zone. As a general rule of thumb: Large Aperture (= wide open = small f-number) = shallow Depth of Field: Only a tiny slice of the image is sharp, beautifully isolating your subject from the background. Small Aperture (= stopped down/narrow = large f-number) = deep Depth of Field: A much wider area from foreground to background appears sharp, which is perfect for landscapes. Blende Take a look at the depth of field scale on the lenses! Depth of field scale Aperture row and image effect Furthermore, depth of field depends heavily on the focal length being used. To put it simply: wide-angle lenses inherent a deeper depth of field than standard lenses, which in turn provide more depth of field than telephoto lenses. Additionally, the depth of field is always shallower at close-focusing distances than it is at longer distances for any given lens. Technically speaking, a photographer would correctly state that the achievable depth of field is ultimately determined by the magnification ratio. Shutter Speed (Exposure Time) Shutter speed can freeze subject movement (avoiding motion blur) and prevents camera movement while holding the camera-lens combination (avoiding camera shake). Of course, a longer shutter speed can also be used intentionally to convey a sense of motion within the frame. For the image of the wind turbines, the camera was tripod-mounted. This eliminates camera shake during longer exposures, while the rotation of the blades is made beautifully visible as creative motion blur through a slower shutter speed—in this case, 1/3 of a second. Verschlußzeit In the table below I have given you a few tips regarding the use of exposure times. Table of the usual shutter speeds in seconds in full steps Good to know! To safely eliminate camera shake, there is another simple guideline to follow: always use the reciprocal of your focal length as your slowest handheld shutter speed. Additionally, make sure you have a solid, steady stance and, if necessary, briefly hold your breath right as you press the shutter! Here are a few examples of how to apply the "reciprocal rule" to standard shutter speed steps: For a 50mm lens, the reciprocal is 1/50 sec. = use an exposure time of 1/60 sec. For a 135mm lens, the reciprocal is 1/135 sec. = use an exposure time of 1/125 sec. For a 200mm lens, the reciprocal is 1/200 sec. = use an exposure time of 1/250 sec. Aside from camera shake caused by the photographer, we also have to deal with motion blur. This occurs whenever the subject is moving relative to the camera—whether they are approaching, moving away, or crossing right through the frame. Think of fast-moving cars or active children running, jumping, and playing sports. To freeze this fast action, you generally need very fast shutter speeds. Anything slower than 1/250 sec. or 1/500 sec. simply won't cut it. While many vintage analog models max out at 1/1000 sec. or 1/2000 sec., more modern film cameras offer blazing fast shutter speeds of up to 1/8000 sec. These "three friends" always work in perfect unison: Aperture, Shutter Speed, and Film Sensitivity (ISO/ASA/DIN). In this example, I want to show you the direct relationship between aperture and shutter speed. Let’s assume our light meter calculated a baseline reading of 1/60 sec. at f/8, regardless of the camera mode used, whether it's shutter priority, aperture priority, or full program auto. Starting from this baseline, every single combination listed in the chart below will result in an identically and correctly exposed image. The only difference is the creative outcome and visual impact, just refer back to the guide on aperture and shutter speeds above! Table 1: Equivalent Exposure Combinations But what happens when we load our camera with different films that possess varying light sensitivities? In the previous example, our film had a baseline sensitivity of ISO/ASA 100. The table below illustrates the differences that occur when changing film speeds, note that the selected aperture of f/8 remains completely unchanged for this demonstration. Keep in mind, however: the higher the film sensitivity, the more prominent the film grain will appear in the final image, causing a slight loss in fine details and often impacting color brilliance. Table 2: The Impact of Film Speed (ISO/ASA) on Shutter Speed at a Constant Aperture of f/8 Naturally, you don't have to limit your adjustments to the shutter speed alone; you can also change the aperture or opt for a completely new combination of both. You can explore several of these options in the interactive Table 3 below. Once again, our baseline for this example is a shutter speed of 1/60 sec. at f/8, using an ISO/ASA 100 (21° DIN) film. ISO ASA DIN It’s really not as daunting as it seems, but keeping these fundamental concepts in mind when you are out shooting will make a world of difference. No matter how many automatic exposure modes your camera features—be it aperture priority, shutter priority, or full program auto—at the end of the day, it all comes down to just aperture and shutter speed. Using them intentionally is what will grant you truly unique and unforgettable images! Kodak Ektachrome 400 data sheet as .pdf Here is an example of a datasheet for a now-discontinued film stock. It contains some very interesting insights and information that I’m sure you’ll find helpful for your own shooting. Enjoy the read—I absolutely loved this film! Canon showcased this focal length comparison in an original brochure for the Canon EOS system. Every image was captured from the exact same vantage point—only the lenses were changed. It is a wonderful example to visually compare the effects of different focal lengths! Here I present you useful photo accessories - a "must have" for each of you!! But now, get out there! Have fun with your new camera and enjoy discovering the wonderful world of analog photography! Always remember: No matter what you shoot with, The main thing is that you shoot. download as .pdf file

I'm Back 35 Transform your analog 35mm film cameras into a digital camera. Welcome! On this page, I’m sharing my insights, practical tips, and tricks for the I'm Back 35 digital back. After much anticipation, I finally got my hands on this unique piece of gear in early April 2023. Click on the image below to download the user manual as a PDF copy. It’s finally here! I just received this highly anticipated piece of gear: the I'm Back 35 transforms almost any analog 35mm SLR into a digital camera, beautifully blending modern convenience with that unmistakable analog look. My first video covers the full unboxing, offers essential setup tips, and guides you step-by-step through the process of mounting the digital back to your camera body. Note: The video is currently available in German only. Here you can download and edit a .dng file, unedited, converted online (service on the I`m back homepage) from the original .raw file. Publication is allowed with source and message to me by mail. You can also download the following files in their full, original size. Each image is a 20-megapixel, straight-out-of-the-camera JPEG that has been processed in Photoshop. Feel free to publish them, as long as you provide proper attribution and drop me a quick email to let me know. Many users report difficulties with the I`m Back35. On the Facebook page of the company are some solutions of known problems described. I have summarized them for you here and supplemented. Problem: If you remove the battery, the date is reset to 2019, because the motherboard does not have a backup battery for cost reasons. The I'm Back35 has no battery in the PCBA (motherboard) and therefore every time you remove the battery, the date is reset to 2019. There is a simple solution. Before you remove the battery, connect the USB-C cable to a smartphone power bank and plug it into the USB-C port on the I`m Back35, and only then remove the battery from the I`m Back35. Since it is connected to an external power source, the time and date data will not be lost. When the NP F 550/570 battery is charged, reinsert it and turn the device off and on again. Your date will be retained! Then remove the power bank. Problem: The ISO function only works in AUTOMATIC (A) mode. A mode: When you change the ISO value, it changes and you see a change in the exposure values (leave identical aperture setting for comparison). M mode: If you shoot in manual mode, the ISO value is fixed at 100. You can compensate the EV value on the digital back I`m Back35 if you want to correct the exposure. Problem: How do I take photos in mode A (automatic mode)? To take photos in A (Auto) mode, follow the steps below: Step 1) Click twice on the "M" on the I`m Back35. Step 2) Set your camera to the exposure time B (bulb) or T (time). Step 3) Now you can see the image on the display of the I`m Back35 (Live View). Step 4) Click the OK button and the photos will be taken. Problem : SD-CARD ERROR message when clicking any button? Format the SD card! Format the SD card by using the format function of the I'M BACK back panel. DO NOT use your computer to format! You can see a short sou nd test here: I`m Back 35 - your digital back for analog 35mm cameras - used in automatic mode (A-mode) I'm Back35 is a digital back that turns (almost) any 35mm camera into a digital camera. So you can take digital photos with your analog camera. I was asked more often via my homepage www.apertureonepointfour.com how to take pictures with the digital back I`m Back35. In this video I show you how to use the A-Mode correctly and which special features there are. I would like to show you a few more pictures that I took with the I`m Back35. Great art is not there yet, but for an impression regarding the image quality it is enough. Maybe with special software for noise reduction an improved result is possible, unfortunately I can not check this. I use Lightroom / Photoshop for image processing. The AI-based noise reduction of Lightroom (which delivers fantastic results of the sensors of my Sony A7II and Canon 5DsR) is currently only designed for use with RAW files. In this video I show you my workflow to get the best results from the RAW files of the I`M Back35. But even after this processing, the digital images retain their unique charm. I`m Back RAW Workflow