Search Results

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.

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

Die Rollei SL26 ist eine robuste, ungewöhnlich im äußeren Design, Spiegelrefelxkamera mit drei wechselbaren Satzobjektiven für die Kassettenfilme 126 (Instamatic). Auf dieser Seite stelle ich euch die Kamra vor und zeige Bilder, die ich mit diesem Modell fotografierte. Ich liebe diese Kamera! Rollei SL26 Unusual in its shape. Unusual in its lens technology. Unusual in its choice of film format, the "Instamatic" 126 cartridge film. Simple. Small and lightweight. Focused on the essentials. Robust. Endearing. That is how I would describe the Rollei SL26, a single-lens reflex (SLR) camera manufactured between 1968 and 1974. The image shows the camera's bayonet mount with the permanently attached rear lens element, which is directly integrated into the optical formula of the available lens attachments. This built-in lens system houses the entire shutter and aperture control mechanism. Therefore, it utilizes a leaf shutter system, which you might already be familiar with from various medium format cameras. These specialized lens attachments are known as "convertible lenses." Rollei SL26 The camera features a remarkably large and bright viewfinder (even by today's standards), making focusing on your subject quick and easy. The built-in CdS light meter uses a traditional match-needle system. However, it requires a PX625 mercury battery, which is no longer available in Europe. Excellent workarounds include zinc-air batteries or a glance toward Russia... Rollei SL26 The Rolleiflex SL26 is a beautifully crafted 126 cartridge SLR (Instamatic system), though only about 28,000 units were ever produced. It featured a list price of 628.23 DM. In addition to the standard Pro-Tessar 40mm f/2.8 lens included with the camera, two other convertible lenses were available: the Pro-Tessar 28mm f/3.2 wide-angle for 232.43 DM, and the Pro-Tessar 80mm f/4 telephoto for 282.88 DM. Rollei SL26 Technical Specifications (Rollei SL26): Manufacturer: Rollei-Werke Franke & Heidecke, Braunschweig, Germany Film Format: 126 cartridge film (Instamatic), 28 × 28 mm negative size Standard Lens Element: Carl Zeiss Pro-Tessar 40mm f/2.8 (4 elements in 3 groups) Focusing: Manual focus Aperture Range: f/2.8 to f/22 (depending on the front lens element used) Lens Mount: SL26 bayonet mount (interchangeable front lens elements / convertible system) Filter Mount: SL26 filter bayonet Shutter Speeds: 1/2 to 1/500 sec. plus Bulb (B) Exposure Metering: TTL match-needle metering Viewfinder: SLR viewfinder featuring a split-image indicator and microprism ring (no full ground glass track); displays the match-needle inside the finder Flash: Standard hot shoe with center contact (located on the bottom plate) Features: Cable release socket, neck strap lugs, no self-timer Power Supply: 1 × 1.35V PX625 mercury-oxide cell Dimensions: 112 × 91 × 70 mm (with the standard 40mm lens attached) Weight: 540 grams (approx. 19 oz) Here is a small gallery featuring photos taken with the Rollei SL26. For these shots, I used film that had been expired for at least 21 years. Yet, despite that, or perhaps precisely because of it, the images possess a very special charm of their own. Please note that the black-and-white images on display were actually shot on color film as well. You might also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm 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 different systems here is the article

Die Canon EOS 620 war die zweite analoge Canon Autofokuskamera der EOS-Serie. Sie erblickte 1987 das Licht der Welt. Auch heute noch kann ich diese robuste, einfach zu bedienende Kamera sehr empfehlen. Ihr findet hier alle Informationen über dieses Modell. Canon EOS 620 The Canon EOS 620 hit the market in May 1987. At launch, it carried a price tag of 146,000 yen with the EF 35-70mm f/3.5-4.5 kit lens, or 108,000 yen for the body alone. Positioned as the upscale sibling to the original EOS 650, the 620 introduced several premium features that the base model lacked: Shiftable Program AE, automatic exposure bracketing up to ±5 stops in 1/2-stop increments, up to 9 multiple exposures, and a beautifully even EL-backlit external LCD panel—making it the first camera in the world to feature an illuminated top deck. I remember my brother becoming a proud owner of this exact camera shortly after it debuted (unfortunately, he walked away from this wonderful hobby decades ago...). At the time, I wasn't ready to jump on the AF bandwagon just yet; I stayed loyal to my manual-focus setups, routinely shooting with my Canon A-1, T90, and Hasselblad 500C/M. But as autofocus technology proved its worth, my skepticism dissolved. A year or two later, I took the plunge, and a Canon EOS 600 became a staple in my own photo kit. Canon EOS 620 Peer through the viewfinder, and you’re greeted by a clean, informative display showing the most crucial shooting data: shutter speed and aperture. It also features a focus confirmation light, over/underexposure warnings, and an electronic exposure level indicator for shooting in full manual mode. Clean, functional, and clutter-free—just the way I still like it today. You can find all the details and information about this ingenious and robust autofocus SLR in the video below. And remember: No matter what camera you use— the main thing is that you shoot! Here you can find my video about the camera - external link to YouTube Here you can find the manual of the Canon EOS 650 and 620 in english language as pdf-file for download! Here you can download a dealer brochure in English as a pdf file! Canon EOS 620 Händlerbroschüre

Ich feiere mit! 35 Jahre Canon EOS - System: 1987 - 2022. Dafür habe ich mir etwas ganz besonderes ausgedacht. Ihr könnt euch eine große Gegenüberstellung der vier Ur-EOS-Modelle als .pdf-Datei herunterladen. Diese vier Modelle basieren alle auf dem Gehäuse der Canon EOS 650 - der UR-EOS! Und wenn ihr wollt, dann gönnt euch ein solch analogs Schätzchen - oder gleich alle vier Modelle (so wie ich es tat)... Canon EOS 650 620-600-RT die Ur-EOS-Modelle Celebrating a true milestone in photography: I’ve put together the ultimate side-by-side comparison of the four original models that started the analog Canon EOS lineup. Each of these camera bodies shares its DNA and chassis design with the trailblazing first model, the Canon EOS 650. To this day, I absolutely love taking these cameras out for a spin! For me personally, the Canon EOS 600 was the exact camera that marked my entry into the EOS ecosystem all those years ago. Canon EOS 650 620-600-RT die Ur-EOS-Modelle Feel free to download my complete comparison guide for free. Just click on the image below to get your PDF copy! You will need a PDF reader to open the document, which is typically pre-installed on most modern computers and smartphones. If you enjoy my content and would like to support the running costs of this site, any small donation would be greatly appreciated! Canon EOS System 1987 - 2022 A milestone has turned 35 years old! Over 35 years ago, Canon introduced the world to the EOS system with its debut model, the EOS 650, quickly followed by the EOS 620, 600, and the unique RT. And yes, before anyone mentions it: I know there were two other models—the EOS 750 and 850—but we’re going to skip those basic, stripped-down bodies... We are talking about proper analog SLRs for the absolute king of film formats back then: 35mm. To this day, I can wholeheartedly recommend each of these four bodies. They aren't just great entry-level tools; they are fantastic performers for any analog shooter. In this video, we’ll take a deep dive into the differences between these four classic cameras. Thanks for watching and for your interest! Die ersten vier EO Modelle Here I have some more .pdf files for you to download - enjoy! Just click on the respective image!

For the following shots of the three cameras and lenses, I locked focus exclusively on the center camera. The distance between the taking camera and the subjects remained completely unchanged—only the aperture was varied. You can clearly see the different visual effects that can be achieved through different apertures and how the depth of field changes! The individually pictured camera-lens combination shows you the exact aperture setting used for each shot. In the first image, no aperture blades are visible because the lens is shot completely wide open. f 1.4 f 2 f 2.8 f 4 f 5.6 f 8 f 11 f 16 f 22 It really is that simple! By mastering these rules, you will always carry one of the most important creative tools for capturing "better images" right in your back pocket! Small Aperture Opening (= narrow aperture) = high f-number = deep Depth of Field (e.g., f/11 – f/16 – f/22) Large Aperture Opening (= wide aperture) = low f-number = shallow Depth of Field (e.g., f/1.4 – f/2 – f/2.8) back

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. 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! ISO ASA DIN 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

Purely Digital Here, I present images captured entirely digitally—always accompanied by a little background information or insight. In this section, I will also showcase the digital system cameras used to create them. Tried Nikon D600 Sony A7III with Sigma 1.4 40mm Art The lens was used at open aperture 1.4, focused on the "Septon" lettering of the lens. Sony A7III with Sigma 1.4 40mm Art Here is an example image, stopped down to f4 Sony A7III with Sigma 1.4 40mm Art Once again, this subject was shot wide open at f/1.6. Sony A7III with Sigma 1.4 40mm Art Aperture 1.4 - TOP performance! - - - - - - Sony A7III with Sigma 1.4 40mm Art Again, I used f1.4, focusing on the camera's "CS" lettering. Sony A7III with Sigma 1.4 40mm Art At f/1.6, this lens was truly born for the world of shooting wide open. It gets an absolute buying recommendation from me—though keep in mind that it is quite large and heavy. Sony A7III with Sigma 1.4 40mm Art A real test of patience! Close-up shot taken with a 10mm extension tube at f/4. The lens performs beautifully here! However, my attempts using a 16mm extension tube were rather disappointing. - - - - - -

Voigtländer Bessamatic - Qualität Made in West Germany. Ähnlich wie die Zeiss Ikon Contaflex bot ebenso Voigtländer Qualitätskameras und Objektive an. Glas und Metall - ein purer Genuss! Voigtlander Bessamatic CS A view of the leaf shutter and the bayonet mount manufactured by the Deckel Company. Officially known as the "DKL" mount, it is often referred to as the "German standard bayonet mount." While several camera manufacturers adopted this system, they unfortunately introduced minor mechanical modifications of their own, meaning that lenses cannot be easily interchanged between different brands without modification. Voigtlander Bessamatic CS The Skoparex 3.4 35mm was the strongest wide angle from Voigtländer for the Bessamatic. Voigtlander Bessamatic CS Unfortunately, I don’t yet own a Dynarex 90mm f/3.4 or a Dynarex 100mm f/4.8. This leaves a small gap in my lens lineup, as my next focal length straight after the Septon 50mm f/2.0 is 135mm: the Super Dynarex 135mm f/4.0. It is a truly small but excellent lens! Voigtlander Bessamatic CS A close-up lens - Voigtländer called this "Focar" adapted to a Voigtländer Septon 2.0/50mm (a terrific lens!). Voigtlander Bessamatic CS The widest lens in the lineup—originally manufactured for the DKL mount of the Retina Reflex III / S. With a minor modification to the bayonet tabs, you can use these lenses seamlessly and without any restrictions on Voigtländer Bessamatic models. Learn more here. Voigtlander Bessamatic CS My absolute highest recommendation, if there is one lens you should treat yourself to for your Bessamatic, it is the Septon 50mm f/2.0. A total dream of a lens! Voigtlander Bessamatic CS My longest telephoto lens for the Bessamatic: the Voigtländer Super-Dynarex 200mm f/4.0. Voigtländer also offered a 350mm f/5.6, but unfortunately, I've always been outbid at auction, so that particular lens hasn't found a home in my collection yet. Voigtlander Bessamatic CS This picture was taken with a Voigtländer 4/135mm with a Focar D. I adapted this combination to a Sony A7III for this photo. Voigtländer Bessamatic and Lenses for the Kodak Retina Reflex I love shooting with my Voigtländer Bessamatic cameras. I also frequently adapt their lenses to my Sony A7III, especially the legendary Septon 50mm f/2.0. Unfortunately, the widest focal length Voigtländer ever offered was a 35mm lens. Kodak, however, took a different approach for its Retina Reflex system, offering options like the Rodenstock Eurygon 30mm f/2.8 or the Schneider-Kreuznach Curtagon 28mm f/4. Both camera systems, along with a few other manufacturers—utilized the Compur bayonet developed by the Deckel Company in Munich, commonly known as the "German standard bayonet" or DKL mount. Unfortunately, you cannot just swap these lenses between different systems out of the box. The manufacturers introduced slight proprietary variations on the camera mounts, which by design prevents lenses from being interchanged between brands. To use Kodak Retina Reflex lenses on Voigtländer Bessamatic bodies, a small "surgical" intervention on the lens mount is required, which you can see in the video. A tiny piece of metal needs to be milled away from the bayonet tab. My son Julian performed the operation for me. It is incredibly straightforward—don't be afraid to try it yourself and unlock a whole new world of lenses for your Voigtländer Bessamatic! Watch the German version of the video here: Video Weitwinkel für die Bessamtic Watch the English version of the video here: Here you can see where the notch needs to be milled. In my experience, it doesn't depend on the millimeter! You may also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with interchangeable 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 movies 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 different systems here is the article

Das Tamron SP 3,8-5,4 60-300mm ist eine 5-fach Telezoomobjektiv, welches im letzten Jahrtausend noch für die analoge Fotgrafie entwickelt wurde. Doch wie schlägt es sich heute an digitalen, spiegellosen Kameras? Die Antwort findet ihr hier! Tamron 3.8-5.4/ 60-300mm Adaptall2 This lens is a high-performance zoom from Tamron's premium SP (Super Performance) series. When it first hit the market, this lineup represented the pinnacle of quality. It was manufactured between 1982 and 1990. The technical specs of this 5x zoom read beautifully and point to exceptional build quality. And indeed, no corners were cut here, it is a solid construction of metal and glass. Furthermore, all markings are engraved and color-filled; a premium, durable method that not only looks great but stands the test of time. Stripped of its adapter, the lens weighs 875 grams (approx. 31 oz), measures 161 millimeters in length, and has a diameter of 68 millimeters. The optical design consists of 15 elements inside 11 groups. The minimum aperture is f/32, created by an 8-blade diaphragm. Screw-in filters require a 62mm thread size. While the standard minimum focusing distance is 1.9 meters, it also features a macro option that allows for a maximum reproduction ratio of 1:1.55, an incredible feat for a zoom lens! Tamron 3.8-5.4/ 60-300mm Adaptall2 Tamron lenses were not built with fixed mounts for a specific camera brand. Instead, customers had to purchase a separate "Tamron Adaptall-2" adapter to match their camera system. For instance, if a photographer shot with a Canon A-1, they would buy the "Tamron Adaptall-2 FD" adapter. If they used a Minolta X-500, the "Tamron Adaptall-2 MD" adapter was required. Tamron offered dedicated adapters for almost every camera brand on the market. These were simply mounted and locked onto the back of the lens, fully maintaining all the mechanical linking and automatic functions that an original proprietary lens would provide. Naturally, these adapters could be swapped out by the photographer at any time, allowing completely different camera bodies from various manufacturers to share the exact same lens. The best part? This system remains fully functional to this day, even when adapting to modern digital bodies. Brilliant, isn't it? Enclosed is a gallery of images of the focal lengths 60mm, 100mm, 135mm, 200mm and 300mm as aperture series, each with f3.8-5.6-8-11-16 as well as some single shots, they were taken with my Sony A7III. So you can get a good impression about the performance of the lens. You might also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with interchangeable 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 movies 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 different systems here is the article

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

Die kleinste Spiegelrefelxkamera mit Wechselobjektive. Sie lebt heute noch: Pentax Auto 110 / 110 Super. Sie verlangt nach Filmen im 110 oder anders gesagt Pocketformat, die heute (Stand 2021) noch frisch produziert verkauft werden. Ihre Objektive können zudem an digitalen Micor-Four-Thirds-Kameras verwendet werden. Hier leuchten die Objektive die Sensorgröße komplett aus. Holt euch alle Information übr dieses einmalige System! Pentax Auto 110 In 1978, the moment had arrived: the Japanese manufacturer Pentax introduced the smallest and most compact analog SLR camera with interchangeable lenses, the Pentax Auto 110 was born. And the light it captured was recorded onto pocket film, also simply known as 110 film. You can still use this camera today, as brand-new pocket film is still available for purchase (as of 2021). I’ve even had great results shooting with film that expired over 20 years ago. Personally, I don't mind the color shifts or heavier grain at all :-) Shutter speed and aperture cannot be adjusted manually; the camera handles everything completely automatically. The 110 film cartridge itself communicates the correct ISO speed to the light meter. All you have to do is slightly half-press the shutter button. An LED is visible in the upper right corner of the viewfinder: if it lights up yellow, the shutter speed is at 1/45 of a second or slower, warning you of potential camera shake. A green light signals that you’re good to go and there is plenty of light. Now, you just have to focus, which is just as easy as using a standard 35mm SLR. Press the shutter all the way down, and the shot is in the bag—or rather, in the cartridge. Advance the film lever twice, and you're ready for the next frame! Pentax Auto 110 lenses use digitally There are a few suppliers online offering adapters to use your Pentax Auto 110 lenses on an MFT camera. Crucially, you need to choose an adapter that features its own built-in iris diaphragm. Why? Because the lenses for the Pentax 110 system do not have an internal aperture mechanism! To fully leverage the optical performance of these lenses, I highly recommend stopping them down by at least 1 to 2 f-stops. These adapters typically offer stepless aperture control. By monitoring your camera's shutter speed, you can easily calculate the approximate aperture you’ve set. The beauty of this system is that almost all of these lenses share the exact same maximum aperture of f/2.8! Here is a practical example of how it works: Example: Adapter completely open 1/500 sec. / F / 2.8 now you turn the shutter lever and the times change too 1/250 sec. - this would now correspond to aperture 4 ... keep turning ... 1/125 sec. - this would now correspond to aperture 5.6 ... keep turning ... 1/60 sec. - now you have set an aperture of 8 ... and so on ... More information is available here. Pentax Auto 110 About two years later, Pentax improved the Auto 110 and introduced the Auto 110 super model. In contrast to the first model, Pentax made the following improvements: - the quick release lever only had to be operated once - The camera has been given an exposure correction button (+1.5 f-stops) - She received an on / off switch and a self-timer. All accessories can be used on both cameras. In addition to the lenses, this includes the winder with a handle; it offers a serial speed of 1.5 frames / sec. as well as the two flash units: AF 100P as well as the somewhat larger and more powerful AF 130P. Lens hoods, filters, bags, lens pouches and carrying handles rounded off the system and are still used today. The lenses are really tiny and light - but because of their performance they are actually suitable for adapting to mft cameras! Here they completely distinguish the image format! I myself use these lenses on an Olympus OM D 10 MKII. Pentax Auto 110 lenses use digitally Pentax offered a total of six lenses for this camera system: PF 18mm f/2.8 Pan-Focus: Fixed focus from 1.75 meters to infinity, with no manual focusing capability. 18mm f/2.8: Wide-angle lens (approx. 35mm equivalent in 35mm format). 24mm f/2.8: Standard lens (approx. 50mm equivalent in 35mm format). 50mm f/2.8: Telephoto lens (approx. 100mm equivalent in 35mm format). 70mm f/2.8: Long telephoto lens (approx. 140mm equivalent in 35mm format). 20-40mm f/2.8: Zoom lens (approx. 40–80mm equivalent in 35mm format). Check out my YouTube video for more details. In it, I’ll walk you through the camera itself, and toward the end of the video, I’ll showcase the various adapters as well. Textstell "Die Objektive sind wirklich winzig..." Pentax Auto 110 Here is a scan of a film that expired over 20 years ago. Hier ein Scan eines über 20 Jahre abgelaufenen Film. Pentax Auto 110 This image was also shot on film that had been expired for over 20 years. Auch diese Bild entstand mit einem 20 Jahre überlagerten Film. Pentax Auto 110 Color shift possible—this film was expired for 20 years! Farbstich möglich - dieser Film war 20 Jahre überlagert! Pentax Auto 110 New film stock Frisch gekaufter Film Pentax Auto 110 A Lomo film, still available for purchase today. Ein Lomo-Film, heute noch zu kaufen. Pentax Auto 110 She really is a little treasure! Sie ist wirklich ein kleiner Schatz! Olympus MFT mit 110 Adapter This is what it looks like when a Pentax Auto 110 lens is adapted to an Olympus OM-D E-M10 Mark II. The shot was taken with the Sony ZV-1. So sieht es aus, wenn ein Pentax-Auto-110-Objektiv an einer Olympus OM-D E-M10 Mark II adaptiert wird. Die Aufnahme entstand mit der Sony ZV-1. Olympus MFT mit 110 Adapter This is what it looks like when a Pentax Auto 110 lens is adapted to an Olympus OM-D E-M10 Mark II. The shot was taken with the Sony ZV-1. So sieht es aus, wenn ein Pentax-Auto-110-Objektiv an einer Olympus OM-D E-M10 Mark II adaptiert wird. Die Aufnahme entstand mit der Sony ZV-1. Olympus OM E-10 MK II Shot with the Pentax 110 18mm f/2.8. Aufgenommen mit dem Pentax 110 2,8 18mm. Olympus OM E-10 MK II Shot with the Pentax 110 20-40mm f/2.8. Aufgenommen mit dem Pentax 110 2,8 20-40mm. Olympus OM E-10 MK II Shot with the Pentax 110 20-40mm f/2.8. Aufgenommen mit dem Pentax 110 2,8 20-40mm. Olympus OM E-10 MK II Shot with the Pentax 110 18mm f/2.8. aufgenommen mit dem Pentax 110 2,8 18mm. Olympus OM E-10 MK II Shot with the Pentax 110 20-40mm f/2.8. Aufgenommen mit dem Pentax 110 2,8 20-40mm. .pdf Dtei Objektivdaten Back to the top Pentax Auto 110 Super brochure Here for you to download! Pentax Auto 110 brochure bag Here for you to download!