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

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! Schärfentiefenrechner

Your home for photography. All about my passion. All about analog, hybrid and digital photography in all its forms. Expertise since 1983. On this website, you will find links to external third-party websites. Please note the following legal disclaimer: No Liability for Third-Party Content: I have no influence over the content or design of these linked websites. At the time the links were created, the external pages were checked for potential legal violations; however, permanent monitoring of linked pages without concrete evidence of a violation is not reasonable. The respective provider or operator is solely responsible for the content of the linked pages. I do not assume any liability for third-party content. Direct Video Playback on YouTube: Clicking on a button or text labeled "External Link to YouTube" will redirect you directly to the YouTube platform, where the corresponding video will open. Please be aware that from this moment on, the privacy policies and terms of service of Google and YouTube (YouTube LLC) apply, and data may be collected and processed by them. For further information, please refer to the Impressum (Legal Notice) and Privacy Policy sections. A Adapt lenses Adapter solutions for lenses on digital mirrorless cameras Aberrations, optical Alpa Aperture Aperture series - the image effect Apollon 14K Scan by silbersalz35 ASA - American Standards Association Autoknips I - Self timer B Buying tip - the best camera for you (external link to YouTube) Blur Brochures to download and browse C (Canon FD-System) Accessories for your Canon A or T series camera Canon AV-1 Canon AL-1 qF Brochure .pdf-download Canon AL-1 qF YouTube Video Canon AV-1 Brochure .pdf.download Canon FD System Canon FD: Wich standard zoom to buy? Canon FD Lenses 1979 Canon FD System 1984 Canon FD System 1984/1985 Canon FD System: Looking through the viewfinder of different models Canon magnifier (external link to YouTube) Canon nFD 4.0/28-85mm Canon nFD AF 4.0/35-70mm Autofocus Canon nFD/4.0 35-70mm Canon nFD 3.5/50-135mm Canon nFD 2.8/85mm Softfocus Canon nFD 4.0 200mm Macro with Canon converter 2xB Canon Motor Drive MA Canon T50 - the easy to use camera of the FD System! (external link to YouTube) Canon T60 - The Last FD Underdog (external link to YouTube) Canon T70 - computerized camera from 1984 (external link to YouTube) Canon T80 - the only autofocus camera for the FD System! (external link to YouTube) Canon Winder A Canon Winder A2 Canon Wonderland - FD Lenses Guide Book C (Canon EOS-System) 35 years Canon EOS-System EOS 650-620-600-RT (external link to YouTube) Canon EOS 1n Canon EOS 620 Canon EOS 750 / 850 (external link to YouTube) Canon EOS 850 in 2026 The Ultimate "No-Brainer" Film SLR? (external link to YouTube) Canon EOS RT Canon EF 3.5-4.5/20-35mm USM (external link to YouTube) Canon EF 2,8-4/28-80mm L Canon EF 3.5-5.6/28-135mm L IS USM (external link to YouTube) Canon EF 3.5-5.6/28-300mm L IS USM Canon 28-300mm L IS USM - Re-Tested on the EOS R5 After Repair (external link to YouTube) Canon EF 3.5-4.5/35-135mm (AFD-Drive) tested on a Sony A7III Canon EF 3.5-4.5/35-135mm (AFD-Drive) Re-Tested on a Canon R5 Canon EF 3.5-4.5/50-200mm Canon EF 2.8/80-200mm L - The Magic Drainpipe Canon EF 5.6/100-300mm L Canon EF 3.5/180mm Macro L Canon Macro System / Close-up System1992 Canon Speedlite System 1992 C All about Carl Zeiss Contaflex lenses (Pro-Tessar) on Sony E-Mount camera Carl Zeiss Contaflex lenses (Pro-Tessar) on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/115mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/85mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex Makro-Tessar 2.8/50mm 1:1 on Sony E-Mount cameras (external link to YouTube) Carl Zeiss 3,3-4/28-85mm für Contax/Yashica (external link to YouTube) Cokin Creativ Filter System Color Reversal Film Color Negative Film Contaflex Super BC Contaflex brochures Contax-Yashica bajonet for Contax-SLR cameras Contax AX - the SLR-Autofocus camera for all C/Y-lenses D Dead Sea (Canon EF 3.5-5.6/28-300mm USM IS L) (external link to YouTube) DIN - German Institute for Standardization Distance meter E Eastman Kodak Double-X Motion Picture Film Engine sounds of different cameras Epson V850 (scroll down) Leica Ernst Leitz Wetzlar Hektor 4.5/13.5cm LTM - M39 Leica Ernst Leitz Wetzlar Elmar 4/9cm LTM - M39 (external link: YouTube) Exposure metering and exposure compensation Exposure time F Films: 135mm (35mm film) - 120 (roll film) - sheet film and specialities Filter (Photographic filters) Flash bulbs - Usage Flash bulbs - Instructions G Gepe Archiving system Gossen Light meter Conversion chart neutral density filters H Hasselblad V-System, inkl. YouTube-Videos Hedeco Lime 1 Heliopan Filter System Horseman Roll Film Holder Instructions Horseman 6x7 and 6x9 film backs for 4x5 cameras (external link to YouTube) I I`m Back 35 I`m Back RAW-processing Intrepid MK V (external link to YouTube) Intrepid MK V Fixing loose roll film backs on the Intrepid 4x5 (external link to YouTube) ISO - International Organization for Standardization Ilford HP 3 (from 1969) Ilford HP 3 (from 1969) (external link to YouTube) J Jobo Lab equipment for the photo lab K Kodachrome Kodak Gray Card Kodak Motion Picture Film 50D/50T/250D/250T/500T Kodak Motion Picture Film Vision 3 and Apollon 14K Scan Kodak Double-X Motion Picture Film Kodak SE Slide Duplicating Film SO-366 Kodak BW400CN L Leaflets Leica Ernst Leitz Wetzlar Hektor 4.5/13.5cm LTM - M39 Leica Ernst Leitz Wetzlar Elmar 4/9cm LTM - M39 (external link to YouTube) Leitz Summicorn 3,5cm und 5cm Linhof Color Cardan 45s Lomography: Nour Triplet V 2,0/64mm Bokeh Control Art Lens - unboxing and use (external link to YouTube) Long exposure photography my tips (external link to YouTube) M Mamiya Universal Press Mamiya brochures / Mamiya leaflets The Minolta A-System Minolta 9xi Minolta AF 4,5-6,7/100-400mm APO Minolta AF 4-4.5/28-135mm Review: analog + digital Monster Adapter (converted Sony LA-EA4) Monster Adapter LA-FE2 (Nikon AF incl. Screw-Drive to Sony E-Mount) Motor sounds of different cameras (external link to YouTube) N NFTs from selected photographs for sale Nikon D600 (FX) Nikon F5 Nikon F5: On the road with Kodak Vision 3 - 200T in Norway (external link to YouTube) Nikkor 3.5-5.6/28-300mm G VR on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) Nikkor AF 3.5-4.5/35-135mm N on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) Nikkor AF-S 3.5-4.5/18-35 mm N on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) O optical Aberrations Olympus AF-1 Twin - an analog classic Olympus OM g.Zuiko Auto-W 3.5 / 21mm Osram XM1/XM1b Olympus IS-3000 - The 1990s Bridge Camera Packed with Features (external link to YouTube) P Panoramic Photography Extreme 35mm Film Goes Ultra Wide! Pentax Brochure 2000 Pentax Auto 110 Bonus: use lenses digitally and analogously Pentax 645N Pentax 645 Advertising Pixelfeld Praktica super TL Advertising R Reversal film ReflxLab Distance meter ReflxLab Display for cameras - with templates download! Ricoh TLS 401 Rodenstock digital professional lenses Rollei 35 / 35s Rollei SL26 (126 Film - Instamatic) Rolleivision Twin MSC 300 S Shutter speed Shutter Speed Tester for your smartphone - Check the shutter of your analog camera Scale: Depth of field scale Schneider Kreuznach Filter and Lupes Slide Film: Instant 35mm slide film Soligor AF 2.8-4.5 28-70mm (Canon AF ) (external link to YouTube) Sony GM 2.8 24-70mm (version I) with me on my trip to Norway (external link to YouTube) Sony LA-EA4 and LA-EA4r Sony A900 - a Little Love Letter Sound check of analogue cameras T Tamron SP 3,5-4,2 / 28-85mm Adaptall 2 Tamron SP 3.8-5.4 / 60-300mm Adaptall 2 Tamron SP 2,8 / 35-105mm Adaptall 2 Tamron SP 2,8 / 28-105mm AF A-Mount Tetenal Tripod Tips before triggering Tokina AT-X 2.8 28-80mm Pro TTArtisan 2.8/100mm Bubble Bokeh Lens adapt to M42 adapter (external link to YouTube) U - V Viltrox FE 1.8 50mm as "macro replacement" Voigtländer Bessa L Voigtlander Bessamatic Voigtlander Bessa series (L, R etc.) Voigtländer Septon 2,0/50mm Z Zeiss (to the Contaflex) Zeiss Ikon Contaflex lenses (Pro-Tessar) by Carl Zeiss on Sony E-Mount cameras (external link: YouTube!) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras

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 650-620-630-600 and RT - the original EOS models 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 650-620-630-600 and RT - the original EOS models 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! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Gegnlichtblende Films Obviously, without film, nothing happens in the world of analog photography! Before you buy your next roll, however, you should at least consider the following basic questions: Do you want black and white images? A classic black and white negative film is what you need! Do you want to project your images onto a screen? Then you naturally want a color slide film (also known as reversal film). Do you want standard color prints as your final product? Makes sense! Go with a color negative film. Are you planning to scan your film? All three film stocks can be scanned successfully, though scanning traditional black and white negative film is definitely more challenging—mainly because automatic infrared dust and scratch removal tools (like Digital ICE) do not work on silver-based B&W emulsions. Tripods The most reliable way to avoid camera shake is, without a doubt, a tripod! Long exposures—whether captured during twilight, at night, or in broad daylight using neutral density filters to achieve slower shutter speeds—are nearly impossible without this essential tool. A tripod can be set up almost anywhere, and because it allows you to change your perspective effortlessly, it enables you to capture the exact shot you envisioned. Depending on the scenario, I use different tripods; a lightweight carbon fiber model accompanies me on many trips, while a mini tripod is always by my side. transport Camera equipment requires proper protection during transport, so a camera backpack is usually my go-to. When I only need to carry a lighter setup—such as a single camera body with one or two lenses—I switch to various shoulder bags depending on the size of the gear. I actually received many of these bags as bonus items when buying used cameras and lenses over the years. In fact, one bag is permanently kept in my car, safely tucked away with a Minolta X-500, an MD 50mm f/1.7, and an MD 135mm f/2.8. Better safe than sorry—otherwise, I might find myself standing in front of the shot of a lifetime without a camera! I also keep several other bags pre-packed and ready to go, so I can just grab them at a moment's notice. It’s incredibly practical and saves a lot of space in my gear cabinets. My Linhof, on the other hand, travels in style, safely transported to its destination in a rugged, rolling outdoor hard case. photographic filters Based on my many years of experience, there are three types of photographic filters that I highly recommend—they are permanent fixtures in my daily workflow. I have to confess :-), a UV filte r sits on every single one of my lenses that has a filter thread, purely for front element protection. On more than one occasion, this type of filter has saved a lens from certain death. A Polarizing filter is also indispensable (make sure to choose a Circular Polarizer / CPL for cameras with through-the-lens metering). It reduces reflections on non-metallic surfaces and provides stronger color saturation, making a blue sky pop, for example. Finally, Neutral Density (ND) filters belong in every gear bag. They cut varying amounts of light, allowing for much longer exposure times even in broad daylight. This is the key to making motion beautifully visible in your images. Flash units A Metz Mecablitz 45 CT-4 has been my loyal companion since 1988. He always donated good light to all the cameras I have used so far! I also used and still use suitable system flash units on my cameras, but the Mecablitz 45 CL-4 and 45 CL-5 were added to the Mecablitz 45 CT-4. Also buy a good used one from the 45s series! My 45 CT-4 was and is used, among other things, on - even if not all of the mentioned cameras live with me: Canon A - Series, Canon FTb, Canon F1, F1n, T90, EOS 600, 620, EOS 1n, EOS 20D, EOS 1D MKII, EOS 6D, Minolta X500, Minolta x700, Sony A7II / III, Hasselbald 500cm, 503cx, Mamiya 330f, Mamiya 645 1000s, Mamiya Universal Press, Nikon F501, Minolta 9xi, 7xi, Minolta 9000AF, Pentax 67 ... I apologize for the models I couldn't name ... and much more Every camera needs to be equipped with its own specific accessories. There are external viewfinders for rangefinder cameras, batteries along with chargers for digital bodies, specialized filters for analog black and white photography, extension tubes for close-up and macro work, mechanical cable releases, electronic remote releases, viewfinder magnifiers, right-angle finders, interchangeable focusing screens, handgrips, winders, and motor drives—the list could go on forever! There is truly an accessory for absolutely everything. For cameras without a built-in light meter, a Gossen Multisix has been by my side since 1988. Alongside a few of its siblings, it remains a loyal companion to this day. Stative I highly recommend reading this brochure from Heliopan. It explains the various applications of photographic filters in a simple yet excellent way. You can, of course, download the complete brochure as a PDF file (approx. 38 MB) right here. Download the Heliopan brochure Here, I will show you how to use flashbulbs on two different cameras: a Canon F-1 and a Zeiss Ikon Contaflex. Believe it or not, you can still buy freshly manufactured flashbulbs today right here: https://flashbulbs.com/ — or, you can look for vintage stock from private sellers on platforms like eBay first.

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

Legal Notice / Imprint Information pursuant to § 5 TMG (German Telemedia Act) Stefan Lotz Kastanienweg 20a 53578 Windhagen Germany Contact Phone: +49 2645 975799 E-Mail: info@apertureonepointfour.com Fax: +49 3222 1590075 Person responsible for editorial content pursuant to § 18 Abs. 2 MStV (German Interstate Media Treaty) Stefan Lotz Kastanienweg 20a 53578 Windhagen Germany Limitation of Liability for Internal Content As a service provider, I am responsible for my own content on these pages under general legal regulations pursuant to § 7 Abs. 1 TMG. However, according to §§ 8 to 10 TMG, I am not obligated to monitor transmitted or stored third-party information or to investigate circumstances that indicate illegal activity. Obligations to remove or block the use of information under general legal regulations remain unaffected. However, liability in this regard is only possible from the moment of knowledge of a specific legal violation. Upon becoming aware of corresponding legal violations, I will remove this content immediately. Limitation of Liability for External Links My website contains links to external third-party websites, over whose content I have no influence. Therefore, I cannot assume any liability or guarantee for these third-party contents. 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 the links were established. No illegal content was recognizable at the time of linking. However, permanent 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 Notice The content and works created by the website operator on these pages are subject to German copyright law. Duplication, processing, distribution, and any kind of commercialization 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 legal violations, I will remove such content immediately. Trademark and Proprietary Rights All trademarks, brand names, product names, company names, trade names, logos, and emblems mentioned, used, or depicted in the images on this website are the property of their respective owners and are subject to applicable national, European, and international trademark laws. Registered or protected trademarks, brands, names, logos, and emblems have not been explicitly marked as such. The absence of such labeling does not imply that these trademarks, brands, names, logos, or emblems are free from third-party rights under trademark law. The mere mention, use, or depiction of these terms and assets does not justify the conclusion that they are not protected by third-party rights. The website operator holds no patent, trademark, or copyrights to these third-party brands. Protected trademarks, brands, names, logos, and emblems are merely mentioned, used, or displayed on article photos, images, or graphics because they form an objective and documentary component of the pages. Their mention, use, or depiction is done in full recognition of all rights of their respective owners.

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.

Privacy Policy I have drawn up this Privacy Policy to explain to you, in accordance with the requirements of the General Data Protection Regulation (EU) 2016/679 (GDPR) and the German Telecommunications-Digital-Services-Data-Protection-Act (TDDDG), which information is collected, how data is used, and what choices you have as a visitor to this website. Automatic Data Storage (Server Log Files) When you visit this website, the web server (the computer on which this website is hosted) automatically stores certain data in what are known as server log files. This includes: The address (URL) of the accessed website Browser and browser version The operating system used The address (URL) of the previously visited page (Referrer URL) The hostname and IP address of the accessing device Date and time of access The legal basis for processing this data is my legitimate interest pursuant to Art. 6 Abs. 1 lit. f GDPR to ensure the error-free operation of the website and to maintain IT security. As a rule, these log files are automatically deleted after two weeks at the latest. This data will not be passed on to third parties unless illegal behavior occurs that requires review by law enforcement authorities. Cookies and Consent My website uses HTTP cookies to store user-specific data and to ensure the website's functionality. Cookies are small text files that your browser stores on your device. Consent pursuant to § 25 Abs. 1 TDDDG: When you access this website for the first time, a cookie consent banner will be displayed to you. Cookies that are not technically essential (such as analysis, tracking, or advertising cookies from third-party providers) will only be activated if you have given your express consent. Strictly necessary cookies, which are absolutely essential for the operation and basic functions of the website, are set on the basis of § 25 Abs. 2 TDDDG. 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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

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.