Photographic films You can get more information about the various film materials and film sizes by clicking on the respective button: Color slide Kodachrome Farbnegativ Instant photo SW negative C41 SW slide SW negative Packing film Infrared Sheet film Kodak Motion Picture Film 3 This is my go-to film for 35mm photography. It’s sold by various re-spoolers and boutique brands, available in different film speeds, and comes balanced for either daylight or tungsten (artificial) light. If you use a tungsten-balanced film, you can easily shoot it in daylight without color shifts by simply adding an 85B correction filter (equivalent to a KR15). You can source these films through major auction platforms, from several specialized sellers in the UK, or from Silbersalz. Silbersalz, a company located in Germany, offers these films bundled with the required ECN-2 processing and a 21.4 MB scan at a highly attractive all-in price (as of July 2021). Head over to their site and take a look—it’s highly recommended! This cinema stock is also available from other vendors as 120 roll film. However, please remember that these films cannot be developed using the standard C-41 color negative process. Additionally, some labs strictly develop the cinema films they sell themselves. ..... Packing film KB 35mm film SW negative Instant photo Color slide Color negative SW slide 120 roll films 120 roll films Color slide Sheet film Kodachrome Packing film Infrared SW negative C41 Read Here you will find a small compilation of the film materials available today from the companies Fuji and Kodak Fujifilm offers e.g. The following color negative films for analog photography are currently available (November 2020): Fujicolor C200 ISO 200 film for sunlight or flash. Highly flexible film with enhanced color reproduction, sharpness, and smooth, fine grain. ISO 200 Overview Designed for flexibility and ease of use, SUPERIA 200 works equally well outdoors in daylight or indoors with flash. Enhanced color reproduction, sharpness, and smooth, fine grain. Features Enhanced skin tones The perfect choice for natural looking portraits or group shots. Further refined sharpness The kind of image quality and clarity you expect from ISO 100 films. Wide exposure latitude Excellent results under a wide range of daylight conditions. Sensitivity and Film Sizes ISO: 200 Film Sizes: 135: 24, 36 exp Fujifilm offers e.g. Currently the following color slide (color reversal) films for analog photography (November 2020): Fujichrome VELVIA 50 The new Fujichrome Velvia 50 Professional is a slide film of the absolute top class. The film achieves the same RMS value as the Velvia 50. The RVP50 is a daylight reversal film with an RMS value of 9 and an ISO sensitivity of 50/18 °. A film that is characterized by its ultra-fine grain, extreme image sharpness and natural, highly saturated color reproduction. It has a high-contrast rendition of all tone values with a fine differentiation from the highlights to the shadows at the same time. The new Fujichrome Velvia 50 is the first choice in the fields of fashion, product, art, landscape and science photography. Available as 35mm, roll and sheet film Sensitivities daylight ISO 50/18 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Vibrant Color Reproduction / Rich Color Tone Depiction Vivid skin tone reproduction with the world's highest color saturation equal to that of the current Velvia. Superb color tone depiction for rich color reproduction. Fine Grain Quality / High Definition / High Resolving Power Superb grain quality, vibrancy and resolving power, as with the current Velvia. Neutral Grays and Excellent Deep Shadows Fine neutral gray reproduction from the highlights to the shadows. Superb push / pull processing Minimum color balance variation over a range from -1/2 to +1 stop to enable wider photo opportunities. Also allows fine adjustments of exposure and density to be easily done during processing Fujicolor Pro 400H Update January 2021: Fuji stops producing this film. According to Fuji, there are difficulties in producing the carrier layer. The Fujicolor PRO 400 H is a fine-grain daylight color negative film of the latest generation for professional use. In addition to natural skin tone reproduction and exact color reproduction, it offers an even gray balance. High ISO speed of 400 Higher effective film speed and finer grain. Wide exposure latitude Faithful reproduction of neutral grays over a wide exposure range from underexposure to overexposure. Superb skin tone reproduction Superb skin-tone and hue reproduction with continuously smooth gradation from the highlights to the shadows without any washout. Excellent three-dimensional appearance Clearer colors in the highlights and appropriately controlled color saturation in the shadows to allow rendering of subjects with a feeling of three-dimensional realism. Faithful color reproduction Faithful color reproduction of scenes under a wide variety of lighting. Addition of single-channel suitability Negative density level unified with other PRO series films for maximum printing uniformity and efficiency Fujichrome VELVIA 100 The Velvia 100 (RVP 100) Professional uses new technologies that enable a finer grain and a doubling of sensitivity. The color saturation and color rendering of the Velvia 50 are retained. The Velvia 100 uses new technologies that allow a finer grain and a doubling of the sensitivity. The color saturation and color rendering of the Velvia 50, which have made it a reference film for landscape and nature photographers, are retained. The Fujichrome Velvia 50 has been in production since 1990 and has been popular with professionals and ambitious amateurs alike. Since then, photographers have wanted a more sensitive Velvia film. Advances in emulsion technology have now made it possible to produce a slide film with the color characteristics of the Velvia 50, which has twice the sensitivity with finer grains. The new generation of the Velvia 100 should therefore not only appeal to photographers who expect the special color saturation typical of Velvia, but at the same time offer them a product in which the current state of the art has been implemented. Data Sensitivities daylight ISO 100/21 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) RMS granularity value 8 Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Specifications are subject to change without notice. ISO 100 speed Easy-to-use ISO 100 rating with the world's highest level of color saturation. Ultra-high-saturation color reproduction Attainment of the world's highest color saturation level equal to that of Velvia (ISO 50) through the incorporation of new cyan, magenta and yellow couplers. Super fine grain RMS granularity of 8, one of the finest levels. Color Image Storage Permanence Color image storage permanence (anti-fading characteristics) equal to that of RVP 100F as a result of new couplers. Superb push / pull processing suitability Minimum variation in color and gradation during push / pull processing over a range from -1/2 to +1 stop, providing an expanded range of phototaking opportunities, as well as facilitating fine adjustments in exposure and density during processing and allowing an increase in speed of up to +2 stops (equal to EI400), depending on the scene. Grade: RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Fujichrome PROVIA 100F The Provia 100 F Professional (RDP III) is a medium-sensitive daylight reversal film ISO 100/21 ° with exceptionally fine grain, lively color reproduction, extensive tonal value reproduction and extremely neutral gray balance. The Provia 100 F Professional (RDP III) is a very high quality color reversal film for daylight with a sensitivity of ISO 100/21 °. With very fine grain (RMS granularity value of 8) and extremely high sharpness, it captures details with excellent clarity, while it is equipped with rich gradation, lively and lifelike color rendering and optimal gradation balance. These properties make the Provia 100 F the ideal film for high-end processing through to the finished printed image. Data Sensitivities daylight ISO 100/21 ° Special properties Very fine grain, very good gray balance. The film for high-end processing through to the finished printed image Areas of application For professional applications, from product and outdoor photography to fashion and portrait photography. The ideal film for high-end processing through to the printed image Assembly (small picture) 135-36 RMS granularity value 8 Processing procedure CR-56, C6R, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20), 8x10 inch (20) Specifications are subject to change without notice. Super fine grain Finely detailed image formation for large-size enlargements and other work requiring high-magnification as a result of the finest grain among ISO 100 color reversal films. Vivid and Faithful Color Reproduction Extremely satisfying color depiction, providing the most brilliant primaries without sacrificing the delicate pastels, for wide-ranging application. Rich Tone Reproduction Smooth gradation reproduction with superb depth, thanks to bias-free, brilliant highlights and excellent highlight-to-shadow gradation linearity. Improved Reciprocity Characteristics Increased resistance to loss in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance. Excellent push / pull processing Outstanding tolerance to exposure and density compensation during processing, within -1/2 stop to +2 stops, resulting in minimal variations in color balance and gradation. E-6 / CR-56 * / C6R ** Processing As with other FUJICHROME film, worldwide processing available using E-6 / CR-56 / C6R chemicals. Notes: * CR-56 is Fujifilm processing system equivalent to E-6 processing. ** C6R is Fuji / Hunt processing system equivalent to E-6 processing. RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Kodak offers e.g. The following films for analog photography are currently available (November 2020): A Kodak brochure describing all films can be downloaded here: Kodak film brochure English Nice service from Kodak:

Powerful lens with 3x telephoto zoom. Synthetic fluorite in grpup 1 and UD glass in group 2 provide low refraction and low dispersion. They also effectively correct chromatic and other aberrations. Canon EF 5,6 100-300mm L On the hunt for an affordable telephoto zoom: For the longest time, I was looking for a decent 100-300mm (or 400mm) lens. In the process, I completely overlooked the glass from the dawn of the Canon EF era, which is ironic, considering I started my career working in camera retail as a young man and knew these early models incredibly well. For an earlier trip to Norway, I bought a Minolta AF 100-300mm f/4.5-5.6 APO to adapt to my Sony A7 III, but its underwhelming image quality left me disappointed. But then I saw it: an " L -series" lens for under €200? A 100-300mm telephoto zoom? I didn't hesitate for a second and snatched it up in an auction. In the official Canon Camera Museum, the lens is highlighted with these specs: "High-performance lens with 3x telephoto zoom ratio. Synthetic fluorite in Group 1 and UD glass in Group 2 achieve low refraction and low dispersion, effectively correcting chromatic and other aberrations. Resolution is high throughout all focal lengths, delivering sharp, crisp images. 0.25x magnification is possible at the 300mm focal length." I’ve now put together two detailed videos about this hidden gem below. In the first clip, I analyze its optical performance on a modern 24-megapixel mirrorless body, the Sony A7 III, alongside a breakdown of its mechanics and autofocus speed. On my most recent adventure through Varanger National Park in Norway, I pushed this classic lens to its limits on the Canon EOS 5DS R, Canon's absolute powerhouse of a 50-megapixel DSLR. Have fun watching, and I’m sure you’ll walk away with some fascinating insights about this lens! Don't forget to check out the image gallery as well, featuring real-world sample photos shot entirely with the Canon EOS 5DS R and the Canon EF 100-300mm f/5.6L. 100mm - f8 This lens saw the light of day in 1987. It consists of 15 elements arranged in 10 groups. 300mm - f5.6 Max magnification x 0.26 135mm - f8 The smallest aperture is 32; a total of 8 aperture blades were installed 100mm - f5.6 Even at f/5.6, the lens offers very pleasing performance 100mm - f11 Unfortunately, I didn't have a lens hood available 100mm - f8 The length is 166.6mm with a diameter of 75mm 158mm - f8 The lens weighs 695g 166mm- f11 For me a perfect addition as a landscape lens in my photo bag! 100mm - f8 I fell in love with this lens! 300mm - f8 At full aperture, the corners of the image lose just a little bit of performance The video for the lens - here in English Here is the second video about the lens Photo Gallery: EF 100-300mm f/5.6 L on the Canon EOS 5DsR

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

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Egal womit du fotografierst - Hauptsache du fotografiert. In meiner Jugend kannte ich niemanden, der mit Minolta fotografierte - und alle meine Freunde waren fotobesessen! Nachdem ich über die jahrzehnte etliche Kameras ausprobierte, kauft, wieder verkaufte und mir neues Fotoequipment zulegte - Minolta aber weiterhin mied, kam das Jahr 2018 und die erste Minolta zog bei mit ein. Es folgten einige weitere Modelle gerade das Minolta AF 4-4,5 28-135mm als ein Standardzoom haben es mir angetan. Minolta 9xi The Minolta Dynax 9xi (known as the Minolta Maxxum 9xi in the US and the Minolta α-9xi in Japan) is a professional 35mm autofocus SLR camera introduced in June 1992. It replaced the 1985 Minolta 9000 as the flagship model in Minolta's AF SLR lineup. The "xi" in the model name stands for "eXpert Intelligence," signifying that the camera's underlying technologies were built upon the expertise of professional photographers. Innovations introduced with the xi generation included the use of fuzzy logic within the camera’s exposure programs, alongside additional automated features. For instance, several of the new lenses launched with the xi series were equipped with a power zoom. Personally, I don't consider a power zoom to be a hallmark of professional photography; in fact, when paired with a pro-grade body like this one, it feels rather obstructive. A professional photographer wants to adjust the focal length with precise, tactile control—something that is simply not possible with any of the xi power zoom lenses I have encountered. More substantial innovations, however, include the transparent LCD matrix overlay beneath the focusing screen, which projects status information directly into the viewfinder, and the dual control dial interface, a layout already popularized by the Canon EOS lineup. Minolta AF 4.0-4.5 28-135mm I had heard many positive reports about the optical quality of this lens. Unfortunately, its mechanics are quite fragile. The core structure of this 16-element lens consists of three nested metal barrels. And these exact metal barrels often pose a problem, as they can lose their alignment and precision due to bumps, impacts to the barrel, or other accidents. Other weaknesses include a susceptibility to lens flare, chromatic aberrations (CAs, where different wavelengths of light refract at varying angles, causing color fringing), and blooming in high-contrast situations. To maximize sharpness, stopping down to f/8 or f/11 is required. Nevertheless, I enjoy using this lens when traveling light or when shooting interior lost places under unproblematic lighting conditions. I also like using it on my Sony A7 III via the Sony LA-EA4 adapter. The autofocus is usually spot-on and sufficiently fast, and any distortion can be easily corrected in post-processing—provided you are shooting in RAW. Minolta 9xi AF system: Minolta's through-the-lens phase detection system (TTL) with four CCD sensors; activated by Eye-Start; multidimensional predictive focus control; built-in AF illuminator, which is automatically activated in low light conditions or low contrast; AF sensitivity range: EV −1 to 19 (at ISO100) Measurement: TTL type; 14-segment silicon honeycomb photocell (SPC) automatically activated by Eye-Start; second SPC for TTL flash metering of a dedicated flash unit; Range: Honeycomb EV 0-20, Center Weighted Average EV 0-20, Spot EV 3-20 (ISO100, 50mm f1.4 lens) Shutter: electronically controlled type with vertical traverse and focal plane; automatic shutter speeds: in the "P" and "A" modes stepless from 1/12000 to 30 seconds, showing the nearest half-stop; manual shutter speeds: in "S" and "M" modes 1/12000 to 30 seconds in increments of 1/2 stop plus BULB in M mode; x-sync shutter speed: 1/300 second; X-sync shutter speed in wireless/remote flash mode: 1/60 Viewfinder: Fixed pentaprism at eye level with 92% vertical and 94% horizontal field of view; Magnification: 0.75× with 50mm lens at infinity; transparent LCD screen and acute matte screen; Diopter: -2.5 to +0.5 adjustable; long eye relief. Screen: changeable at an authorized Minolta service facility; Type L (matte panel with grid) or Type S (matte panel with vertical-horizontal scales) Film Speed Range: Auto range: ISO 25-5000 in 1/3 increments; Manual Range: ISO 6-6400 in 1/3 stop increments Battery: 6 volt 2CR5 lithium battery Battery Performance Approximately 50 KB movies (based on Minolta's standard testing method using movies with 24 exposures) Dimensions: 6 7/16 × 3 7/8 × 2 1/2 in. (163 × 98.5 × 64 mm) Weight: 740 g (1 lb. 10 1/8 oz) without lens and battery; Quartz Data Back model: 755 g (1 lb. 10 5/8 oz) without lens and battery Technical data without guarantee. Minolta 9xi Minolta is fun too!!

When I started photography in 1982, I mostly fed my camera slide film. I wanted to see my pictures large on the screen, and of course, high-quality images could also be produced from slides in a professional photo lab. Unmounted color reversal film 35mm Slide Film with a Frame Size of 24x36 mm Slide film, color reversal film, or transparency film (derived from the Ancient Greek dia, δία, "through") is a photographic film that displays tones and colors in their natural, positive state once processed. Typically, slide films are used to project the captured images onto a screen using a slide projector. For this to happen, the individual frames must first be mounted into slides. A standard roll of 35mm slide film offers 36 exposures, though 24-exposure rolls are occasionally found. In the processing lab, unmounted film is typically cut into strips of 5 or 6 frames. Up until a few years ago, labs also offered the option to automatically mount the individual slides into cardboard or plastic frames during processing. . Mounted color reversal film For projection, both glassless mounts (as seen in the example below) and glass slide mounts are used. With glass mounts, the slide is sandwiched between two panes of glass, much like a picture hanging on a wall. The main advantage of glass mounts is that they ensure perfect flatness of the film during projection. This prevents the slide from buckling under the heat of the projector lamp, resulting in uniform sharpness across the entire screen. Disadvantages, however, included the higher cost of these mounts, the risk of trapped dust particles, and the formation of Newton's rings. To prevent these colorful distortions, slides can be mounted using special Anti-Newton glass (AN glass). Newton's rings (named after Isaac Newton) appear as light-and-dark zones or rainbow-like interference patterns. They occur due to light wave interference within the tiny air gap between two highly reflective, nearly parallel surfaces—specifically, the smooth film base and the glass pane. While the selection of color slide films is limited, it is entirely sufficient for practical analog photography. Anyone wanting to experience the magic of genuine color slides today relies on the standardized E-6 development process. The selection of freshly manufactured emulsions boils down primarily to two remaining giants: Kodak Ektachrome E100: The current backbone of modern slide photography. This film delivers extremely fine grain, natural colors, and clean whites. It is widely available in 35mm format (36 exposures), 120 roll film, as well as for large format cameras. Fujichrome Provia 100F: Fujifilm’s faithful all-rounder, prized for its neutral color reproduction and outstanding sharpness. It continues to be offered in both 35mm and 120 roll film formats, though it is frequently out of stock due to irregular production cycles. Fujichrome Velvia 50 / 100: The top choice for landscape photographers seeking vibrant, highly saturated colors. While its distribution is heavily restricted by strict environmental regulations (especially Velvia 100 in the US), fresh batches or remaining stock can still be found in Europe and Asia depending on market conditions. Legacy films like the aforementioned Kodachrome or older emulsions like Agfachrome can no longer be processed using their original chemistry. Today, they serve collectors at best for experimental cross-processing in the lab. Here you can see a gallery featuring advertisements for film stocks—both color reversal (slide) and color negative films. Of course, you can also buy expired film, which is widely available on popular online marketplaces. Another great way to find unusual, experimental, and fun-to-shoot stocks is this shop (external link). The following gallery features photos captured on Kodak Ektachrome SE Duplicating Film SO-366. The film was exposed at speeds between ISO/ASA 3 to 9 and some of the images have been converted to black and white. You can download the technical datasheet for Kodak SO-366 here. KB-Diafilm SO-366

Egal womit du fotografierst - Hauptsache du fotografierst. Dies ist das Thema dieser Seite. Sofortbildfotograf, Pocketfilmbelichter, digitale Kompaktkamera, TLR-Fotograf - es spielt keine Rolle. Ein paar meienr Kameras zeige ich euch hier. No matter what gear you use, the main thing is, you just shoot! apertureonepointfour, 2020 To learn more about selected systems, simply click on the camera model in the heading! Wherever additional information is available, the camera name will be underlined—just follow the link (see for example: Pentax Auto 110, Nikon F5, Rollei 35, Rollei 35S). Gear in Motion: Systems that stayed and those that traveled on Polaroid 330 For pack film or peel-apart film Sony ZV 1 Sony ZV-1: for a long time, it was widely considered the ideal camera for vloggers. However, times have changed. While it remains a capable little device, it is no longer the ultimate choice for creators. Outpaced by newer successors with wider lenses and advanced smartphone tech, the ZV-1 has officially handed over its crown and now serves more as a budget-friendly secondhand option than the current industry standard. Polaroid Supercolor 635 Designed for Polaroid 600-type instant film Polaroid 636 Polaroid 600 instant film: wildly popular back in the day. This iconic format was the gold standard of instant photography and is currently enjoying a massive resurgence among analog enthusiasts. Rollei SL 35 M. Rolleiflex SL 35 M: a robust classic in German camera history. Unlike its sleek predecessor, the original SL 35, the "M" version is based on a body design inherited from Voigtländer. It is significantly more substantial, offering a solid grip and everything you need for puristic, fully manual SLR photography. Paired with the legendary Rolleiflex and Carl Zeiss lenses utilizing the QBM (Quick Bajonett Mount), it remains a true vintage workhorse for 35mm film enthusiasts. Yashica GSN Yashica Electro 35 GSN: 35mm rangefinder camera. Famous for its incredibly sharp and fast Color-Yashinon 45mm f/1.7 lens and its reliable aperture-priority autoexposure. It remains a timeless favorite for street photography and a fantastic gateway into the world of vintage rangefinders. Contax RTS A Contax RTS paired with the Tamron 35-105mm f/2.8, a fast standard zoom. Another absolute favorite combination of mine is shooting this body with the Carl Zeiss 28-85mm f/3.3-4 T*. Praktica super TL 3 The Praktica Super TL 3: Anyone else out there still remember the old GDR days? This camera is a classic piece of East German engineering from the historic Pentacon factory! Canon EOS 50 D Digital SLR camera with an APS-C sensor Pentax auto 110 Pentax Auto 110: the smallest and only true pocket SLR system in history featuring fully interchangeable lenses. A masterpiece of vintage miniaturization! The best part for modern creators: These tiny, surprisingly sharp lenses can be seamlessly adapted to digital MFT (Micro Four Thirds) cameras. Because the MFT sensor size closely matches the original 110 film frame, you can enjoy that unique, nostalgic analog character on a modern digital body without a massive crop, creating an incredibly compact setup. Rollei 35S Rollei 35 S: the premium powerhouse of the lineup. The "S" proudly stands for the legendary, fast 40mm f/2.8 Sonnar lens. Compared to the classic Tessar, this five-element masterpiece features Rollei's proprietary HFT (High Fidelity Transfer) coating, delivering stunning contrast, rich color rendering, and a beautiful, smooth bokeh—all packed into a pocket-sized mechanical marvel. Nikon F5 The Nikon F5 is an absolute tank of a camera, packing a huge piece of history: it was the final model in the legendary F-series to feature an interchangeable viewfinder. This professional beast trades vintage aesthetics for pure, unadulterated performance: blasting up to 8 frames per second, rock-solid autofocus, and the iconic 3D Color Matrix Metering. If you don't mind carrying some serious weight in your bag, shooting this camera gives you the unmatched experience of the very last modular flagship of the 35mm film era. Contaflex Super BC Contaflex Super BC (Zeiss Ikon): the technological flagship of the famous Stuttgarter lineup. Zeiss Ikon, the historic camera brand of Carl Zeiss, created a true engineering marvel with this model: a leaf-shutter SLR equipped with a high-precision Synchro-Compur shutter and the razor-sharp Carl Zeiss Tessar 50mm f/2.8 lens. The "BC" designation highlights its advanced CdS light meter, which introduced accurate through-the-lens (TTL) metering at full aperture. Combined with its innovative automatic aperture and flash control, it remains a timeless milestone of premium analog design. Olympus AF-1 Twin This analog camera can always be taken with you! The Olympus AF-1 Twin is a weatherproof cult classic from 1988 that stands out with a truly unique optical design. Instead of a compromised zoom lens, it features a twin-lens bifocal system housing two genuine primes: a wide 35mm f/3.5 and a tighter 70mm f/6.3. With a simple press of a button, the camera mechanically switches between the two high-quality lenses. Protected by the iconic sliding clamshell cover, it’s the ultimate rugged, pocket-sized companion for everyday film photography. The video featuring this model is available YouTube (externer Link). Fuji X20 Fujifilm X20: beautifully digital. With its classic rangefinder styling, real optical viewfinder, and premium metal build, it proves that even digital compact cameras can offer exceptional tactile joy and true character. coming soon - coming soon - coming soon - coming soon - Rolleicord Rolleicord - arguably the most elegant proof that the fascinating world of 6x6 medium format photography doesn't have to break the bank. Originally designed by Franke & Heidecke as a more budget-friendly alternative to the legendary Rolleiflex, it compromises very little when it comes to image quality. If you don't mind the manual film advance and prefer a pure, slowed-down photographic process, you get German mechanical precision paired with outstanding glass like the Carl Zeiss Triotar or the legendary Schneider-Kreuznach Xenar. A true gem for anyone wanting to capture the magic of the square format! Rollei 35 A joint masterpiece by Rollei, Carl Zeiss, Gossen, and Compur: bringing together the crème de la crème of the German camera industry of that era. True Made in Germany craftsmanship, sporting the iconic 40mm f/3.5 Tessar. It doesn't get much better than this vintage heavyweight in a pocket-sized body! Fuji X20 The Fujifilm X20: Analog soul meets digital convenience. It’s the perfect testament to the fact that a pocket-sized digital camera can look incredibly sharp, feel amazing in the hand, and deliver that nostalgic shooting experience. Rollei SL26 A beautifully puristic setup: the Rolleiflex SL 26 paired with the sleek Hedeco Lime 1 clip-on light meter light meter. This camera is a true vintage unicorn, a premium, fully mechanical 126-format SLR featuring interchangeable front lens elements. Mixing this classic German body with a modern hot-shoe meter makes for an incredibly tactile shooting experience. Nikon D600 (FX) Digital full-frame (FX) body paired with two classic f/2.8 pro-grade lenses. This setup is my ultimate buyer's guide for anyone looking to step up to full-frame photography on a budget! Check out the deep-dive video on this gear combination on YouTube (external link) Intrepid MKV Intrepid V (4x5): the modern gateway to the fascinating world of large-format photography. Proudly designed in England, this Generation V field camera completely reimagines traditional large-format design. By combining premium birch plywood with high-quality, 3D-printed components, it’s incredibly rugged yet weighs under 2 lbs (1 kg). It fits effortlessly into a standard backpack, offering full control over depth of field and perspective without the back-breaking weight. YouTube Video in english Autoknips I Autoknips I: the perfect solution if your vintage analog camera lacks a built-in self-timer. This clever, fully mechanical device easily attaches to a standard cable release, giving you a smooth delay to jump into the frame yourself. A beautiful piece of photographic history! Clicking on the image will open the full video on YouTube (external link). coming soon - coming soon - coming soon - coming soon - Nikon D600 Olympus AF-1 Twin Autoknips I Sound check Sound check of analogue cameras Dedicated to Stefan "Falki", my absolute best photo buddy and ultimate partner in crime. So far only dreams ... Rolleiflex 6000 System Rolleiflex - wie bei den analogen Hasselbladkameras finden auch beim Rolleifelx 6000 System die legendären Carl Zeiss Objektive Verwendung Carl Zeiss 5,6 350mm Superachrom Ein Traum eines Teleobjektives zu jeder analogen Hasselblad des V-Systems - nur leider fast unbezahlbar Alpa 12 WA technische Daten Alpa System Rolleiflex 6000 System Rolleiflex - wie bei den analogen Hasselbladkameras finden auch beim Rolleifelx 6000 System die legendären Carl Zeiss Objektive Verwendung 1/14 download the dreams as a .pdf file (approx. 39 MB) Support this project! To help keep this website alive and running, I would highly appreciate your support. You can access additional high-quality, high-resolution scans for a small fee starting at just €2.99 via PayPal. Your contribution directly supports the maintenance of this digital archive. Digital delivery usually takes place on the very same day, sent straight to the email address associated with your PayPal account. Thank you so much for your support! Zenza Bronica In this general brochure, the three medium format cameras from Zenza Bronica, ETRsi - SQ-Ai and GS-1, including lenses and accessories, are presented. Fine, used very cheap medium format systems! Voigtlander The Classic Collection Bessa-L Bessa-T Bessa -R Bessa R2 plus accessories and lenses in one brochure analog photography in its simplicity Fujifilm In this compilation you will find information about various Fujifilms: Fujicolor Super G Plus 800, Fujichrome 64 T (artificial light film), Neopan 400 prof. and Fujicolor 160 NPS & NPL - a reminder of the great days of analog photography. Special viewfinder for the Leica camera What the Ernst Leitz Wetzlar company produced for a wide variety of (clip-on) viewfinder systems for their 35mm cameras is brilliant. An interesting brochure for lovers of Leica cameras and those who want to become one. Bessa Serie

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

Canon nFD 4.0 28-85mm - the only Canon (n)FD standard zoom with 28mm focal length to light telephoto. Learn all about this lens: its mechanical and optical and wether it is worth buying today! Canon nFD 4.0 28-85mm Canon FD Gallery Canon nFD 4.0 28-85mm - the only Canon (n)FD standard zoom with 28mm focal length to light telephoto. Canon offered a fantastic lineup of standard zoom lenses for their FD-mount cameras. This included standout gems like the Canon nFD 35-70mm f/2.8-3.5, the Canon nFD 35-105mm f/3.5, and the optically superb Canon nFD 50-135mm f/3.5. The 28-85mm f/4.0 zoom featured here is perfect for any Canon FD shooter looking for a versatile "all-in-one" lens. It easily tackles most photographic challenges—especially on the road—saving you from hauling a backpack full of heavy lenses. I actually purchased this lens in 1989 during my vocational training as a camera store clerk. Back then, I was thoroughly pleased with the optical output. Even though the mechanical build isn't quite on the same level as the robust nFD 35-105mm, it was a much lighter alternative for the focal range it covers. I guess you can't have it all! This nFD 28-85mm f/4.0 was originally launched in November 1985. According to the archives of the Canon Camera Museum: "This lens features a 3-group optical zoom system in which part of the optical system is fixed, resulting in a compact body without loss of optical performance. In addition, it features Canon's movable flare stopper, which blocks stray light that degrades image quality by coupling with the optical system during zooming to ensure a crisper image. The lens delivers a 3x zoom range from a wide 28mm to an 85mm portrait telephoto, alongside a continuous macro mode that allows focusing down to 0.5 meters from the film plane across the entire focal range." In the video below, I'll walk you through a detailed review of this lens. Scroll down to explore the image gallery, where you'll find product shots of the lens as well as real-world sample photos. In this video you will get to know the lens and whether it is worth buying. - external link to YouTube - Take a look at this diverse mix of sample shots and decide if the optical quality works for you. In my experience, this lens performs incredibly well when stopped down just a bit, which is highly impressive given that it hit the market in 1985! Click on the images to view them in full size!

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.

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