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

As you have probably already noticed, the "Analog Photography" menu contains several submenus. They invite you to browse, share valuable knowledge, and lead you directly to my overviews of cameras and lenses. Under "Gear Reviews ," you will find additional up-to-date information, tests, and useful tips. You can find a complete overview of all topics under "Index" in the main menu! To get you started, I have put together a small selection of what's available in the "Quick Access" section below: Rollei 35 mit Tessar 3,5 40mm & Rollei 35 S mit Sonnar 2,8 40mm hier gehts zum Artikel Prospekte verschiedenster Systeme hier gehts zum Artikel Canon FD System hier gehts zum Artikel Hasselblad V-System hier gehts zum Artikel Nikon F5 das letzte AF-KB analoge Arbeitstier mit Wechselsucher hier gehts zum Artikel alles über Film hier gehts zum Artikel Filter für die Fotografie hier gehts zum Artikel Kodak Motion Picture Film 3 hier gehts zum Artikel Tipps und Tricks hier gehts zum Artikel verschiedene Systeme hier gehts zum Artikel 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 Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

In meiner Jugend stand vor der Entscheidung: Canon FD oder ein anderes System. Als ich sie, die Canon A1, das erste Mal sah und in der Hand hielt wusste ich: dies ist meine Kamera, dies wird mein System. Die roten LEDs im Sucher verzückten mich und tun es noch heute! The Canon FD system My favorite analog 35mm camera system. Canon FD Gallery Canon A-1 A multi-mode camera featuring shutter priority, aperture priority, and full program autoexposure. What made this camera so unique for its time was that the lens's aperture ring remains locked in the "A" position for all of these automatic modes. By turning the main dial, you pre-select the shutter speed (Shutter Priority / Shutter-speed Preferred AE), and the camera automatically sets the matching aperture, communicating this directly to the lens. Alternatively, switching the dial allows you to select the aperture yourself (Aperture Priority / Aperture Preferred AE); the camera then transmits that aperture to the lens and calculates the exact exposure time needed for a perfect shutter speed. To this day, I still shoot with the Canon A-1, using aperture priority almost exclusively. A crucial accessory for me has become the diopter correction lens, which allows me to compose my shot and focus accurately through the viewfinder without wearing glasses. Visual impairments can easily be corrected with this handy little tool, as the specific correction lens simply screws onto the viewfinder eyepiece. Unfortunately, these useful accessories can now only be found second-hand. Canon New F-1 – The last professional camera with the FD mount A real workhorse. Seen here in a short video equipped with the Canon Winder FN and the AE Finder FN. With this configuration, the camera offers aperture priority (aperture preferred AE) through the use of the AE Finder FN, and shutter priority (shutter-speed preferred AE) by adding the Winder FN (or Motor Drive FN). The Canon New F-1 is my go-to setup for analog 35mm photography, paired with the Canon FD 35-70mm f/2.8-3.5 SSC (chrome nose). The Evolution of the Canon FD Mount A Brief Look Back: The Canon FL Mount (1964) Before the FD system dominated the market, the FL mount was Canon's standard. Introduced with the Canon FX, it already utilized the mechanical principle of the "Breech-Lock" mount. With this system, the lens is placed against the camera mount, and a silver ring at the base of the lens is rotated to secure it. The advantage: since the lens itself does not rotate against the camera body, there is virtually no mechanical wear on the mounting surfaces. However, the biggest drawback of the FL system was that it only supported stop-down metering—meaning the aperture had to be manually closed to measure exposure. The Classic Canon FD Mount with Chrome Ring (1971) With the introduction of the legendary Canon F-1 in 1971, Canon debuted the FD mount. As shown in image_8f8495.jpg, this first generation retained the proven Breech-Lock system, easily identified by its distinctive silver chrome ring. To attach it, you place the lens onto the camera mount and turn only the chrome ring clockwise to securely lock the lens into place. The groundbreaking innovation of the FD system was the addition of mechanical levers and pins, which enabled full-aperture metering and automatic exposure modes for the first time. The Later Canon nFD Mount without Chrome Ring (1979) In 1979, Canon fundamentally modernized the system and introduced the "New FD" (nFD) mount. As illustrated the prominent chrome ring was completely eliminated. Instead, the nFD lens handles like a modern, true bayonet mount: the lens is rotated clockwise as a whole after being attached to the camera, locking it in place with an audible click. Mechanically, the wear-free Breech-Lock principle still operated hidden inside the mount, but the external handling now offered the convenience of a standard bayonet setup. Comparison of the Two Systems FD (Chrome Ring) Pros: Zero Wear and Tear: Because the lens sits flush against the mount and only the ring rotates, there is no friction or grinding between the mating surfaces of the camera and lens. Build Quality and Feel: These lenses were made almost entirely of metal, offering a heavier feel and carrying genuine vintage appeal for many collectors. Cons: Cumbersome Operation: Lens changes require some practice and usually two hands to precisely grip and rotate the ring. nFD (New FD without Chrome Ring) Pros: Fast Lens Changes: Mounting and twisting the entire lens body is highly intuitive and can easily be done quickly with one hand. Weight and Size: Thanks to the increased use of high-quality engineered plastics and lightweight materials, nFD lenses are significantly lighter and often slightly more compact. Cons: Less Premium Feel: The increased use of plastic can make the lenses feel less robust compared to the older, solid-metal classics. Canon AE-1 Program—More Than Just a Backup A fine Canon SLR camera for the FD mount. It offers both shutter-priority and full program automatic exposure modes. When using the program mode, the camera automatically determines the appropriate shutter speed and aperture combination based on the film speed and ambient light conditions. The film speed is printed on the film packaging (ISO, ASA, or DIN) and is frequently part of the film's name. YouTube channel, apertureonepointfour Curious about what it actually looks like when peering through the viewfinder of an analog Canon SLR? I’ve put together a few examples for you. Next to your subject, you’ll see various viewfinder displays. These assist you in getting the perfect exposure, choosing the right shutter speed to avoid camera shake or motion blur, or isolating your main subject from the background with a shallow depth of field. The camera selected a 1/60 second to the manually selected aperture, the image is exposed correctly. Canon Kamera Blick durch den Sucher The camera cannot choose a suitable time. The image becomes too dark or, in other words, "underexposed". Canon T70 is a camera with motorized film transport, shutter control with time preselection, fully automatic exposure and digital display of the aperture value determined by the camera's exposure meter In this example, the camera selected an aperture of f/4.5 - a half-stop between f/4.0 and f/5.6. I present some cameras to you on YouTube - please have a look! Help - My Canon AE-1 Program Has Asthma! Cameras can also get sick. There are numerous YouTube videos that show how the problem can be eliminated with relative ease. Warning: I messed up a Canon A1 myself when I tried to repair it with too much oil, plus WD 40. Better buy other oils, for me special oils for cameras worked very well for further repairs - and used very sparingly! To help, I took an extra fine oil dispenser. 1 drop of oil is enough for some cameras! This is what Canon Asthma sounds like Canon FD - System - a small picture gallery Canon FD System Galerie Flash bulbs on the Canon A1 Using Flashbulbs on the Canon A-1 Even a Canon FD-system camera can still be used with flashbulbs and bounce flash is even possible. In the following example, you can see a Canon A-1 paired with a Zeiss Ikon Ikoblitz 6. The flash unit requires a 15-volt battery that is no longer manufactured today (e.g., Varta V74PX). However, there are various adapters available on the market that hold ten 1.5-volt LR54 silver oxide button cells instead. As for the required flashbulbs, you can find them secondhand at various auction houses, or brand new (unpaid advertising) at: https://flashbulbs.com/ A Brief History of the Flashbulb Flashbulbs were patented on September 23, 1930, by physicist Johannes Ostermeier, an employee of the Hauser lamp factory in Augsburg, Germany. Before that, photographers used magnesium powder, which was detonated and flared up for several seconds. This was a rather dangerous way to generate light, as countless fire reports from that era prove. Shortly after, the patent was commercialized, in Germany under the name "Vacublitz" by the Osram company. The most decisive advantage: it was significantly safer than magnesium powder. The glass bulb minimized the risk of an explosion. "Burns are impossible with Vacu," the manufacturer's advertisement stated, continuing: "Fire cannot spread if you have Vacublitz in the house. The Vacublitz matches the brightness of the highest quality flash powder, but burns much faster and emits a more pleasant light, preventing startled faces in your photos. Your photo dealer can supply you with the Vacublitz for 1.25 Reichsmarks." Why Shoot with Flashbulbs Today? Quite simply: it looks cool, you stand out from the crowd, you don't rely on automatic flash programs, and—just like in the last millennium—it forces you to practice a slower, more conscious style of photography. As the website www.flashbulbs.com states: "Nothing matches the quality and quantity of light produced by a flash bulb. Small, portable, easy to ignite, and relatively inexpensive, flash bulbs are capable of delivering a tremendous amount of lighting from the palm of your hand. Certainly there are electronic flashes, lasers, and other high-tech methods of generating light, but they just don't match the size and characteristics of a simple flash lamp." Give it a try, it's pure fun... and after all, our hobby is all about having fun, right? Blitzbirnen an A1 Recommendation! The three best Canon FD standard zoom lenses for analog and digital! Canon has produced 10 different Canon FD / FDn standard zoom lenses - plus 2 AF lenses for the Canon FD bayonet. Which one should you buy? In this video I give you my recommendation from 35 years of experience with Canon FD / FDn lenses. Recommendation! The three best Canon FD standard zoom lenses for analog and digital! Here you can see the German version: Welches Standardzoom Who does not know that? After 30, 40 or 50 years the lens hood on your beloved Canon FD / nFD lens wobbles. But the remedy is very simple! Check out my short video! Gegenlichtblene wackelt Using an expired Kodak Ektachrome SE Duplicating film and the Canon F1n with magnifier viewfinder, I took a few macro shots. My clear recommendation is to use the magnifier finder if you want to get into macro photography - it offers a convenient view from above the camera! Here, I am offering some fantastic brochures from the 1980s as free downloads. Just click on the image, and the respective brochure will download to your hard drive as a .pdf file! Have fun browsing! And if you would like, feel free to buy me a soda or a cup of coffee to help support and expand this website. Thank you!! 4 Canon FD Prospekte Practical, convenient, and extremely cool: motorized film advance for the Canon "A" series cameras. In this video, I introduce you to all three options available for automatic film transport. Have fun watching! (External video on YouTube) Canon A Filmtransport Canon Motor Drive Systems for the A-Series Canon offered a total of three different motor drive systems for the cameras in the Canon FD-system's A-series: Canon Winder A Canon Winder A2 Canon Motor Drive MA Canon Winder A The Winder A was the first version of motorized film advance and is compatible with all A-series models. This winder does not feature a manual speed setting; instead, it automatically advances the film at a maximum speed of up to 2 frames per second (fps). To achieve this maximum frame rate, a shutter speed between 1/60 and 1/1000 of a second is required. At slower shutter speeds, the frame rate decreases accordingly, dropping down to single-frame advance. It requires four AA batteries (or equivalent rechargeable batteries) to operate. The Winder A features a compact design and weighs approximately 300 grams including batteries. Canon Winder A2 The Winder A2 represents the technological evolution of the Model A and shares identical dimensions of 141 x 42 x 34 mm. For the first time, it offered the ability to choose between single-frame advance ("S") and continuous shooting ("C") at a maximum of 2 frames per second via a dedicated switch on the winder. However, this advanced control functions exclusively when paired with the Canon A-1 and Canon AE-1 Program models. With all other A-series cameras, the Winder A2 operates exactly like its predecessor, the Winder A. Canon Motor Drive MA The Canon Motor Drive MA is a true high-performance motor drive, primarily designed for use with the Canon A-1. For operation, it requires a separate battery pack (Battery Pack MA or Ni-Cd Pack MA), which simultaneously serves as an ergonomic handgrip. When paired with the Canon A-1, the Motor Drive MA offers three operating modes: "S" (Single): Reliable single-frame advance. "L" (Low): Continuous shooting at up to 2 frames per second. "H" (High): Rapid continuous shooting at up to 5 frames per second (given sufficiently fast shutter speeds). Essential Accessories for Canon A-Series and T-Series Cameras Whether you already own a classic Canon A-series SLR—like the AE-1, AE-1 Program, A-1, AT-1, AV-1, or AL-1—or you're planning to buy one, this guide is for you. Most of the gear featured here is also fully compatible with T-series models, including the T50, T60, T70, T80, and T90. These are the must-have additions to complete your setup! In this video, I’ll walk you through the most important accessories that belong in every photographer's kit. Viewfinder diopter correction lenses Body caps and rear lens caps Lens hoods Filters Action grips, eyecups, and viewfinder covers Power Winder A2 (A-series only) Data Back A (A-series only) Speedlite 299T flash Extension tubes Teleconverters (2x-A, 2x-B, 1.4x) Film rolls Zubehör A/T Kameras Canon AV1 My top recommendation for an inexpensive entry into the world of the analog Canon FD system. As you might already know from my other videos or from browsing my homepage, I almost exclusively use aperture priority for my exposure. I simply want to have full control over the depth of field, and this automatic mode offers the smoothest workflow. That’s why today, I’m introducing you to the Canon AV-1—an easy-to-use camera that relies entirely on aperture priority. Here is what Canon writes about this model in their official Canon Camera Museum: Launched: May 1979 Original price: 57,000 Yen (with the New FD 50mm f/2 lens) "Although it cost more to manufacture, cameras with shutter-speed priority automatic exposure control were important to Canon because users could understand shutter speed settings more easily than aperture settings. However, in America and other overseas markets, 35mm cameras with aperture priority were in the majority. Overseas dealers heavily demanded an aperture-priority model, and Canon responded with the AV-1. Along with the release of this camera, a new type of FD lens was introduced. These lenses allowed instant attachment and detachment and are called nFD (New FD) lenses. A budget-friendly FD lens, the 50mm f/2, was made available specifically for the AV-1." In the following video, I will walk you through all of the camera's features in detail. Enjoy the video! Canon AV1 Video 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! ! Widget Didn’t Load Check your internet and refresh this page. If that doesn’t work, contact us.

Canon EOS 1n - die analoge Profikamera von 1994. Sie war meine erste EOS Proikamera, die ich mir leistete. Meinen damaligen Traum besitze ich noch heute. Canon EOS 1n When Canon abandoned the FD system, it took me a long time to warm up to the idea of autofocus cameras. My entry into the AF world came with the Canon EOS 600, the fifth body in the then-revolutionary EOS lineup. Canon had launched the EOS 650 and 620 in 1987, followed by the flagship EOS-1 and the EOS 600 in 1989 (not to be confused with the much later digital SLR, the EOS 600D / Rebel T3i). But back then, the EOS 600 felt like it was missing something. Did I miss the tank-like robustness of a Canon F-1? Or the classic beauty of a Canon A-1? Everything changed in 1994. Canon unveiled the EOS-1N, introducing massive upgrades over the original EOS-1. The most crucial feature for me was the new 5-point autofocus system, a huge step up from the single center AF point of the first-generation EOS-1. To this day, a Canon EOS-1N remains a constant companion on my photo outings! Canon EOS 1n The Canon EF 40mm f/2.8 STM featured here was built for the digital SLR age, but it performs brilliantly on older analog Canon EF-mount bodies as well. Besides shooting with it on this classic film camera, I also use it on my digital Canon EOS 50D and adapt it to my Sony A7 III. This little pancake lens stands out for its ultra-compact form factor and superb optical rendering—even if it is a bit on the slower side with its f/2.8 starting aperture. No matter what camera you use - the main thing is that you shoot! .pdf download by clicking on the image "Introducing Canon EOS -1n" .pdf download by clicking on the image "Canon EOS -1n - Instructions"

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

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

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

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

Hier stelle ich euch die Zeiss Ikon Contaflex Super BC im Detail vor. Sie bietet zwar nur eine begrenzte Anzahl von Satzobjektiven (ein Teil des optischen Systems, einschließlich Blende und Verschluss ist fest in der Kamera verbaut - sogenannte Satzobjektive werden mittels Bajonett an dieses System verbunden), dafür aber viele nützliche Komponenten wie z. B. einen integrierten Okularverschluss, Blendenautomatik mit Zeitvorwahl oder die rein manuelle Einstellung von Zeit und Blende. Viel Spaß! Contaflex Super BC Introduced in 1965, this camera evolved directly from the iconic Contaflex series—and its technical specs caused quite a stir at the time. Just like its predecessor, the Contaflex Super B, the Super BC offered automatic flash functionality alongside shutter-priority autoexposure. The groundbreaking innovation, however, was its exposure meter: it utilized a CdS (cadmium sulfide) cell to measure light directly through the taking lens ("TTL" — through the lens). This TTL metering system was the true sensation! Best of all, this advanced metering and automation worked seamlessly across the entire lineup of available lenses. Contaflex Super BC Year of construction: 1965-1971 Format: for 35mm film (24x36) Lenses: Set of lenses from Carl Zeiss Oberkochen. Tessar 2.8 / 50mm Pro-Tessar 3.2 / 35mm Pro-Tessar 4 / 115mm Older invoices: Pro-Tessar 4 / 35mm Pro-Tessar 4 / 85mm Apertures: 2.8 to 22 Shutter: Central shutter, permanently installed in the camera, the optical system of the shutter is part of the optical calculations of the available set of lens attachments Shutter speeds: 1; 1/2; 1/4; 1/8; 1/15; 1/30; 1/60; 1/125; 1/250; 1/500 sec. + Bulb Hot shoe and connection for wireless icon flashes Exposure meter: CdS exposure system with automatic aperture (can be switched off). No tracking measurement in manual mode Battery: PX 625 mercury 1.35 volts (no longer available, see text on the right) The battery is only required for exposure metering, otherwise the camera works fully mechanically. Film counter: yes, resettable (counting down in the elevator button) Viewfinder: Roof-edge SLR viewfinder No viewfinder image after taking the picture before the shutter is cocked again! Film advance: quick advance lever Rangefinder: yes, cross-section and fine grid ring Self-timer: yes Film sensitivities: DIN 12-27 / ISO-ASA 12 to 400 Additional: Tripod thread, eyepiece lock, interchangeable cassettes for films Contaflex Super BC Through-the-lens (TTL) metering was a game-changer, and still is today, because it automatically compensates for light loss caused by accessories like filters and extension tubes. The exposure meter is designed to run on a 1.35V PX625 mercury battery. However, manufacturing or importing these cells has been strictly banned in Europe and North America for years. While you might still find online sources shipping them from Russia—BE WARNED: importing these batteries is illegal and can lead to heavy penalties. To stay on the right side of the law, you can have your camera's meter adjusted to 1.5 volts, allowing you to use standard SR44 silver oxide or alkaline button cells. Another popular option is zinc-air batteries (like WeinCells). They deliver a near-perfect 1.4V, but keep in mind that they drain constantly once the air seal is broken, completely exhausting themselves after about 6 months even if the camera just sits on the shelf. To prevent battery drain, you can completely turn off the light meter by switching the central shutter selector away from the "A" position to any manual aperture setting. Contafelex Super BC Around 17,475 units of this model were produced. The photo below shows the camera equipped with the Pro-Tessar 115mm f/4 lens component. These convertible lenses lack a built-in focusing helicoid. Instead, focusing is done via two levers on the camera body itself, which shift the elements to lock onto your subject. Once focused, the distance value can be read and transferred to a scale on the lens attachment, making it easy to check your depth of field depending on the chosen aperture. When it comes to these classic lens attachments, there's only one way to describe them: A vintage dream made of glass, lots of glass, and solid metal! zurück zum Text Objektive Below is a brief gallery showcasing the Contaflex Super BC and some of its accessories. If you can work around the limited selection of focal lengths, you'll find that this is an incredibly rewarding 35mm SLR system. The ability to use interchangeable film backs is a rare and brilliant feature for a 35mm camera. It means you can swap film stocks on the fly based on your subject or the lighting situation—switching between C-41 color, black-and-white, ISO 100, or ISO 3200 mid-roll—and change them whenever you feel like it, without wasting a single frame! Contaflex Super BC - built-in eyepiece lock Ikoblitz 6 is triggered - in slow motion Self-timer and central locking do their job A picture gallery with a description Ein Blick durch den Sucher einer Contaflex Super BC. A view through the viewfinder of a Contaflex Super BC. Rechts sind die Blenden und Verschlußzeiten abzulesen. Die Verschlußzeit wird vorgewählt, die Blende ermittelt der eingebaute CDS-Belichtungsmesser (TTL-Messung). The apertures and shutter speeds can be read on the right. The shutter speed is preselected, the aperture is determined by the built-in CDS light meter (TTL metering). Ikoblitz in verschiedenen Ausführungen. Ikoblitz in various designs. Verwendet werden können z.B. Blitzlichtbirnen vom Typ XM 1/5/6 (Fa. Osram), Philips AG3 (mit Splitterschutz) und Philips PF1. Ein "B" in der Bezeichnung steht für die Verwendung mit Tageslichtfarbfilm. For example, you can use flashbulb types such as the Osram XM 1/5/6, the Philips AG3 (featuring an anti-shatter coating), and the Philips PF1. The letter "B" in the model name stands for daylight-balanced color film. Kompatibel sind beispielsweise Blitzbirnen-Typen wie die Osram XM 1/5/6, die Philips AG3 (mit integriertem Splitterschutz) sowie die Philips PF1. Das „B“ in der Modellbezeichnung weist dabei auf die Eignung für Tageslicht-Farbfilme hin. The following can be used, for example Flash bulbs of type XM 1/5/6 (Osram), Philips AG3 (with splinter protection) and Philips PF1. A "B" in the designation stands for use with daylight color film. Batteriefach - klicke für mehr Informationen! Battery tray - klick for more informations! Okularverschluß Eye piece lock Belichtungsmesser - klicke für mehr Informationen Light meter - klick for more informations! Belichtungsmesser - klicke für mehr Informationen Light meter - klick for more informations! X-Kontakt für Blitzgeräte contact for flashes Nahlinse von Carl Zeiss Close-up lens by Carl Zeiss The following pictures are with the Zeiss Ikon Contaflex Super BC and the lenses Pro Tessar 4/35, 3.2 / 35, 2.8 / 50, 4/85 and 4/115 were made. From a quality point of view, you can use any lens without hesitation - the results will convince and satisfy you! Bilder, die mit diesen Objektiven entstanden sind. Instructions for you to download can be found here! Zeiss Ikon Contaflex Super Super B Prima Prospekt Zeiss Ikon Contaflex Zubehör Zeiss Ikon Contaflex Super Bedienungsanleitung Contaflex Super Bedienungsanleitung Zeiss Ikon Contaflex Super Bedienelemente Zeiss Ikon Contaflex Super - Bedienelemente Zeiss Ikon Contaflex Wechselkassette Ikoblitz 5 Bedienungsanleitung Ikoblitz M Bedienungsanleitung Contaflex Prospekte etc. I love shooting with my Voigtländer Bessamatic cameras. I also often adapt the DKL lenses to my Sony A7 III—the Septon 50mm f/2 is a particular favorite of mine. Unfortunately, when it came to wide-angle lenses, Voigtländer topped out at a focal length of 35mm. Kodak, however, offered more flexibility for its Retina Reflex system, including the Rodenstock Eurygon 30mm f/2.8 and the Schneider-Kreuznach Curtagon 28mm f/4. Both camera systems (and several other brands) relied on the Compur bayonet designed by the Deckel company in Munich, widely known as the DKL mount or "Deutsche Einheitsbajonett." Sadly, they aren't directly interchangeable. The manufacturers introduced proprietary physical modifications to the mounts to prevent users from swapping lenses between competing systems. But there is a workaround: to mount Kodak Retina Reflex lenses onto a Voigtländer Bessamatic body, the lens mount requires a minor "surgical intervention" that you can see in the video below. A small metal tab on the bayonet simply needs to be milled or filed down. My son Julian handled the modification for me... it’s actually a breeze! Don't be afraid to try it yourself, and open up a whole new world of glass for your Voigtländer Bessamatic! Here is the video in German: Here you can see this video in english: Here you can see where the notch has to be milled. In my experience, it doesn't depend on the millimeter! You might also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with changeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about film here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

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

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

Privacy Policy I have written this privacy policy to explain, 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), what information is collected, how data is used, and what choices you have as a visitor to this website. Data Controller The data controller within the meaning of the GDPR is: Stefan Lotz Kastanienweg 20a 53578 Windhagen Germany Phone: +49 2645 975799 Email: info@apertureonepointfour.com (For full details, see the Legal Notice / Impressum) Hosting by Wix This website is hosted by Wix.com Ltd., 40 Namal Tel Aviv St., Tel Aviv, Israel ("Wix"). Wix processes personal data on my behalf on servers located within the EU/EEA and, in some cases, in third countries (including the USA and Israel). A data processing agreement under Art. 28 GDPR is in place with Wix. For data transfers to third countries, Wix relies on the EU Standard Contractual Clauses and, where applicable, an adequacy decision issued by the European Commission for Israel. When you visit this website, Wix automatically collects technical data (including IP address, date and time of access, browser type, operating system used, and pages visited) and stores it in server log files to ensure the technical operation, delivery of content, and IT security of the site. The legal basis for this processing is my legitimate interest under Art. 6(1)(f) GDPR in operating the website reliably and securely. More information: Wix Privacy Policy Cookies and Consent This website uses the cookie consent tool built into Wix to obtain, manage, and document your consent to the use of non-essential cookies (e.g., for advertising or analytics). Consent under Section 25(1) TDDDG: The first time you visit this website, you will be shown a cookie consent banner. Cookies that are not strictly necessary (e.g., from Google Ads) are only activated once you have given your explicit consent. Cookies that are strictly necessary for the operation and core functionality of the website (including technical cookies set by Wix itself) are set on the basis of Section 25(2) TDDDG and my legitimate interest under Art. 6(1)(f) GDPR. You can change your cookie settings at any time via the banner on this website, or view, block, and delete cookies directly in your browser's settings. Storage of Personal Data (Contact Form) Personal data that you submit to me electronically on this website — for example, your name, email address, or other information provided through a contact form — is used, together with the timestamp and IP address, solely for the stated purpose and is not shared with third parties without your consent. The legal basis for this processing is your consent under Art. 6(1)(a) GDPR. This data will be deleted once the purpose of your inquiry has been fulfilled and no statutory retention obligations apply, but no later than 12 months after receipt. You may withdraw your consent at any time, without giving reasons, with effect for the future (e.g., by email to the contact details listed in the Legal Notice). Please note that transmitting data by unencrypted email may pose security risks; confidential information should therefore not be sent unencrypted. Google Ads / Google AdSense This website displays advertisements via Google Ads (or Google AdSense), a service provided by Google Ireland Limited, Gordon House, Barrow Street, Dublin 4, Ireland ("Google"). Google Ads uses so-called "cookies" (text files stored on your device) and "web beacons" (invisible graphics) that allow information such as visitor traffic on this site to be analyzed. The information generated about your use of this website (including your IP address) and the delivery of ad formats is transmitted to and stored on Google's servers. Google may share this information with its contractual partners. Consent and legal basis: Google Ads and the associated setting of cookies are used only if you have given your explicit consent via the cookie consent banner, in accordance with Art. 6(1)(a) GDPR and Section 25(1) TDDDG. You may withdraw this consent at any time, with effect for the future, via the cookie settings on this website. Transfer to third countries: To the extent data is transferred to Google's parent company, Google LLC, in the United States, please note that Google LLC is certified under the EU-U.S. Data Privacy Framework (DPF). This provides an appropriate level of data protection consistent with the GDPR. More information: Google Privacy Policy Use of PayPal (Donate Button) On my website, I offer visitors the option to support my work financially via a "Donate" button. For this purpose, I use the payment service provider PayPal. The provider of this service for the European market is PayPal (Europe) S.à r.l. et Cie, S.C.A., 22-24 Boulevard Royal, L-2449 Luxembourg. If you use the donate button and initiate a transaction, the data necessary for payment processing (such as the donation amount, date, time, and your IP address) will be transmitted to PayPal. Legal basis: Your data is transmitted to PayPal on the basis of my legitimate interest under Art. 6(1)(f) GDPR in offering you a secure, common, and convenient way to support my website, as well as for the initiation or performance of a contract under Art. 6(1)(b) GDPR. More information: PayPal Privacy Policy YouTube This website embeds components of the YouTube video platform to display video content directly on the page. YouTube is a subsidiary of Google. The service is operated by YouTube, LLC, 901 Cherry Ave., San Bruno, CA 94066, USA. For the European market, Google Ireland Limited, Gordon House, Barrow Street, Dublin 4, Ireland is responsible for data processing. Consent and data transfer: By embedding these videos, YouTube may collect data (including IP address, URL visited, browser type, operating system, and possibly interaction data) when you visit the relevant page. If you are logged into your YouTube or Google account, YouTube can link this activity directly to your personal profile. You can prevent this by logging out of your Google accounts before visiting my website. Legal basis and transfer to third countries: YouTube videos are embedded only after you have given your consent via the consent banner, in accordance with Art. 6(1)(a) GDPR. To the extent data is transferred to Google's parent company, Google LLC, in the United States, please note that Google LLC is certified under the EU-U.S. Data Privacy Framework (DPF), which provides an appropriate, GDPR-compliant level of data protection for the transfer. More information: Google Privacy Policy Your Rights Under the GDPR Under the GDPR, you generally have the following rights with respect to your personal data: Right of access (Art. 15 GDPR) Right to rectification (Art. 16 GDPR) Right to erasure ("right to be forgotten") (Art. 17 GDPR) Right to restriction of processing (Art. 18 GDPR) Right to data portability (Art. 20 GDPR) Right to object to processing (Art. 21 GDPR) If you believe that the processing of your data violates data protection law, you have the right to file a complaint with a supervisory authority. The authority responsible for me is the State Commissioner for Data Protection and Freedom of Information Rhineland-Palatinate (Landesbeauftragte für den Datenschutz und die Informationsfreiheit Rheinland-Pfalz). TLS Encryption via HTTPS I use HTTPS to transmit data securely over the internet (data protection by design under Art. 25(1) GDPR). Through the use of TLS (Transport Layer Security), a modern encryption protocol, the protection of confidential data is ensured. You can recognize this security measure by the small lock icon in the upper left of your browser's address bar. Notice Regarding Third-Party Copyrighted Material This website displays historical product brochures and catalogs from various camera and photography manufacturers. This content is provided as archival and collector material for informational purposes only, with no intent to profit from the content itself. Copyright and trademark rights to the respective materials remain with the original manufacturers or their legal successors. If you have a legitimate concern regarding this content, please contact the address listed in the Legal Notice; the material in question will be removed promptly.