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!!

Die Canon EOS RT war die erste Canon EOS Kamera mit einem feststehenden, teildurchlässigen Spiegel. Dies ermöglichte eine Auslöseverzögerung von nur 0,008 Sekunden - zum Vergleich betrug die Auslöseverzögerung der analogen Profikamera (FD-System) Canon F1n noch 0,04 Sekunden. Auf dieserSeite erfahrt ihr mehr über diesen Meilenstein der analogen Canon EOS Modelle. Canon EOS RT "RT" stood for "Real Time." Thanks to its fixed pellicle mirror, this camera drastically minimized shutter lag. Built with professionals in mind, a simple half-press of the shutter button puts the camera into an immediate state of readiness. Once fully depressed, it takes a mere 0.008 seconds for the first shutter curtain to release. The camera is fully packed with features, offering a continuous drive speed of 5 fps, predictive AI Servo AF, auto exposure bracketing (AEB), multiple exposures, six AE modes, manual metering, and 15 custom functions. Operating the Canon EOS 650 (the first EOS), 620 (the second EOS), 600, and RT is virtually identical, with only subtle nuances separating them. Almost all dials and buttons share the exact same layout and tactile design. Of course, the hallmark of the EOS RT is the dedicated "RT" setting on the main command dial, which unlocks that lightning-fast 0.008-second release response. If you prefer a more traditional feel, one of the custom functions allows you to switch the lag to 0.04 seconds—perfectly mimicking the shutter response of the legendary mechanical Canon F-1. Canon EOS RT Every single Canon EF lens features a built-in autofocus motor. This key innovation set the Canon EOS system apart from its competitors at the dawn of the autofocus era. While other manufacturers relied on an AF motor built into the camera body—using a mechanical drive coupling to physically turn the lens elements ("screw-drive autofocus")—Canon put the motor right where the action is: inside the lens itself. Here you can find my video about the camera - external link to YouTube I loaded the Canon EOS RT with a roll of Kodak BW400CN, a unique chromogenic black-and-white film that requires standard C-41 color processing. Check out the gallery below to see the results! Kodak BW400CN

Jahrzehnte lang mied ich Nikon. Aus Prinzip. Alle anderen durften und dürfen gerne mit Nikon fotografieren - so wie zwei meiner besten Freunde. In meiner Jugend musste ich mich für ein System entscheiden - Nikon verlor, Canon FD wurde mein System. Lest hier die Geschichte, wie es dazu kam und last euch in den Bann der letzten analogen 35mm Spiegelreflexkamera mit Wechselsucher von einem der großen Hersteller ziehen! Nikon F5 Life is change, since the beginning of the year (2021), I have a new favorite analog 35mm AF camera. And it’s not a Canon! I never thought this would happen to me, let alone that I’d actually write these words and find myself heading out to shoot with this camera more and more often. It’s a Nikon F5, the last analog 35mm flagship camera from the major manufacturers to feature interchangeable viewfinders. So, what happened to me? Of course, I’ve dabbled with Nikon cameras from time to time. A good friend of mine, who was also a former coworker of mine back in the last millennium at Foto Brell in Bonn, is a dedicated Nikonian. And then, this happened: My partner was cleaning up and found a camera bag she had been searching for forever. Maja asked me if I wanted the old gear; otherwise, it was going straight into the trash. THAT WOULD HAVE BEEN MURDER! Naturally, I had to rescue the equipment. The first thing I unearthed from the bag was a Minolta 7xi with a 28-80mm lens. Well... not exactly my cup of tea. Nikon F5 Then I discovered a Tokina AF AT-X 80-400mm f/4.5-5.6 (screw-drive) for Nikon. Mint condition! Oh, nice :-) Next, a Nikkor AF 35-70mm f/3.3-4.5 (screw-drive) emerged. Mint condition! It just keeps getting better :-) And then, I found the real crown jewel in this unassuming bag—a Nikkor AF ED 80-200mm f/2.8 (screw-drive, push-pull zoom), also in near-mint condition! Finally, at the very bottom of the bag, I spotted a Sigma 18mm f/3.5 (screw-drive). All of this was headed for the trash? Seriously? But why did my girlfriend own gear like this in the first place? What dark secret was she trying to hide from me? The mystery was solved quickly and rather unspectacularly: a trip around the world in the last millennium after graduating high school, and for a minor course during her college studies in the US. Today, Maja just shoots with a smartphone Nikon F5 But my Nikon camera saw the light of the 21st century for the first time after years of obscurity, trapped in that nondescript camera bag. Slowly, it was supposed to go. Nikon - a no-go for me in my youth. But now, of course, these lenses had to refocus light, burn it into silver, and thus be put to their intended use. In the first step, I bought a Nikon F501 at auction - its design appealed to me even back then as an apprentice at Foto Brell. Nikon F5 A couple of lenses were added: Nikkor AF 2.8 35-70mm My standard lens on the F5. Nikkor AF 1.8 50mm High light intensity for just a few euros. Nikkor AF 3.3-4.5 28-70mm D. Just bought it for 20 euros. If at some point I could still get a light shaft finder cheaply ... Nikon F5 You can download the Nikon F5 instruction manual here - just click on the picture and go to the link ... Nikon F5 After a while I wanted MORE - GIVE ME MORE: MORE CAMERA - MORE AUTOFOCUS - AND ABOVE ALL MORE SEEKERS! F4s or F5 - I was torn. But I discovered an almost perfect F5 for less than 300 euros - that was the case and I adopted my F5. The DW31 magnifying glass viewfinder for the Nikon F5 is shown here. It is especially suitable for working in the macro area or for reproduction work because of its 6x magnification and allows precise manual focusing. Of course, it offers all of the camera's automatic functions, including AF. There is one small limitation: the viewfinder does not offer any Color matrix measurement. This is surely to be gotten over. It enlarges the entire viewfinder image by a factor of 6 and has a built-in diopter correction of +3 to -5 dpt. - ideal for people who wear glasses. Nikon F5 In the gallery at the bottom of this page you can see some pictures that I have recently taken with the F5. I didn't scan the black and white negatives myself; I sent the film to a very good photo lab on the island, in Great Britain. This laboratory also fulfills unusual requests and so I always add black and white negative films to the package as an encore - to the chagrin of my account.

Hasselbald V - das analoge Mittelformatsystem aus Schweden. Mit Objektiven von Carl Zeiss aus Oberkochen sorgt es für die Freunde der analogen Filmfotografie für umwerfende, detailreiche Bilder. Mein Mittelformattraumsystem. Hasselbald V-system Ever since I was young, there was an undeniable equation in my mind: medium format equals Hasselblad. The ultimate turning point came entirely unexpected when my father surprised me with a secondhand Hasselblad 500C/M and a Carl Zeiss Planar CF 80mm f/2.8 T*. What an absolute dream of a gift! In the years that followed, I had the privilege of shooting with plenty of other high-caliber medium format systems—like the Pentax 67, Mamiya 645 1000s, Mamiya C330f, Rolleicord, and the Mamiya Universal Press. Yet, in terms of overall prestige, build, and elegance, nothing quite holds a candle to a Hasselblad. The stellar performance and unique character of those legendary Carl Zeiss lenses from Oberkochen are simply in a league of their own. Hasselblad Product Catalog 2000 You can browse through this catalog and see which products Hasselblad had in store for this system in 2000. Hasselbald camera operator Hasselblad camera operator with models 201F, 203F, 205 TCC, 501c, 503cxi, 553 ELX and 903 SWC. The camera operator briefly introduces the models mentioned on a maximum of 1 page. A "MUST" for all Hasselblad lovers. Hasselblad brochure 1982 A little journey through time - the Hasselblad slide projector is also presented in the brochure! Hasselblad General prospectus The Hasselblad general brochure for the cameras 500EL / M, SWC / M, 2000FC and 500C / M with all lenses and accessories - absolutely worth seeing! Hasselblad 2000FC / M brochure A Hasselbald camera with focal plane shutter - but also suitable for central shutter lenses Hasselblad coming soon Another brochure / catalog awaits you here soon! You can receive a high-quality scan of the Hasselblad camera guides and product catalogs for a small contribution starting at €2.99 via PayPal. Your support helps me maintain and preserve this website. The digital files are usually sent out on the very same day payment is received, directly to the email address associated with your PayPal account. Thank you very much! 35mm panorama Do you already own a Hasselblad and want to shoot 35mm film in it just for fun? Maybe discover a new format? Expand your creative potential? Then this is an inexpensive way to get started with a new shooting format. Budget-friendly offers for the necessary film reels and viewfinder masks constantly pop up on online auction sites. Of course, you could also just crop a 6x6 negative or slide to get a panoramic format. But shooting 35mm film in a panorama format just looks way cooler. And cropping a roll of film is a sin :-) For me the 1st time After the film was loaded, the camera went for a walk with its owner. The first pictures were taken, and right away, the first obstacle appeared: portrait orientation. I was only able to take photos in portrait mode—unless I wanted to completely contort myself because of the waist-level finder. No, not this time. So, make sure to bring your prism finder with you! The A12 magazine with a difference Check out my video on this topic. You can find it on my YouTube channel "apertureonepointfour" or embedded further down this page. You are more than welcome to subscribe to my channel! A big "thank you" in advance for your support. And now? How do I get the film? All 12 pictures were in the box—an A12 magazine doesn't allow for more. And now what? I had wound the 35mm film onto a standard roll film spool. As you know, medium format roll films are not rewound; they are simply protected from light by their backing paper. Well, that meant the fun was over after just a short time. Back home, I carefully extracted the film inside a changing bag and rewound it manually into its original cartridge. That way, I could send it off for developing without any hesitation. Lesson learned once again! I need another set of those adapters that make 35mm film compatible with the 120 magazine. And, of course, an empty film cartridge to rewind it into. With that setup, changing the film should work seamlessly, even without a changing bag. More on this in my video! With this procedure, the 35mm film’s sprocket holes and the edge lettering are also exposed. You can either scan the entire film strip and crop the image later during post-processing, or you can keep the picture exactly as it is—in all its glory. For me, that’s definitely the cooler option. Hasselblad V-System: Four must-have accessories for your V-cameras (500cm, 500 EL-M, 500 EL-X)! Hasselblad V-System: Why you should buy older Carl Zeiss C-Lenses! Hasselblad Videos Hasselblad V-System: Using the non automatic bellows (inclusive a few tricks) Hasselblad: Format Masks 6x4.5 and 6x3 for the analog V-system Hasselblad V System: Waist level finder - Install diopter correction lens Hasselblad: Loading a C12 magazine with a superimposed Agfachrome 1000 RS-inclusive tips and tricks Hasselblad V-System: How to attach and remove an extension ring or a bellow! Hasselblad V-System: Use of tripod quick couplers Hasselblad V-System: Photographing classic cars with the 501c and the expired Agfacolor XRS 400 Disaster struck! Hasselblad crash while shooting rare expired Kodak Film Vericolor 160 Ich habe bisher zwei Leitfäden für euch zum Hasselblad V-System zusammengestellt: Der erste Leitfaden, "Hasselblad Modellhistorie" , behandelt alle jemals produzierten Hasselblad V-Kameras sowie die Objektive ohne Zentralverschluss, die ausschließlich an Modellen mit Schlitzversc hluss verwendet werden können. Der zweite Leitfaden, "Ein umfassender Systemüberblick" , führt euch in die Welt der Objektive mit Zentralverschluss ein, erklärt das modulare Magazinsystem und bietet eine detaillierte Übersicht aller jemals hergestellten Suchermodelle sowie ausgewähltem Spezialzubehör. Ich plane, diese Leitfäden stetig zu erweitern. Falls ihr Anmerkungen habt oder euch etwas auffällt, lasst es mich gerne in den Kommentaren wissen oder schreibt mir eine E-Mail. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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

A Minolta MD 50mm f/1.4 lens (a classic "standard lens"). The focus ring is set to infinity and an aperture of f/8 has been selected. The zone that will appear acceptably sharp with these settings can be easily read directly from the lens barrel. Just look at the indicator markings below the feet and meter scales, as pointed out by the two yellow arrows! That's it! At f/8, the depth of field stretches from approximately 10 meters all the way to infinity (and visually even beyond on the scale)—indicated by the two white arrows! If you stop down to f/16, the depth of field expands even further, covering everything from 5 meters to infinity. You can now easily check and verify this on the scale yourself! Schärfentiefenrechner Download DoF Calculator (.html) for Mobile

Canon EF 2,8-4 28-80mm L - das erste Canon Standardzoom mit dem Gütesiegel "L" im Canon-Sortiment. "L" steht für optisch und mechanisch hochwertige Objektive. Seit 1990 ist dieses Objektiv mein treuer Begleiter an meinen analogen Canon EOS Modellen - und sollte ich analo und digital unterwegs sein, dann ist es meine Lösung als Universalobjektiv - auch an meiner Sony A7III. Canon EF 5,6 100-300mm L To play, press and hold the enter key. To stop, release the enter key. This Canon zoom was a genuine milestone in the company’s history. It holds the title of being the first-ever standard zoom to earn the legendary " L " badge, which represents Canon's uncompromising commitment to peak optical and mechanical performance. It also introduced a faster, quieter era of focusing thanks to the then-new Ultrasonic Motor (USM). Back in the 1990s, this was my workhorse standard zoom across multiple EOS bodies. It accompanied me from the EOS 650 and 620 to the EOS 600, until it ultimately found a permanent home on my EOS-1N. To this day, I am incredibly impressed by its mechanical construction; it truly feels like a substantial, heavy-duty instrument made of pure glass, metal, and premium plastics. These days, it’s one of my favorite lenses for hybrid road trips where I routinely shoot film (on the EOS RT or EOS-1N) alongside digital (on my Sony A7 III). Granted, the lens has its optical quirks. When shooting wide open—particularly at the wide end—performance drops a bit. However, that’s a compromise I’m entirely willing to make. For landscapes between 28mm and 35mm, I just stop down to f/5.6, or use f/8 to f/11 to pull out the best possible corner resolution. At the 80mm telephoto long end, the outer edges are admittedly a bit soft as well, but since I mostly use that focal length to separate my subject from the background at f/4, edge-to-edge sharpness isn't really a priority anyway. (c) Canon Camera Hall / Canon Lens Hall: https://global.canon/en/c-museum/product/ef282.html Feel free to browse through my colorful gallery of sample images and see if the optical performance holds up for you. In my book, this lens easily earns a "buy" recommendation, particularly for photographers who love bridging the gap between film and digital. Click on the images to view them in full size! The first batch was captured using the Sony A7 III. Further down the page, you’ll find additional sample photos taken with various analog Canon EOS bodies, as well as images shot on the high-resolution, 50-megapixel digital Canon EOS 5DS R. 62mm-f8 48mm- f8 28mm - f5.6 62mm- f11 58mm - f4 50mm- f8 62mm - f5.6 80mm - f4.5 32mm- f8 80mm- f9 52mm- f9 80mm- f5 80mm-f8 28mm - f2.8 28mm- f5 58mm- f8 80mm - f5.6 80mm - f5.6 80mm - f7.1 80mm - f5.6 35mm- f9 48mm- f9 35mm - f3.5 52mm- f5 I am happy to be able to offer you two videos about this lens. In the first video (Video 01), you will learn all the technical specifications of the lens, its build quality, and its autofocus performance on both analog Canon EOS models and the Sony A7 III. Here, I also demonstrate its optical performance with sample images taken on a 24-megapixel camera, the Sony A7 III. In the second video (Video 02) below, I tested the lens on the Canon EOS 5DS R—Canon's high-resolution 50-megapixel SLR that lacks a low-pass filter (the "R" model). Video 01 Also check out the gallery (below) of analogue shots as well as images shot with the digital models Sony A7III and Canon EOS 5DsR! Video 02 Canon EOS RT, Kodak Gold 200 and Canon EF 2.8-4/28-80mm L Canon EOS 5DsR and Canon EF 2,8-4 28-80mm L USM

Die Rollei SL26 ist eine robuste, ungewöhnlich im äußeren Design, Spiegelrefelxkamera mit drei wechselbaren Satzobjektiven für die Kassettenfilme 126 (Instamatic). Auf dieser Seite stelle ich euch die Kamra vor und zeige Bilder, die ich mit diesem Modell fotografierte. Ich liebe diese Kamera! Rollei SL26 Unusual in its shape. Unusual in its lens technology. Unusual in its choice of film format, the "Instamatic" 126 cartridge film. Simple. Small and lightweight. Focused on the essentials. Robust. Endearing. That is how I would describe the Rollei SL26, a single-lens reflex (SLR) camera manufactured between 1968 and 1974. The image shows the camera's bayonet mount with the permanently attached rear lens element, which is directly integrated into the optical formula of the available lens attachments. This built-in lens system houses the entire shutter and aperture control mechanism. Therefore, it utilizes a leaf shutter system, which you might already be familiar with from various medium format cameras. These specialized lens attachments are known as "convertible lenses." Rollei SL26 The camera features a remarkably large and bright viewfinder (even by today's standards), making focusing on your subject quick and easy. The built-in CdS light meter uses a traditional match-needle system. However, it requires a PX625 mercury battery, which is no longer available in Europe. Excellent workarounds include zinc-air batteries or a glance toward Russia... Rollei SL26 The Rolleiflex SL26 is a beautifully crafted 126 cartridge SLR (Instamatic system), though only about 28,000 units were ever produced. It featured a list price of 628.23 DM. In addition to the standard Pro-Tessar 40mm f/2.8 lens included with the camera, two other convertible lenses were available: the Pro-Tessar 28mm f/3.2 wide-angle for 232.43 DM, and the Pro-Tessar 80mm f/4 telephoto for 282.88 DM. Rollei SL26 Technical Specifications (Rollei SL26): Manufacturer: Rollei-Werke Franke & Heidecke, Braunschweig, Germany Film Format: 126 cartridge film (Instamatic), 28 × 28 mm negative size Standard Lens Element: Carl Zeiss Pro-Tessar 40mm f/2.8 (4 elements in 3 groups) Focusing: Manual focus Aperture Range: f/2.8 to f/22 (depending on the front lens element used) Lens Mount: SL26 bayonet mount (interchangeable front lens elements / convertible system) Filter Mount: SL26 filter bayonet Shutter Speeds: 1/2 to 1/500 sec. plus Bulb (B) Exposure Metering: TTL match-needle metering Viewfinder: SLR viewfinder featuring a split-image indicator and microprism ring (no full ground glass track); displays the match-needle inside the finder Flash: Standard hot shoe with center contact (located on the bottom plate) Features: Cable release socket, neck strap lugs, no self-timer Power Supply: 1 × 1.35V PX625 mercury-oxide cell Dimensions: 112 × 91 × 70 mm (with the standard 40mm lens attached) Weight: 540 grams (approx. 19 oz) Here is a small gallery featuring photos taken with the Rollei SL26. For these shots, I used film that had been expired for at least 21 years. Yet, despite that, or perhaps precisely because of it, the images possess a very special charm of their own. Please note that the black-and-white images on display were actually shot on color film as well. You might also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with changeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about film here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

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... 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! Please note: These scans are provided solely for historical documentation purposes. If you are a copyright holder and object to the publication of any material, please contact us, the relevant content will be removed immediately. Index Back here - brochures, instructions and advertising / Part 1 Brochures/leaflets - continue - again brought to you in the highest quality - Hasselblad Motorkameras Hasselblad XPan lenses Hasselblad Sales Manual Hasselblad Superachromat - Objektive Hasselblad - Das System 1991 (German) Hasselblad Das System - The System Hasselbald Magazin 72 _ Dezember 1982 (German) Carl Zeiss lenses, year 2000 Schneider Kreuznach Large Format lenses (German) G-Claron large format lenses Leitz Diaprojektoren 1933 - Leitz Slide projektor 1933 (German) Contax Real Time System Minolta SLR Systemführer / Minolta SLRSystem guide (German) Minolta Motor Drive MD-90 for Minolta AF 9000 Mamiya Universal Press Mamiya Universal Accessories Pentax Spotmeter V - fleyer Pentax Spotmeter V - Sales fleyer Nikon Large Format Lenses Voigtländer Prospekt von 09.2018 (German) Hasselblad Systemübersicht (German) Hasselblad Neuheiten von 1972 (German) Die Geschichte von Victor Hasselbald (German) Schneider Kreuznach Variogon 5.6/140-280mm für Hasselblad Pentax 645 N II Operating manual Back here - even more brochures, manuals and advertising / Part 1

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.

Ein kompakter, leistungsfähiger und hübsch anzusehender Belichtungsmesser: Hedeco Lime 1. Der kleine Helfer für die analoge (und digitale) Fotografie. Schaut euch dazu mein YouTuve-Video an. Over the past few months, this light meter has become my constant companion! It is incredibly easy to use, and I’ve tailored the settings to perfectly suit my workflow. For instance, I am back to using single readings with exposure memory—in contrast to a while back, when I used to let the meter measure continuously. Whether I’m shooting with a Rolleiflex SL26, Rollei 35, Hasselblad 503CX, or Contax RTS—even though these cameras feature built-in light meters, the Hedeco Lime I is always with me. Whether it's for double-checking a reading, metering for low-sensitivity films (like Fuji Superslow 1.6 ISO / Fujichrome CDU II), or managing long exposures exceeding 30 seconds, it serves its purpose beautifully! This is not a paid advertisement—just my own opinion based on real-world experience. But why should you use a handheld light meter? Reflected-Light vs. Incident-Light Metering: Comparing the Two Methods Thanks to its specific metering characteristics and analysis functions, a handheld light meter offers capabilities that no built-in camera meter can match. Naturally, you need a handheld light meter for cameras that don't have a built-in meter from the factory. This applies to all large format cameras, many medium format systems, and "vintage" analog 35mm cameras without autofocus. However, a handheld meter can be an highly effective tool for all other photographers as well. Skeptics might argue that the modern matrix or multi-segment metering systems inside modern cameras deliver highly reliable exposure results. In many cases, this is absolutely correct. However, modern multi-segment systems tend to "babysit" the photographer regarding what constitutes a "correctly exposed" image, while leaving them in the dark about any automatic exposure compensation the camera might be applying behind the scenes. As a result, the photographer never learns the subtleties of necessary exposure adjustments. Take, for example, metering a subject standing in front of a very bright background. If I rely on a built-in light meter using center-weighted metering, my main subject will inevitably end up underexposed. Because the meter is fooled by the bright background, it will select a shutter speed that is too fast or an aperture that is too small. In this scenario, you would need to lengthen the shutter speed or open up the aperture (or use a combination of both parameters). Technical Background: Center-weighted averaging is well-suited for many shooting scenarios, which is why it was the standard metering method in many analog 35mm cameras for a long time. In evaluative or average metering, brightness is calculated across the entire image area. Center-weighted metering simply places more statistical weight on the center of the frame. This method is particularly useful for centered main subjects or when paired with an exposure lock. Slight changes in framing affect this metering method far less than pure average metering. Of course, more modern analog 35mm or medium format cameras offer additional internal metering modes, such as partial metering (where a small percentage of the frame is used to determine exposure, e.g., 6.5%), spot metering (where the area is even smaller, e.g., 1%), or even multi-spot metering (where the camera averages the readings from multiple selected areas). However, all built-in light meters rely solely on what is known as reflected-light metering. Reflected-light metering measures the light reflected by the subject. Because of this, every light meter always assumes that the scene matches a standard subject, reflecting an amount of light that consistently equates to an 18% gray value. The calibration of every camera meter is tuned to this standard. It is easy to see how the actual amount of light can vary wildly depending on the subject, the time of day, and other scene characteristics. This, in turn, misleads the built-in meter, resulting in incorrect exposures. In controllable lighting environments, you can achieve this ideal value by taking a reflected reading off an 18% gray card placed near the subject within the most critical part of your frame. Ideally, you target the gray card using a spot or partial meter, lock the reading, remove the card, and then take the actual shot. Incident-Light Metering with a Handheld Meter Handheld light meters also allow for the much more precise method of incident-light metering. Incident metering measures the actual light falling onto an object. This method is only possible with a handheld meter because you must measure from the subject's position, pointing the meter back toward the camera. This method has the distinct advantage of measuring the light entirely independent of the subject's physical properties. It makes no difference whether the subject is bright, dark, or highly reflective. Backlighting and the color of the scene won't interfere or throw off the exposure reading. White surfaces stay white, black surfaces stay black, and reflections won't cause underexposure. If you have the opportunity to take a reading directly from your subject's position (or from a spot with identical lighting), incident metering provides a level of accuracy that will challenge even the most advanced matrix metering systems in modern 35mm cameras—issues that often cannot be compensated for automatically. Contrast Analysis via Multi-Spot Metering All modern spot meters—whether built into a camera or used as a handheld device—offer a multi-spot metering function. If you measure the brightest and darkest critical areas of your scene, the multi-spot system will calculate the average. This yields an exposure value (an aperture and shutter speed combination) that factors both areas equally into the equation. Of course, this method won't stop highlights from blowing out or shadows from crashing if the scene's dynamic range is simply too extreme. However, by metering the brightest and darkest areas that still need to retain visible detail, you can determine the overall contrast range of the scene. This allows you to analyze whether your film stock (or your sensor, if you are shooting digital) can actually handle that dynamic range. For example, if your exposure reading in the brightest highlights calls for 1/1000s at f/11, and the darkest shadow area requires 1/8s at f/11, the total contrast of the scene is 7 exposure steps (stops). To find this, you simply count down the shutter speed scale backward from 1/1000s to 1/8s to get your result. Based on this analysis, you can then decide whether you need to add fill light or modify the lighting setup entirely. If the scene contrast proves too high, you can use further targeted measurements to focus entirely on the most critical part of your frame, ensuring you get a correct exposure at least where it matters most. Perhaps you are interested in the following topics; this is only a small selection from my offer for you in "quick access"! Rollei 35 Tessar 3.5 40mm T * Rollei 35 S with Sonnar 2.8 40mm HFT here is the article Nikon F5 the last AF-KB analog workhorse with changeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about film here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

Mamiya Universal Press - Größer geht immer! Mittelformat bis 6x9cm. Bei dieser Kamera schätze ich die Möglichkeit Polaroid- oder Fuji-Packfilm verwenden zu können und damit 8,5 x 10,5 cm große Sofortbilder (Trennbildverfahren) zu erhalten. Und mit etwas Übung und Chemie bekommt ihr zusätzlich noch Negative! Mamiya Universal A rangefinder camera manufactured by Mamiya. Produced in various models until 1990, its versatility spanned from press and passport photography to landscape and macro work. A defining characteristic is its distinctive, vertical body design. The camera is pictured here with its handgrip and a Polaroid back for peel-apart packfilm. Thanks to interchangeable film backs, the camera supports multiple formats, including 6x4.5, 6x6, 6x7, and 6x9! I exclusively use the 6x9 backs and the Polaroid back—at least for as long as packfilm is still available... Mamiya Universal Download the German instruction manual for the Mamiya Universal here as a PDF (approx. 30 MB). A quick word of advice before diving into this system: be sure to get comfortable with the mechanics of a rangefinder camera first. Also, keep the ecosystem in mind before buying—particularly the fact that you will need separate, shoe-mounted viewfinders for some of the lenses. Sector 5.6 150mm A great lens - a clear buy recommendation from me! Mamiya Sekore Mamiya offered the following lenses for this camera: 50 mm f / 6.3 - 65 mm f / 6.3 - 75 mm f / 5.6 - 90 mm, 100 mm f / 3.5 and f / 2.8, 127mm f / 4.7 - 150mm f / 5.6, 250mm f / 5 and 250mm f / 8. Sector 6.3 50mm A great lens - a clear buy recommendation from me! Sector 6.3 50mm A great lens - a clear buy recommendation from me! Mamiya Universal Press: The Ultimate Modular Workhorse The Mamiya Universal Press (often simply called the "Mamiya Universal") represents the pinnacle of Mamiya's evolution in analog press and rangefinder cameras. Designed to offer photographers maximum flexibility in the medium format system, it remains legendary today as one of the most rugged and versatile camera systems ever built. Release Date The Mamiya Universal Press was introduced to the market in 1969. It replaced the older models in the lineup (such as the Mamiya Press, Standard, and Super 23) and remained in professional use well into the 1990s. Technical Specifications at a Glance Camera Type: Modular medium format rangefinder camera. Shutter: Leaf shutter, integrated directly into each individual lens. Shutter Speeds: 1/500 - 1 s, plus B (Bulb). Flash Sync: Fully synchronized (X-sync) at all shutter speeds (up to 1/500s), making it ideal for studio and flash photography. Focusing: Manual coupled rangefinder with automatic parallax compensation. Film Formates: Extremely versatile depending on the magazine (6x9, 6x7, 6x6, 6x4.5 on 120 or 220 roll film) as well as Polaroid/instant film. Weight: Approx. 4.4 lbs (2,000 g), depending on the lens and film back used, a massive but incredibly stable all-metal system. Key Features of the System 1. Absolute Modularity (The "Universal" Principle) The name says it all: the camera body essentially lacks a fixed rear ground glass or back. By utilizing various adapters (such as the M-Adapter or G-Adapter), a wide array of film magazines can be attached. You can swap mid-roll from black-and-white to color film, or change your format from 6x4,5 to 6x9. 2. Polaroid / Instant Film Compatibility Unlike its predecessors (like the Super 23), the Universal Press does not feature an extendable bellows on the back. This design choice was made to clear out space for the large Polaroid film back. The Mamiya Universal is one of the very few cameras capable of exposing the full frame of classic Polaroid packfilm (e.g., Type 100) without causing any vignetting (shading at the corners). 3. The Combined Large-Window Viewfinder The built-in viewfinder is a mechanical masterpiece. It features not only the central rangefinder focusing patch but also selectable brightline frames for the three primary focal lengths: 65mm, 90mm, and 150mm. Switching between these frames adjusts the finder mask to automatically compensate for parallax error at close focusing distances. 4. Legendary Sekor Lenses The Mamiya Sekor lenses developed for this system enjoy an outstanding reputation. They are extremely sharp, virtually distortion-free, and their large image circle easily covers the massive 6x9 format. Highly sought-after gems include the wide-angle Sekor 50mm f/6.3 (which requires a separate shoe-mounted viewfinder) and the incredibly fast Sekor 100mm f/2.8. 5. The Iconic Pistol Grip The Universal Press is traditionally operated using a removable, ergonomic handgrip mounted on the left side. This grip features an integrated mechanical cable release that connects via a linkage directly to the lens shutter. This gives the heavy, bulky camera its distinct, classic "press-reporter" handling. Conclusion for Photographers Today The Mamiya Universal Press is by no means a lightweight, and its completely manual operation (cocking the shutter and releasing it are two separate steps!) leaves no room for mistakes. However, for those seeking a slower, more deliberate workflow, the unmatched image quality of a big 6x9 negative, or the magic of packfilm-compatible backs, this is an indestructible tool that operates entirely without batteries.