Search Results

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! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

35mm black-and-white film was my preferred recording medium, alongside photography on slide film. I have developed thousands of these black-and-white films since 1982. My favorite films were Ilford Pan F, HP5, and later Kodak T-Max 400. 1 A black-and-white negative film strip in a protective glassine sleeve. Featured here is Ilford Delta 400, which was my personal go-to black-and-white negative film throughout the 1990s. Ilford states the following about this film: "ILFORD DELTA 400 Professional revolutionized black and white photography upon its release, winning 'European Black and White Film of the Year 1991/92'. Its pioneering 'core-shell' crystal technology delivered an unprecedented, exceptional image quality. The outstanding sharpness and fine grain of the negatives amazed industry experts and photographers alike." "Despite their benchmark-setting characteristics, both films have been improved even further. To reflect these enhancements externally, the word 'PROFESSIONAL' was added to the product name. The 100 DELTA PROFESSIONAL and the recently upgraded and now renamed DELTA 400 PROFESSIONAL differ from their predecessors by the following advancements: Even higher negative sharpness and acutance. Increased latitude for handling underexposure. Significantly less degradation in image quality during push processing (see section 4.1). Greater compatibility and a wider choice of suitable film developers." 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. It’s really not as daunting as it seems, but keeping these fundamental concepts in mind when you are out shooting will make a world of difference. No matter how many automatic exposure modes your camera features—be it aperture priority, shutter priority, or full program auto—at the end of the day, it all comes down to just aperture and shutter speed. Using them intentionally is what will grant you truly unique and unforgettable images! Kodak Ektachrome 400 data sheet as .pdf Here is an example of a datasheet for a now-discontinued film stock. It contains some very interesting insights and information that I’m sure you’ll find helpful for your own shooting. Enjoy the read—I absolutely loved this film! ISO ASA DIN Canon showcased this focal length comparison in an original brochure for the Canon EOS system. Every image was captured from the exact same vantage point—only the lenses were changed. It is a wonderful example to visually compare the effects of different focal lengths! Here I present you useful photo accessories - a "must have" for each of you!! But now, get out there! Have fun with your new camera and enjoy discovering the wonderful world of analog photography! Always remember: No matter what you shoot with, The main thing is that you shoot. download as .pdf file

Although i "only" bought the Canon EF 3,5-4,5 50-200mm without "L" at auction, I don`t want to withhold some test shots from you. I like this focal length range very much and maybe I`ll grab the "L" version again sometime. Canon EF 3.5-4.5 50-200mm Schätzchen aus der Frühzeit des EOS-Systems: Das Canon EF 50-200mm f/3.5-4.5 Wenn wir über die ersten Zoomobjektive für das 1987 eingeführte Canon EOS-System sprechen, fällt der Blick meist schnell auf dieses interessante Stück Technik: das Canon EF 50-200mm f/3.5-4.5. Auf den Markt gekommen im Dezember 1987, gehört es zu den absoluten Pionieren der EF-Objektive und deckt einen äußerst praktischen Brennweitenbereich ab, der vom klassischen Porträt- bis in das solide Telebereich reicht. Konstruiert ist es als klassisches Schiebezoom („Pumper“), bei dem Brennweite und Fokus über denselben Ring gesteuert werden – ein Design, das heute selten geworden ist, aber eine sehr intuitive Bedienung erlaubt. Im Inneren arbeitet ein AFD-Motor (Arc-Form Drive) für den Autofokus, und das Objektiv verfügt über eine mechanische Entfernungsskala. Optischer Aufbau & Technische Daten Für ein Consumer-Objektiv der späten 1980er Jahre besaß das Standard-Modell einen durchaus ambitionierten optischen Aufbau: Optischer Aufbau: 16 Linsen in 13 Gruppen Anzahl der Blendenlamellen: 8 (was für ein schönes, relativ rundes Bokeh sorgt) Kleinste Blende: f/22 – f/32 (je nach Brennweite) Naheinstellgrenze: 1,2 Meter (über den gesamten Brennweitenbereich) Maximaler Abbildungsmaßstab: 1:4,2 (bei 200 mm) Filterdurchmesser: 58 mm Gewicht: ca. 690 g Der legendäre Zwilling: Die L-Variante Was viele heute nicht mehr wissen: Canon brachte im Juni 1988 – nur wenige Monate nach der Standardversion – eine optisch stark aufgewertete Edel-Variante heraus: das Canon EF 50-200mm f/3.5-4.5 L. Äußerlich fast identisch und ebenfalls in Schwarz gehalten (nicht im heutigen L-Typischen Off-White), trug es den legendären roten Ring an der Front. Der entscheidende Unterschied lag im optischen Aufbau (16 Linsen in 14 Gruppen): Canon integrierte hier eine Fluorit-Linse sowie zwei UD-Glaselemente (Ultra-low Dispersion). Diese Version eliminierte chromatische Aberrationen fast vollständig und lieferte eine knackscharfe Abbildungsleistung, die selbst an modernen hochauflösenden Sensoren noch erstaunlich gut performt. Wer heute ein gut erhaltenes Exemplar der seltenen L-Variante erwischt, besitzt ein echtes Sammlerstück mit hervorragenden optischen Eigenschaften. 200mm - f5.6 This lens saw the light of day in 1988. It consists of 16 elements arranged in 13 groups. 200mm - f5.6 Max magnification x 0.23 200mm - f5.6 The smallest aperture is 29; a total of 8 aperture blades were installed 200mm - f5.6 Even at f/5.6, the lens offers very pleasing performance 50mm - f5.6 Unfortunately, I didn't have a lens hood available at the time. 100mm - f5.6 The lens accepts 58mm screw-in filters 200mm - f5.6 Here is a comparison between aperture 5.6... 100mm - f4.5 The length is 146.4mm with a diameter of 75.6mm 200mm - f5.6 The lens weighs 690g 50mm - f5.6 An unusual, but very practical, focal length range! 200mm- f11 As an "L" variant, I could easily fall in love with this lens 50mm - f3.5 When the aperture is wide open, the corners of the image lose a lot of performance 200mm- f11 The sharpness holds up remarkably well even at 200mm when stopped down! 200mm- f11 ...and aperture 11 at 200mm The video for the lens - here in German The video for the lens - here in English 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

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

Shooting analog with 35mm, medium format, and large format sheet film—as well as digital Since 2008, I have been working as a specialized nurse for hygiene and infection prevention at the Neuwied Public Health Department. Prior to this, I served as an infection control specialist at the Institute for Hygiene and Public Health at the University of Bonn. I am the sole creator and operator of the YouTube channel "apertureonepointfour". I took my very first photo with an SLR camera when I was just 10 years old. I grabbed my father's camera, a PORST compact reflex, and his flash unit. My father simply called out from the other room, telling me to set the top dial to the red 60 and turn the lens aperture ring to 8. But where was my subject? What could be better than taking a picture of myself?! No sooner said than done. I walked up to our large hallway mirror and started turning the lens. Somehow the image looked sharper... no, blurry again... wait, now it looks good, and I pressed the shutter. It went "click." Then I heard my father yell from the living room, reminding me to actually turn on the flash unit. Okay, second try. It went "click" again. And for a split second, the hallway turned blindingly bright, way too bright. When the prints came back a few days later, I could barely recognize myself in the photo. Instead, all you could see was the massive reflection of the firing flash... Ever since that moment, photography hooked me and never let me go. This early fascination eventually led me into the professional world of cameras: From 1988 to 1990, I completed my first formal vocational training in photographic retail at Foto Brell in Bonn, qualifying as a retail sales specialist for photo, cinema, and video gear. At age 14, I bought my first real camera: a Canon A-1 paired with the Canon FD 50mm f/1.8. For two years, that would remain my one and only lens. Today, I share my home with a vast collection of vintage analog Canon SLR bodies and an extensive array of lenses. I present some of them to you here in pictures and videos! On a personal note: Welcome to apertureonepointfour.com. On a personal note: If you like my reviews and photo content and are planning to buy equipment anyway, please use my affiliate links below. It won't cost you anything extra, but it directly supports the website and helps me create more articles and videos. Thank you for your support! Need a quick photo fix? K&F Concept covers the basics: and much more filters, tripods, cleaning gear, and smart little accessories that just work. https://www.kentfaith.com/?=697511876acf2 Brightin Star sells affordable manual-focus and autofocus lenses (plus some accessories) for popular mirrorless mounts like Sony E, Nikon Z, Fujifilm X, Canon RF, and Micro Four Thirds. https://www.brightinstar.com/?ref=apertureonepointfour.com TTArtisan makes budget-friendly lenses for mirrorless cameras, including full-frame, APS-C, cine lenses, and photo accessories. https://ttartisan.store/?ref=ttartisan14.com 7Artisans offers low-cost manual-focus and cine lenses (and related gear) for a wide range of camera mounts. https://7artisans.store/?ref=sevenartisan14.com Pergear is a one-stop shop for camera and filmmaking gear, ranging from lenses and accessories to monitors, sliders, memory cards, and more. https://www.pergear.com?ref=GdAy0 Techart builds smart lens adapters, especially autofocus adapters that let you use lenses from one mount on another (for example Leica M, Canon EF, or Sony E on different mirrorless systems). https://techartpro.com/?ref=593 Affilitate Links Canon FD system Canon FD system By the way ... I still take pictures of myself in front of all kinds of reflective surfaces:

The Canon FDn 4.0 35-70mm its the only lens that gave all analog Canon A, T und F series cameras the autofocus for SLR cameras, wich was still very rare in its time. Of course, you can also use the lens on your digital mirrorless cameras. All you need is a corresponding adapter. Since the autofocus module is in the lens, you can use all the functions of the FDn AF 4.0 35-70mm autofocus - just like on your Canon A, T or F model. The Canon FD system My favorite analog 35mm camera system. Canon FDn AF 4.0 35-70mm - another unusual standard zoom. Canon offered a fantastic lineup of standard zoom lenses for their FD-mount cameras. This included standout gems like the Canon nFD 35-70mm f/2.8-3.5, the Canon nFD 35-105mm f/3.5, and the optically superb Canon nFD 50-135mm f/3.5. The 35-70mm f/4.0 zoom featured here is perfect for anyone looking to explore the dawn of the autofocus era in the SLR market and enjoy some pure, "just for fun" photography. One thing is for sure: this lens is a guaranteed head-turner! Canon FD Gallery In this video you will get to know the lens and whether it is worth buying. - external link to YouTube - A visit to the homepage of the Canon Camera Museum is always worthwhile! (c) Canon Camera Hall / Canon Lens Hall: https://global.canon/en/c-museum/product/nfd247.html See for yourself with this colorful mix of sample photos and decide if the optical performance meets your standards. Personally, I highly recommend this lens, especially when stopped down slightly, which is truly impressive considering it was introduced back in 1981! 35mm - f8 35mm - f5,6 50mm - f8 50mm - f8 35mm - f8 70mm - f8 70mm - f5,6 50mm - f4 70mm - f8 You can find the user manual by clicking on the image below as a .pdf file for download!

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

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

Instant films allow you to obtain finished prints immediately after taking a photo. Polaroid pioneered the process in 1948 with integral films, in which development and imaging take place in a single step. In addition to its own integral films, Polaroid and Fuji also offered split-image films, in which the negative and positive are separated from each other after a short development time. Today they are only available to a limited extent, mostly superimposed. Fuji FP100c Peel-Apart-Film Fuji FP-100C – Peel-Apart-Film This image was shot using a Polaroid back for the Mamiya Press on Fuji FP-100C instant film. Polaroid 600 Polaroid 600 Film Who doesn't know them - the legendary Polaroid photos? Family photos, party pictures, snapshots to pass around, so many memories have been captured on Polaroid instant film. A typical image defect can be seen on the right photo. Here, the chemistry was not distributed evenly when the film ejected. Therefore, the rollers in the ejection slot should be cleaned regularly. This keeps them moving smoothly and helps prevent these types of artifacts. Fuji FP100c Peel-Apart-Film Fuji FP-100C – Peel-Apart-Film This image was also shot using a Polaroid back for the Mamiya Press on Fuji FP-100C instant film and scanned with the Epson V850. Polaroid 600 Polaroid 600 Polaroid offered numerous models for the System 600. You can see an example here. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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.