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.

Kodak Eastman Doube-X Motion Picture film. A black and white film for filmmakers and photographers who aspire to capture the world only they see it. Here you see home developed (Kodak D76) and scanned (Epson V850) films. Kodak Eastman Double-X Motion Picture Film For filmmakers and photographers who want to capture the world as they see it! EASTMAN DOUBLE-X negative film 5222 (35mm) / 7222 (16mm) offers the subtleties in tone and scale required for greater depth of field and high quality low-light photography. Kodak Eastman Double-X Motion Picture Film My recommendation for development is Kodak D-76 developer or equivalent alternative products with the same composition. Here are some images shot on Double-X film at ISO/ASA 400. I developed the film in D-76 stock solution at 20°C for 9 minutes. Kodak Eastman Double-X Motion Picture Film For scanning, I used my Epson V850. The scans were then processed in Photoshop CS, where I primarily removed dust and scratches and adjusted the cropping where necessary. You can find the data sheets available for download here: You can download the datasheets here: Eastman Kodak Double-X Film Kodak D76 Developer Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film and Epson V850 Scanner Kodak Double-X-Pan 5222 Motion Picture Film and Epson V850 Scanner comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Voigtländer Bessamatic - Qualität Made in West Germany. Ähnlich wie die Zeiss Ikon Contaflex bot ebenso Voigtländer Qualitätskameras und Objektive an. Glas und Metall - ein purer Genuss! Voigtlander Bessamatic CS A view of the leaf shutter and the bayonet mount manufactured by the Deckel Company. Officially known as the "DKL" mount, it is often referred to as the "German standard bayonet mount." While several camera manufacturers adopted this system, they unfortunately introduced minor mechanical modifications of their own, meaning that lenses cannot be easily interchanged between different brands without modification. Voigtlander Bessamatic CS The Skoparex 3.4 35mm was the strongest wide angle from Voigtländer for the Bessamatic. Voigtlander Bessamatic CS Unfortunately, I don’t yet own a Dynarex 90mm f/3.4 or a Dynarex 100mm f/4.8. This leaves a small gap in my lens lineup, as my next focal length straight after the Septon 50mm f/2.0 is 135mm: the Super Dynarex 135mm f/4.0. It is a truly small but excellent lens! Voigtlander Bessamatic CS A close-up lens - Voigtländer called this "Focar" adapted to a Voigtländer Septon 2.0/50mm (a terrific lens!). Voigtlander Bessamatic CS The widest lens in the lineup—originally manufactured for the DKL mount of the Retina Reflex III / S. With a minor modification to the bayonet tabs, you can use these lenses seamlessly and without any restrictions on Voigtländer Bessamatic models. Learn more here. Voigtlander Bessamatic CS My absolute highest recommendation, if there is one lens you should treat yourself to for your Bessamatic, it is the Septon 50mm f/2.0. A total dream of a lens! Voigtlander Bessamatic CS My longest telephoto lens for the Bessamatic: the Voigtländer Super-Dynarex 200mm f/4.0. Voigtländer also offered a 350mm f/5.6, but unfortunately, I've always been outbid at auction, so that particular lens hasn't found a home in my collection yet. Voigtlander Bessamatic CS This picture was taken with a Voigtländer 4/135mm with a Focar D. I adapted this combination to a Sony A7III for this photo. Voigtländer Bessamatic and Lenses for the Kodak Retina Reflex I love shooting with my Voigtländer Bessamatic cameras. I also frequently adapt their lenses to my Sony A7III, especially the legendary Septon 50mm f/2.0. Unfortunately, the widest focal length Voigtländer ever offered was a 35mm lens. Kodak, however, took a different approach for its Retina Reflex system, offering options like the Rodenstock Eurygon 30mm f/2.8 or the Schneider-Kreuznach Curtagon 28mm f/4. Both camera systems, along with a few other manufacturers—utilized the Compur bayonet developed by the Deckel Company in Munich, commonly known as the "German standard bayonet" or DKL mount. Unfortunately, you cannot just swap these lenses between different systems out of the box. The manufacturers introduced slight proprietary variations on the camera mounts, which by design prevents lenses from being interchanged between brands. To use Kodak Retina Reflex lenses on Voigtländer Bessamatic bodies, a small "surgical" intervention on the lens mount is required, which you can see in the video. A tiny piece of metal needs to be milled away from the bayonet tab. My son Julian performed the operation for me. It is incredibly straightforward—don't be afraid to try it yourself and unlock a whole new world of lenses for your Voigtländer Bessamatic! Watch the German version of the video here: Video Weitwinkel für die Bessamtic Watch the English version of the video here: Here you can see where the notch needs to be milled. In my experience, it doesn't depend on the millimeter! You may also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with interchangeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about movies here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

Die Linhof Color Kardan 45s ist eine hochwertige 4×5-Zoll-Großformatkamera mit Kardan-Aufbau. Sie erlaubt präzise Bewegungen von Vorder- und Hinterteil für perfekte Schärfe- und Perspektivkontrolle. Vollständig aus Metall gefertigt, ist sie stabil und transportabel. Ideal für Studio- und Landschaftsfotografie, liefert sie sowohl in Farbe als auch in Schwarzweiß-Aufnahmen auf höchstem Qualitätsniveau. Large format photography with the Linhof cardan system Above: Multi-format ground glass for 4x5" / 9x12cm, featuring grid lines that mark common formats for use with roll film backs: 6x12cm, 6x9cm, and 6x7cm. A highly useful accessory for large format photography. This depth of field and focus calculator remains in the Linhof company product lineup today (as of 2018). comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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!

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

Thanks for your donation. With this you support the further maintenance and expansion of my site. I also use the donation to buy brochures, cameras, lenses and photographic accessories. So I can offer you new content in the future as well. And I keep saying "Thank you" for visiting my website and I hope you enjoy browsing! back to: Brochures and brochures

Each of the Pro-Tessars built is made of metal and glass. There is neither a built-in helical gear nor an aperture. These are located in the focusable rear lens group of the Contaflex cameras built for analog photography or in the adapter used here. Due to this design, the lenses are extremely robust and it seems as if they are built to last. The optical quality is outstanding, considering the age of the lenses. Prepare to be amazed. I love the look and feel of them! Carl Zeiss Pro-Tessar(e) on Sony E-Mount Hi everyone, thanks so much for checking out my guide on adapting Carl Zeiss Pro-Tessar lenses to the Sony E-mount system. I’ve already put together a few videos demonstrating these classic lenses on Sony mirrorless bodies, and there’s plenty more to come! I'll also be continuously updating the image gallery here as I roll out new Pro-Tessar lens reviews. In my first video, I walk you through the specific adapter required and its unique quirks. My second video takes a deep dive into the mechanical and optical performance of the Carl Zeiss Pro-Tessar 35mm f/4.0 (originally for the Zeiss Ikon Contaflex), shot entirely on a high-resolution Sony A7R IV. Mechanically, these Pro-Tessars are pure metal and glass. Because they were designed as a convertible lens system, they don't have a built-in focusing helical or an aperture iris. On the original analog Contaflex cameras, those elements lived in the fixed rear group—now, the adapter handles those duties. This minimalist design makes the front elements incredibly rugged; they truly feel like they were engineered to survive anything. I just love the vintage aesthetic and the heavy, mechanical feel in the hand! Carl Zeiss Pro-Tessar(e) on Sony E-Mount Lens Separation: What Is It and How Does It Affect Performance? A well-known weakness among vintage optics is lens separation. The Carl Zeiss Pro-Tessars are unfortunately not immune to this issue, and my own 35mm f/4.0 copy is affected as well. But what exactly is lens separation? Camera lenses are made up of individual optical elements that are either free-standing or bonded together into groups—which is where specs like "9 elements in 6 groups" come from. To join individual elements into a single group, a specialized optical adhesive known as lens cement is used. Over the decades, this cement can dry out, crystalize, or fail, usually starting at the outer edges. This creates a distinct, shimmering visual effect that looks very much like oil on water. In most cases, mild separation is largely an aesthetic issue with minimal impact on image quality—unless the cement degrades entirely, causing the elements to misalign or completely detach. Carl Zeiss Pro-Tessar(e) on Sony E-Mount Mechanical and Optical Performance of the 35mm f/4.0 First introduced in 1956, the 35mm f/4.0 lens reviewed here comes with the following key specs: it weighs in at 236 grams, measures 6.5 cm in length, and has a maximum diameter of 6 cm. Up front, it features a 49mm filter thread. Thanks to its unique design as a convertible lens system, the front element and filter thread remain completely stationary and do not rotate when focusing. Carl Zeiss Pro-Tessar(e) on Sony E-Mount Optical and mechanical quality of the 4.0 35mm: The lens calculation dates back to the 50s of the last century and I used the lens on a 60 megapixel camera, the Sony A7rIV. It performs surprisingly well for this. However, the sharpness at open aperture is not satisfactory over the entire image field and the corners of the image stand out again, unfortunately not in a positive sense. It looks better stopped down one stop. A significant increase in performance can be seen at f/8, although the image corners are not sharp even at f/11. The maximum imaging performance is achieved at apertures 11 and 16. Stopping down further to 22 or 32, however, produces significantly poorer results due to diffraction blur. If the image corners are not important, are outside the depth of field and are only focused on the image center, you can use the lens from aperture 5.6, better 8, without hesitation. The distortion is corrected very well, so that it rarely requires post-processing. Unfortunately, I was unable to achieve aperture stars with this lens, but depending on the lighting situation, I was able to achieve a soap bubble bokeh. Depending on the subject, vignetting is clearly visible. Even at aperture 11, this is still visible and requires software correction if it is perceived as disturbing. zurück zum Text Objektive Here you can find some pictures that I took with the Carl Zeiss Pro-Tessar lenses for the Zeiss Ikon Contaflex. There are also some pictures of this lens-adapter combination. Here you can find my videos about the use of these lenses on the Sony E-mount! In the first video I introduce you to the adapter in detail. In the second video you can find out all about the mechanical and optical quality of the Pro-Tessar 4.0/35mm In the third video you will learn all about the mechanical and optical quality of the Pro-Tessar 4.0/115mm The fourth video is all about the Pro-Tessar 4.0/85mm Video 5 deals with the Macro Tessar 2.8/50mm 1:1 You might also be interested in the following topics: comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment. Rollei 35 with Tessar 3,5 40mm & Rollei 35 S with Sonnar 2,8 40mm click here for the article Nikon F5 the last AF-KB analog workhorse with interchangeable viewfinder click here for the article Brochures of various systems click here for the article Hasselblad V-System click here for the article Canon FD System click here for the article everything about photographic film material click here for the article Filters for analog photography click here for the article Kodak Motion Picture Film 3 click here for the article Tips and tricks click here for the article Various systems click here for the article

Nicht immer liefert der eingebaute Belichtungsmesser die gewünschten Ergebnisse, obwohl die Kamerahersteller immer weiter entwickelte Messverfahren in ihre Kameras integrieren. In diesem Artikel möchte ich euch die Grundlagen, gepaart mit etwas Hintergrundwissen, der Belichtungskorrektur näher bringen - und dieses so einfach wie möglich, aber dennoch effektiv.

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.

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