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!

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.

Black-and-white films for the C-41 process are special films that are developed like conventional color negatives instead of using the classic black-and-white process (B/W). They can be processed in standard C41 labs, offering easy handling, fast development, and color compatibility with scanners or photo prints. Typical example is the Ilford XP2 Super. Unfortunately, Kodak BW400CN has not been produced for years. Ilford XP 2 super Ilford XP2 Super Ilford XP2 Super is a unique black-and-white negative film. It is designed to be processed in standard C-41 color negative chemistry and therefore cannot be developed using conventional black-and-white developers. A distinctive characteristic of this film stock is its slightly pinkish base. Until 2014, Kodak offered a similar film with their BW400CN. The sample image shows two 6x6 negatives shot with a Rolleicord. Kodak and Fuji also offered this type of film, read more about it in the article below. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

I'm Back 35 Transform your analog 35mm film cameras into a digital camera. Welcome! On this page, I’m sharing my insights, practical tips, and tricks for the I'm Back 35 digital back. After much anticipation, I finally got my hands on this unique piece of gear in early April 2023. Click on the image below to download the user manual as a PDF copy. It’s finally here! I just received this highly anticipated piece of gear: the I'm Back 35 transforms almost any analog 35mm SLR into a digital camera, beautifully blending modern convenience with that unmistakable analog look. My first video covers the full unboxing, offers essential setup tips, and guides you step-by-step through the process of mounting the digital back to your camera body. Note: The video is currently available in German only. Here you can download and edit a .dng file, unedited, converted online (service on the I`m back homepage) from the original .raw file. Publication is allowed with source and message to me by mail. You can also download the following files in their full, original size. Each image is a 20-megapixel, straight-out-of-the-camera JPEG that has been processed in Photoshop. Feel free to publish them, as long as you provide proper attribution and drop me a quick email to let me know. Many users report difficulties with the I`m Back35. On the Facebook page of the company are some solutions of known problems described. I have summarized them for you here and supplemented. Problem: If you remove the battery, the date is reset to 2019, because the motherboard does not have a backup battery for cost reasons. The I'm Back35 has no battery in the PCBA (motherboard) and therefore every time you remove the battery, the date is reset to 2019. There is a simple solution. Before you remove the battery, connect the USB-C cable to a smartphone power bank and plug it into the USB-C port on the I`m Back35, and only then remove the battery from the I`m Back35. Since it is connected to an external power source, the time and date data will not be lost. When the NP F 550/570 battery is charged, reinsert it and turn the device off and on again. Your date will be retained! Then remove the power bank. Problem: The ISO function only works in AUTOMATIC (A) mode. A mode: When you change the ISO value, it changes and you see a change in the exposure values (leave identical aperture setting for comparison). M mode: If you shoot in manual mode, the ISO value is fixed at 100. You can compensate the EV value on the digital back I`m Back35 if you want to correct the exposure. Problem: How do I take photos in mode A (automatic mode)? To take photos in A (Auto) mode, follow the steps below: Step 1) Click twice on the "M" on the I`m Back35. Step 2) Set your camera to the exposure time B (bulb) or T (time). Step 3) Now you can see the image on the display of the I`m Back35 (Live View). Step 4) Click the OK button and the photos will be taken. Problem : SD-CARD ERROR message when clicking any button? Format the SD card! Format the SD card by using the format function of the I'M BACK back panel. DO NOT use your computer to format! You can see a short sou nd test here: I`m Back 35 - your digital back for analog 35mm cameras - used in automatic mode (A-mode) I'm Back35 is a digital back that turns (almost) any 35mm camera into a digital camera. So you can take digital photos with your analog camera. I was asked more often via my homepage www.apertureonepointfour.com how to take pictures with the digital back I`m Back35. In this video I show you how to use the A-Mode correctly and which special features there are. I would like to show you a few more pictures that I took with the I`m Back35. Great art is not there yet, but for an impression regarding the image quality it is enough. Maybe with special software for noise reduction an improved result is possible, unfortunately I can not check this. I use Lightroom / Photoshop for image processing. The AI-based noise reduction of Lightroom (which delivers fantastic results of the sensors of my Sony A7II and Canon 5DsR) is currently only designed for use with RAW files. In this video I show you my workflow to get the best results from the RAW files of the I`M Back35. But even after this processing, the digital images retain their unique charm. I`m Back RAW Workflow

Nicht immer liefert der eingebaute Belichtungsmesser die gewünschten Ergebnisse, obwohl die Kamerahersteller immer weiter entwickelte Messverfahren in ihre Kameras integrieren. In diesem Artikel möchte ich euch die Grundlagen, gepaart mit etwas Hintergrundwissen, der Belichtungskorrektur näher bringen - und dieses so einfach wie möglich, aber dennoch effektiv. Light Metering and Exposure Compensation – Made Simple – Most modern SLR, DSLR, and mirrorless cameras feature a built-in light meter that offers a variety of different metering modes. No matter the camera, the technical goal of light metering remains identical: based on the selected film or sensor sensitivity (ISO, ASA, DIN), the camera aims to calculate the perfect combination of shutter speed and aperture value to ensure the main subject is correctly exposed. A "correctly" exposed image means it is neither too bright nor too dark—shadows don't block up (clip to pure black) and highlights aren't "blown out" or overexposed. Of course, this describes an ideal scenario. Depending on the scene's high contrast, this perfect balance often cannot be achieved in-camera and requires subsequent post-processing in the darkroom or on a computer. Camera manufacturers have continuously advanced built-in light meters, leading to a wide range of systems and brand-specific terminology on the market. A Quick Overview of Common In-Camera Metering Modes Center-Weighted Metering (Integral): This classic method utilizes the entire photographic frame to determine exposure. It factors in the whole image area equally, without placing special emphasis on any single section. Center-Weighted Average Metering: This mode evaluates all the light hitting the film or sensor but assigns significantly more weight to the center of the frame than to the edges. This is based on the practical assumption that the main subject is more frequently located in the center of the composition. Evaluative / Multi-Segment Metering: An excellent, universal metering mode that handles tricky situations like backlighting remarkably well. The camera automatically assesses the scene and adjusts exposure based on the specific shooting conditions. Multi-segment metering is simply another term for this mode, used by systems like the Pentax 645N or NII. However, as you can see in the video, even this advanced method has its limitations. Matrix Metering (Nikon Models): This setting delivers natural-looking exposure results in the vast majority of shooting environments. The camera measures brightness across a wide area of the frame, analyzing tonal distribution, color, and composition. When using a CPU-enabled lens (Type G, E, or D), it also factors in 3D distance information (3D Color Matrix Metering III). For other CPU lenses without distance data, it defaults to standard Color Matrix Metering III. Highlight-Weighted Metering (Nikon Models) : The camera biases the exposure strictly toward the brightest areas of the scene. This method is incredibly useful for preventing detail loss in the highlights, such as photographing stage performers under intense spotlights. Partial Metering: Only a specific, restricted part of the subject is used for the exposure reading. The partial metering area is indicated in the viewfinder and covers only a small percentage of the frame. For instance, on the Canon EOS R6, the partial metering area encompasses exactly 5.8% of the total frame. Spot Metering: An even more precise method where only a tiny fraction of the frame is metered. The spot circle is visible in the viewfinder; on the Canon EOS R6, it covers just 2.9% of the frame. On many modern bodies, the spot metering circle can be linked directly to the active autofocus point. Multi-Spot Metering: This allows you to take multiple individual spot readings (as described above) across different areas of the scene. The camera then calculates the precise average value. Note: Only use this under controlled lighting conditions. It requires experience to know which points to sample and whether the dynamic range of the scene can actually be captured by the film or sensor. Live View and Exposure Compensation Modern mirrorless digital cameras offer the distinct advantage of displaying the scene in the electronic viewfinder (EVF) or on the LCD exactly as it will be captured. If this setting is enabled, you can see the immediate impact of your metering and use the Exposure Compensation Button (marked with "+" and "-") to make adjustments and track them "live." This button alters the baseline exposure values calculated by the camera: The "+" Setting (Overexposure): Intentionally allows more light to hit the film or sensor than the meter suggested. The camera accomplishes this by either slowing down the shutter speed (e.g., from 1/125 sec. to 1/60 sec.) OR opening up the aperture (e.g., from f/8 to f/5.6 / a smaller f-number). The "-" Setting (Underexposure): Reduces the amount of light hitting the film or sensor. It speeds up the shutter time (e.g., from 1/125 sec. to 1/250 sec.) OR narrows the aperture opening (e.g., from f/8 to f/11 / a larger f-number). In both examples above, the exposure value was adjusted by exactly one full stop (EV). Vintage Camera Quirks On older analog cameras, you won't always find the modern "+" and "-" exposure compensation icons. Some vintage icons like the Canon A-1 or Contax RTS use multiplication factors instead: "x2" or "x4": Represents an overexposure of one or two full stops, respectively. "x1/2" or "x1/4": Represents an underexposure of one or two full stops compared to the calculated reading of the built-in light meter. A Clever Workaround for Analog Cameras However, there are many cameras designed for 35mm film (135 format) or other film sizes that lack a dedicated exposure compensation button. Fortunately, a manual override of the automatic exposure is still entirely possible with these models—as long as you can set the film speed manually. In the following example, let’s assume you are using a film with a base sensitivity of ISO/ASA 100 (21° DIN). For a "+" Correction (Overexposure): If you want to allow more light hit the film, you simply dial in a lower film speed on your camera. For a one-stop overexposure, you would change the setting to ISO/ASA 50 (18° DIN). For a more generous two-stop overexposure, you would select ISO/ASA 25 (15° DIN). For a "-" Correction (Underexposure): Conversely, if you want to underexpose the image, you would select ISO/ASA 200 (24° DIN) for a one-stop reduction in light, or ISO/ASA 400 (27° DIN) for a two-stop underexposure. By doing this, you have successfully "tricked" the camera's built-in light meter, forcing it to allow more or less light onto your film! In this short video, you can see the real-world visual results of using exposure compensation in the "+" range. Here I present you a .pdf file as a download with examples available for exposure correction, just click on the picture and the download will start! The document is downloaded in English! Important to Know! Every camera light meter is calibrated to a neutral gray value with a reflectance of exactly 18% of the incident light. If your subject deviates from this ideal baseline—such as bright white snow or dark black backgrounds—the camera’s automatic exposure will not be accurate. A Kodak Gray Card is a standard reference tool used to achieve precise exposure and accurate color balance in photography. It features a flat, gray surface with a calibrated tonal brightness that serves as a neutral point of reference. Positioned within the scene during setup, the gray card is framed by the lens to establish a reliable baseline for both exposure and color rendering. By placing the card close to the subject, photographers can adjust their manual camera settings to lock in the perfect look. Using a gray card is highly effective for securing dead-on exposures in tricky lighting conditions or when critical color accuracy is required, such as in studio work or product photography. By reading the card, the camera system or editor can calibrate exposure and color values against a known neutral baseline to deliver beautiful, true-to-life tones. Practical Metering Tip When shooting with a gray card, it is best practice to meter the card using your camera's spot or partial metering mode (or a dedicated handheld spot meter). Aim the metering circle directly at the center of the card and use that reading for your exposure. It is highly recommended to cross-check your gray card reading (reflected light measurement) with an incident light reading taken via a handheld light meter. In most cases—provided the gray card is placed in the primary light source—the two readings will match up almost perfectly. To achieve a flawless match, you may need to tilt the card slightly toward the key light. It takes a little practice to master, but this technique yields incredibly accurate and repeatable results. Original Product Information from Kodak KODAK Gray Card / R-27 KODAK and the Munsell™ Color Services Lab of X-Rite®, Incorporated, have partnered to develop an enhanced calibration target for your photographic needs. The KODAK Gray Card / R-27 features the world-renowned Munsell 18% Reflectance (Gray) Neutral Patch. The KODAK Gray Card / R-27 package includes one 4 x 5 inch (10 x 13 cm) card, one 8 x 10 inch (20 x 25 cm) card, and an instructional manual. You can find the PDF download of the original brochure right here (click the image to start the download). Kodak Graukarte Back in the heyday of film photography, Kodak offered a professional gray card as well. You can find detailed information about this vintage model, which I still personally use to this day, right here: Click on the image to start your download. In addition to Kodak, various other manufacturers have produced and continue to offer reliable gray cards. Here is another example of a model that I personally use in my daily photography work as well. Click on the image to instantly start downloading the PDF file. My service for you - an illustrated instruction manual in English - and created by myself! I couldn't find anything on the web of even remotely comparable quality. Just click on the image to start the download directly! Gossen Mastersix Instruction Manual You can watch my video series on how to use the Gossen Mastersix and explore its features on my YouTube channel! Episodes 1 through 4 are currently available. The final episode will be released on September 18, 2026!

Ich feiere mit! 35 Jahre Canon EOS - System: 1987 - 2022. Dafür habe ich mir etwas ganz besonderes ausgedacht. Ihr könnt euch eine große Gegenüberstellung der vier Ur-EOS-Modelle als .pdf-Datei herunterladen. Diese vier Modelle basieren alle auf dem Gehäuse der Canon EOS 650 - der UR-EOS! Und wenn ihr wollt, dann gönnt euch ein solch analogs Schätzchen - oder gleich alle vier Modelle (so wie ich es tat)... Canon EOS 650-620-630-600 and RT - the original EOS models Celebrating a true milestone in photography: I’ve put together the ultimate side-by-side comparison of the four original models that started the analog Canon EOS lineup. Each of these camera bodies shares its DNA and chassis design with the trailblazing first model, the Canon EOS 650. To this day, I absolutely love taking these cameras out for a spin! For me personally, the Canon EOS 600 was the exact camera that marked my entry into the EOS ecosystem all those years ago. Canon EOS 650-620-630-600 and RT - the original EOS models Feel free to download my complete comparison guide for free. Just click on the image below to get your PDF copy! You will need a PDF reader to open the document, which is typically pre-installed on most modern computers and smartphones. If you enjoy my content and would like to support the running costs of this site, any small donation would be greatly appreciated! Canon EOS System 1987 - 2022 A milestone has turned 35 years old! Over 35 years ago, Canon introduced the world to the EOS system with its debut model, the EOS 650, quickly followed by the EOS 620, 600, and the unique RT. And yes, before anyone mentions it: I know there were two other models—the EOS 750 and 850—but we’re going to skip those basic, stripped-down bodies... We are talking about proper analog SLRs for the absolute king of film formats back then: 35mm. To this day, I can wholeheartedly recommend each of these four bodies. They aren't just great entry-level tools; they are fantastic performers for any analog shooter. In this video, we’ll take a deep dive into the differences between these four classic cameras. Thanks for watching and for your interest! Die ersten vier EO Modelle Here I have some more .pdf files for you to download - enjoy! Just click on the respective image! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Das Canon FDn 3,5 50-135mm war ein ungewöhnliches Standardzoom im Canon FD Programm. Es vereinte eine relativ hohe Lichtstärke mit einem Brennweitenbereich, der Fotografen ansprechen sollte, die eher ein Standartzoom vom Normalobjektiv und den leichten Telebrennweiten von 85, 100 und 135mm bevorzugen. Und es reiht sich ein in die hervorragende optische Qualität des berühmten Canon FDn 3,5 35-105mm. Erfahrt mehr auf dieser Seite! Canon nFD 3.5 50-135mm - an unusual standard zoom Canon offered a range of standard zoom lenses for cameras with FD bayonet. Among them were the fabulous goodies Canon (n)FD 2.8-3.5 35-70mm and Canon nFD 3.5 35-105mm. This 3.5 50-135mm zoom presented here is interesting for all those who like to combine a normal focal length with light telephoto lenses - and that with a relatively high speed of 3.5 in a compact design! Canon FD Gallery In this video you will get to know the lens and whether it is worth buying. - external link to YouTube - (c) Canon Camera Hall / Canon Lens Hall: https://global.canon/en/c-museum/product/nfd247.html Take a look at my diverse mix of sample photos and decide for yourself if the optical performance meets your needs. For me, this lens still gets a clear buying recommendation today for both your analog and digital cameras, provided that this focal length range appeals to you. Perhaps as a perfect pair in combination with the Canon nFD 3.5/20-35mm L?! Note: Clicking on an image will enlarge it! 100mm - f5.6 70mm- f8 135mm - f8 135mm - f5.6 50mm macro position - f5.6 50mm macro position - f3.5 50mm macro position - f16 70mm - f5.6 135mm - f3.5 135mm - f5.6 50mm- f8 50mm macro position - f8 50mm macro position - f5.6 50mm macro position - f4.5

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

Kodachrome was a color reversal film developed by Kodak and introduced in 1935. It offered exceptional color reproduction, fine grain, and high archival stability. It used a complex K-14 development process in which the dyes were only formed during development. This ruled out home labs, and only a few labs worldwide offered development services. Production ended in 2009, and development in 2010. Kodachrome Kodachrome – A Color Slide Film Like No Other A legendary color reversal film that stood completely apart from the rest: Kodachrome was not developed using the industry-standard E-6 process. Instead, these rolls had to be sent directly to a specialized Kodak laboratory. The unique twist back then: the cost of this complex processing (the K-14 process) was usually included in the initial purchase price of the film. As shown in the example above, it was also possible to buy the film as an all-in-one package that included both development and mounting. Kodak would then return the finished slides in their iconic cardboard mounts. The sample photos were taken in 1987 and feature a Pentax 67 with its distinct wooden grip. The product datasheet can be downloaded here. A product data sheet can be downloaded here.