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

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

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Powerful lens with 3x telephoto zoom. Synthetic fluorite in grpup 1 and UD glass in group 2 provide low refraction and low dispersion. They also effectively correct chromatic and other aberrations. Canon EF 5,6 100-300mm L On the hunt for an affordable telephoto zoom: For the longest time, I was looking for a decent 100-300mm (or 400mm) lens. In the process, I completely overlooked the glass from the dawn of the Canon EF era, which is ironic, considering I started my career working in camera retail as a young man and knew these early models incredibly well. For an earlier trip to Norway, I bought a Minolta AF 100-300mm f/4.5-5.6 APO to adapt to my Sony A7 III, but its underwhelming image quality left me disappointed. But then I saw it: an " L -series" lens for under €200? A 100-300mm telephoto zoom? I didn't hesitate for a second and snatched it up in an auction. In the official Canon Camera Museum, the lens is highlighted with these specs: "High-performance lens with 3x telephoto zoom ratio. Synthetic fluorite in Group 1 and UD glass in Group 2 achieve low refraction and low dispersion, effectively correcting chromatic and other aberrations. Resolution is high throughout all focal lengths, delivering sharp, crisp images. 0.25x magnification is possible at the 300mm focal length." I’ve now put together two detailed videos about this hidden gem below. In the first clip, I analyze its optical performance on a modern 24-megapixel mirrorless body, the Sony A7 III, alongside a breakdown of its mechanics and autofocus speed. On my most recent adventure through Varanger National Park in Norway, I pushed this classic lens to its limits on the Canon EOS 5DS R, Canon's absolute powerhouse of a 50-megapixel DSLR. Have fun watching, and I’m sure you’ll walk away with some fascinating insights about this lens! Don't forget to check out the image gallery as well, featuring real-world sample photos shot entirely with the Canon EOS 5DS R and the Canon EF 100-300mm f/5.6L. 100mm - f8 This lens saw the light of day in 1987. It consists of 15 elements arranged in 10 groups. 300mm - f5.6 Max magnification x 0.26 135mm - f8 The smallest aperture is 32; a total of 8 aperture blades were installed 100mm - f5.6 Even at f/5.6, the lens offers very pleasing performance 100mm - f11 Unfortunately, I didn't have a lens hood available 100mm - f8 The length is 166.6mm with a diameter of 75mm 158mm - f8 The lens weighs 695g 166mm- f11 For me a perfect addition as a landscape lens in my photo bag! 100mm - f8 I fell in love with this lens! 300mm - f8 At full aperture, the corners of the image lose just a little bit of performance The video for the lens - here in English Here is the second video about the lens Photo Gallery: EF 100-300mm f/5.6 L on the Canon EOS 5DsR

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.