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

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

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

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

Hier stelle ich euch die Zeiss Ikon Contaflex Super BC im Detail vor. Sie bietet zwar nur eine begrenzte Anzahl von Satzobjektiven (ein Teil des optischen Systems, einschließlich Blende und Verschluss ist fest in der Kamera verbaut - sogenannte Satzobjektive werden mittels Bajonett an dieses System verbunden), dafür aber viele nützliche Komponenten wie z. B. einen integrierten Okularverschluss, Blendenautomatik mit Zeitvorwahl oder die rein manuelle Einstellung von Zeit und Blende. Viel Spaß! Contaflex Super BC Introduced in 1965, this camera evolved directly from the iconic Contaflex series—and its technical specs caused quite a stir at the time. Just like its predecessor, the Contaflex Super B, the Super BC offered automatic flash functionality alongside shutter-priority autoexposure. The groundbreaking innovation, however, was its exposure meter: it utilized a CdS (cadmium sulfide) cell to measure light directly through the taking lens ("TTL" — through the lens). This TTL metering system was the true sensation! Best of all, this advanced metering and automation worked seamlessly across the entire lineup of available lenses. Contaflex Super BC Year of construction: 1965-1971 Format: for 35mm film (24x36) Lenses: Set of lenses from Carl Zeiss Oberkochen. Tessar 2.8 / 50mm Pro-Tessar 3.2 / 35mm Pro-Tessar 4 / 115mm Older invoices: Pro-Tessar 4 / 35mm Pro-Tessar 4 / 85mm Apertures: 2.8 to 22 Shutter: Central shutter, permanently installed in the camera, the optical system of the shutter is part of the optical calculations of the available set of lens attachments Shutter speeds: 1; 1/2; 1/4; 1/8; 1/15; 1/30; 1/60; 1/125; 1/250; 1/500 sec. + Bulb Hot shoe and connection for wireless icon flashes Exposure meter: CdS exposure system with automatic aperture (can be switched off). No tracking measurement in manual mode Battery: PX 625 mercury 1.35 volts (no longer available, see text on the right) The battery is only required for exposure metering, otherwise the camera works fully mechanically. Film counter: yes, resettable (counting down in the elevator button) Viewfinder: Roof-edge SLR viewfinder No viewfinder image after taking the picture before the shutter is cocked again! Film advance: quick advance lever Rangefinder: yes, cross-section and fine grid ring Self-timer: yes Film sensitivities: DIN 12-27 / ISO-ASA 12 to 400 Additional: Tripod thread, eyepiece lock, interchangeable cassettes for films Contaflex Super BC Through-the-lens (TTL) metering was a game-changer, and still is today, because it automatically compensates for light loss caused by accessories like filters and extension tubes. The exposure meter is designed to run on a 1.35V PX625 mercury battery. However, manufacturing or importing these cells has been strictly banned in Europe and North America for years. While you might still find online sources shipping them from Russia—BE WARNED: importing these batteries is illegal and can lead to heavy penalties. To stay on the right side of the law, you can have your camera's meter adjusted to 1.5 volts, allowing you to use standard SR44 silver oxide or alkaline button cells. Another popular option is zinc-air batteries (like WeinCells). They deliver a near-perfect 1.4V, but keep in mind that they drain constantly once the air seal is broken, completely exhausting themselves after about 6 months even if the camera just sits on the shelf. To prevent battery drain, you can completely turn off the light meter by switching the central shutter selector away from the "A" position to any manual aperture setting. Contafelex Super BC Around 17,475 units of this model were produced. The photo below shows the camera equipped with the Pro-Tessar 115mm f/4 lens component. These convertible lenses lack a built-in focusing helicoid. Instead, focusing is done via two levers on the camera body itself, which shift the elements to lock onto your subject. Once focused, the distance value can be read and transferred to a scale on the lens attachment, making it easy to check your depth of field depending on the chosen aperture. When it comes to these classic lens attachments, there's only one way to describe them: A vintage dream made of glass, lots of glass, and solid metal! zurück zum Text Objektive Below is a brief gallery showcasing the Contaflex Super BC and some of its accessories. If you can work around the limited selection of focal lengths, you'll find that this is an incredibly rewarding 35mm SLR system. The ability to use interchangeable film backs is a rare and brilliant feature for a 35mm camera. It means you can swap film stocks on the fly based on your subject or the lighting situation—switching between C-41 color, black-and-white, ISO 100, or ISO 3200 mid-roll—and change them whenever you feel like it, without wasting a single frame! Contaflex Super BC - built-in eyepiece lock Ikoblitz 6 is triggered - in slow motion Self-timer and central locking do their job A picture gallery with a description Ein Blick durch den Sucher einer Contaflex Super BC. A view through the viewfinder of a Contaflex Super BC. Rechts sind die Blenden und Verschlußzeiten abzulesen. Die Verschlußzeit wird vorgewählt, die Blende ermittelt der eingebaute CDS-Belichtungsmesser (TTL-Messung). The apertures and shutter speeds can be read on the right. The shutter speed is preselected, the aperture is determined by the built-in CDS light meter (TTL metering). Ikoblitz in verschiedenen Ausführungen. Ikoblitz in various designs. Verwendet werden können z.B. Blitzlichtbirnen vom Typ XM 1/5/6 (Fa. Osram), Philips AG3 (mit Splitterschutz) und Philips PF1. Ein "B" in der Bezeichnung steht für die Verwendung mit Tageslichtfarbfilm. For example, you can use flashbulb types such as the Osram XM 1/5/6, the Philips AG3 (featuring an anti-shatter coating), and the Philips PF1. The letter "B" in the model name stands for daylight-balanced color film. Kompatibel sind beispielsweise Blitzbirnen-Typen wie die Osram XM 1/5/6, die Philips AG3 (mit integriertem Splitterschutz) sowie die Philips PF1. Das „B“ in der Modellbezeichnung weist dabei auf die Eignung für Tageslicht-Farbfilme hin. The following can be used, for example Flash bulbs of type XM 1/5/6 (Osram), Philips AG3 (with splinter protection) and Philips PF1. A "B" in the designation stands for use with daylight color film. Batteriefach - klicke für mehr Informationen! Battery tray - klick for more informations! Okularverschluß Eye piece lock Belichtungsmesser - klicke für mehr Informationen Light meter - klick for more informations! Belichtungsmesser - klicke für mehr Informationen Light meter - klick for more informations! X-Kontakt für Blitzgeräte contact for flashes Nahlinse von Carl Zeiss Close-up lens by Carl Zeiss The following pictures are with the Zeiss Ikon Contaflex Super BC and the lenses Pro Tessar 4/35, 3.2 / 35, 2.8 / 50, 4/85 and 4/115 were made. From a quality point of view, you can use any lens without hesitation - the results will convince and satisfy you! Bilder, die mit diesen Objektiven entstanden sind. Instructions for you to download can be found here! Zeiss Ikon Contaflex Super Super B Prima Prospekt Zeiss Ikon Contaflex Zubehör Zeiss Ikon Contaflex Super Bedienungsanleitung Contaflex Super Bedienungsanleitung Zeiss Ikon Contaflex Super Bedienelemente Zeiss Ikon Contaflex Super - Bedienelemente Zeiss Ikon Contaflex Wechselkassette Ikoblitz 5 Bedienungsanleitung Ikoblitz M Bedienungsanleitung Contaflex Prospekte etc. I love shooting with my Voigtländer Bessamatic cameras. I also often adapt the DKL lenses to my Sony A7 III—the Septon 50mm f/2 is a particular favorite of mine. Unfortunately, when it came to wide-angle lenses, Voigtländer topped out at a focal length of 35mm. Kodak, however, offered more flexibility for its Retina Reflex system, including the Rodenstock Eurygon 30mm f/2.8 and the Schneider-Kreuznach Curtagon 28mm f/4. Both camera systems (and several other brands) relied on the Compur bayonet designed by the Deckel company in Munich, widely known as the DKL mount or "Deutsche Einheitsbajonett." Sadly, they aren't directly interchangeable. The manufacturers introduced proprietary physical modifications to the mounts to prevent users from swapping lenses between competing systems. But there is a workaround: to mount Kodak Retina Reflex lenses onto a Voigtländer Bessamatic body, the lens mount requires a minor "surgical intervention" that you can see in the video below. A small metal tab on the bayonet simply needs to be milled or filed down. My son Julian handled the modification for me... it’s actually a breeze! Don't be afraid to try it yourself, and open up a whole new world of glass for your Voigtländer Bessamatic! Here is the video in German: Here you can see this video in english: Here you can see where the notch has to be milled. In my experience, it doesn't depend on the millimeter! You might also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with changeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about film here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

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

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

As you have probably already noticed, the "Analog Photography" menu contains several submenus. They invite you to browse, share valuable knowledge, and lead you directly to my overviews of cameras and lenses. Under "Gear Reviews ," you will find additional up-to-date information, tests, and useful tips. You can find a complete overview of all topics under "Index" in the main menu! To get you started, I have put together a small selection of what's available in the "Quick Access" section below: Rollei 35 mit Tessar 3,5 40mm & Rollei 35 S mit Sonnar 2,8 40mm hier gehts zum Artikel Prospekte verschiedenster Systeme hier gehts zum Artikel Canon FD System hier gehts zum Artikel Hasselblad V-System hier gehts zum Artikel Nikon F5 das letzte AF-KB analoge Arbeitstier mit Wechselsucher hier gehts zum Artikel alles über Film hier gehts zum Artikel Filter für die Fotografie hier gehts zum Artikel Kodak Motion Picture Film 3 hier gehts zum Artikel Tipps und Tricks hier gehts zum Artikel verschiedene Systeme hier gehts zum Artikel Join the Conversation! Leave a Comment! A website truly comes alive through discussion, and I would love to hear your thoughts! Do you have personal experience with the cameras or lenses featured here? Is there a technical detail you would like to add, or do you have questions about the reviews? This comment section is your space. Share your own experiences with analog and digital photography, chat with fellow enthusiasts, or simply leave some quick feedback. I read every single comment and am always excited to hear from you. So, grab a cup of coffee, share your insights, and let’s talk photography! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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

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