Probiert und für phänomenal befunden - Kodak Motion Picture Film 3 im Gesamtpaket von Silbersalz35 Important Notice Regarding Silbersalz35 (Film Purchases & Lab Services) At this time, extra caution is advised when placing orders or sending film to the lab through Silbersalz35. There have been increasing reports of significant delays, unfulfilled orders, and an inability to reach customer service (with the exception of automated order confirmations). I hope the situation will be resolved soon. 06.08.2026 Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm The Kodak Motion Picture Film 3 is offered in four different versions. For more information, check out the provider's website directly: www.silbersalz35.com You can find more of my experiences - including the Apollon 14K scan - right here. Important! This is unpaid advertising, I am simply completely blown away by this product! Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm The following films are currently available (May 2021) available: 50D (daylight) 250D (daylight / daylight) 200T (tungsten / artificial light) 500T (tungsten / artificial light) The terms Daylight and Tungsten refer to the color coordination of the film. The film is sent to silver salt for developing (not a "normal" C41 negative process). At the same time, you will receive the images scanned - and in excellent quality. Important! This is unpaid advertising, I am simply completely blown away by this product! Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm These three pictures were created with the 250D daylight version ("D" stands for daylight). This is a film for filmmakers, which is wound into KB cartridges by the company. Important! This is unpaid advertising, I am simply completely blown away by this product! New: 14K Apollon Scan by silbersalz An unprecedented resolution of approx. 14204 x 8820 scan resolution. Here you can learn everything about the fantastic scanning possibilities of silbersalz35. Check out more pictures, this time captured on the Kodak Motion Picture Film 500T. Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm, konvertiert in SW mit Photoshop CC Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm - im vollen Gegenlicht sind deutliche Überstrahlungen zu erkennen Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

What are infrared films? Infrared films (IR films) are black-and-white photographic films that are sensitive to light beyond the visible spectrum—usually in the range from about 700 nm to around 900 nm. They record infrared light, making plants appear particularly bright and skies appear deep and dramatic. Some “true IR” films, such as the legendary Kodak HIE, did not have an anti-halation layer, which leads to characteristic glowing (halation) around light sources. Infrared Film Photography Beyond the Visible Infrared film refers to photographic film sensitized to the near-infrared portion of the electromagnetic spectrum, typically ranging between 700 and 900 nm. These films have been—and still are, to a lesser extent—available as black and white negative film, reversal film (slides), or color negative film. Legendary examples include the Kodak Professional High-Speed Infrared Film HIE 135-36 (B&W) and the Kodak Ektachrome Infrared EIR (Color Slide). Beyond industrial and scientific applications, these films were widely used in fine-art photography, gaining fame for the characteristic "Wood Effect," which renders foliage in bright, ethereal tones. Handling: All infrared films should be handled in total darkness. This is especially critical when loading the film into the camera, as many IR emulsions feature thin anti-halation layers or can be susceptible to infrared light leaking through the plastic cartridges of modern cameras. Current Availability: As of 2026, the Rollei Infrared 400 is the industry standard for available black and white infrared film and is readily obtainable. Rollei Infrared 400 : A Versatile Performer The Rollei Infrared 400 is a highly sensitive, hyperpanchromatic black and white film reaching into the infrared spectrum (wavelengths up to 820 nm). With a nominal sensitivity ranging from ISO 200/24° to 400/27°, it offers exceptional flexibility. Its 7.5 µm thin, silver-rich emulsion is coated on a modern, 100 µm clear polyester base, delivering high resolving power, fine grain, and excellent edge sharpness. The Rollei Infrared is a true all-rounder: suitable for standard photography, yet highly responsive to various filters, capable of producing distinct infrared effects. To achieve the signature "Wood Effect," we recommend using infrared filters such as the 695 nm (89B) or 715 nm (88A). In addition to dedicated infrared films, there are films with extended red sensitivity (below 780 nm) that are readily available: Ilford SFX 200 : Sensitivity extends up to 740 nm (ISO 200/24°) Rollei Superpan 200: Based on aerial film technology with superpanchromatic sensitization, this film extends up to 750 nm (ISO 200/24°). An infrared effect is only pronounced when using a filter that blocks visible light below 715 nm (e.g., Heliopan RG 715) Rollei Retro 80S - up to 750nm (ISO 100/21°) Rollei Retro 400S - up to 730nm (ISO 400/27°) Data sheets available for download, .pdf files Rollei Infrarot 400 Datenblatt Rollei Infrored 400 Datasheet Ilford SFX 200 Datenblatt Ilford SFX 200 Datasheet Rollei Superpan 200 Datenblatt Rollei Superpan 200 Datasheet Rollei Retro 80s Datenblatt Rollei Retro 400s Datashett Rollei Retro 400 Development There is one film I have kept a secret from you until now. Unfortunately, it is no longer manufactured, so I purchased a few expired rolls at an auction house: the legendary Kodak High Speed Infrared Film (HIE) . This iconic black-and-white film features an extreme spectral sensitivity extending from ultraviolet and visible light far into the near-infrared spectrum up to approximately 900 nm. Because it completely lacks an anti-halation layer and is coated on a crystal-clear base, it produces that world-famous, dreamlike glow (blooming or halo effect) around highlights, making it highly prized in fine-art photography. In the gallery, you can see several images I captured with this film as well as with the Rollei Infrared 400 , shot using either a deep red or an IR72 infrared filter. Because Kodak HIE is incredibly light-sensitive and light can actually pipe through the felt light seal of the film cassette, the camera must be strictly protected from light leaks. For this reason, I also masked off the film confirmation window on the camera back with dark tape. I loaded my EOS 620, EOS 600, and EOS RT cameras at home in total darkness and transported them inside a changing bag for protection. Naturally, I developed the films myself in my home darkroom. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Polaroid actually had 35 mm instant films in its range, but these are almost forgotten today. These products were called Polachrome, Polapan, and Polablue. They were 35 mm slide films that did not need to be sent to a photo lab after exposure, but were developed directly on site in a small, handy “AutoProcessor.” There were three types of film: Polachrome: color slide film (ISO 40) Polapan: black-and-white slide film (ISO 125) Polablue: special film with a blue color cast for graphic effects Polachrome It was actually a brilliant concept: a color slide film that could be easily developed at home right after exposure, allowing the photographer to hold the finished slides in their hands after a total processing time of just five minutes, including prep and post-work. No wet hands, no measuring of water or chemistry, and not even a darkroom was required. Every roll of film came bundled with its own processing pack. The exposed film and the pack were simply loaded into a Polaroid AutoProcessor, where development took place. Watch the video to learn more! Unfortunately, Polaroid discontinued this entire film lineup in the early 2000s. The most famous among them, Polachrome , was a true instant color slide film. Polapan In addition to the three film types mentioned above, Polaroid also manufactured Polablue BN , a high-contrast blue-and-white film rated at just ISO 8. Polapan , on the other hand, was a black-and-white slide film with a speed of ISO 125, which was available in both 12 and 36 exposure rolls. For a fun and experimental day of shooting, I highly recommend looking into Polapan and Polagraph films. However, it takes a bit of luck regarding the condition of the vintage stock. Out of five Polachrome films that I personally tried to shoot, I was unfortunately only able to develop a single roll. With all the others, the process failed completely due to the processing chemistry in the packs having dried out entirely over the decades. Polagraph Polagraph films were high-contrast black-and-white stocks, specifically designed by Polaroid for capturing charts, tables, and line art, though they can also be used beautifully for artistic and creative photography today. The viewfinder shot shown above was captured on Polagraph film, while the other two images (featuring the Hasselblad and the film packaging) were taken using Polachrome film. My final verdict: As long as there are still old, expired stocks floating around out there—go grab one for yourself! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Purely Digital Here, I present images captured entirely digitally—always accompanied by a little background information or insight. In this section, I will also showcase the digital system cameras used to create them. Tried Nikon D600 Sony A7III with Sigma 1.4 40mm Art The lens was used at open aperture 1.4, focused on the "Septon" lettering of the lens. Sony A7III with Sigma 1.4 40mm Art Here is an example image, stopped down to f4 Sony A7III with Sigma 1.4 40mm Art Once again, this subject was shot wide open at f/1.6. Sony A7III with Sigma 1.4 40mm Art Aperture 1.4 - TOP performance! - - - - - - Sony A7III with Sigma 1.4 40mm Art Again, I used f1.4, focusing on the camera's "CS" lettering. Sony A7III with Sigma 1.4 40mm Art At f/1.6, this lens was truly born for the world of shooting wide open. It gets an absolute buying recommendation from me—though keep in mind that it is quite large and heavy. Sony A7III with Sigma 1.4 40mm Art A real test of patience! Close-up shot taken with a 10mm extension tube at f/4. The lens performs beautifully here! However, my attempts using a 16mm extension tube were rather disappointing. - - - - - -

Objektive adaptieren Adapting / Scanning For several years now, I have been adapting vintage lenses designed for analog photography—mostly manual focus—onto mirrorless Sony cameras whenever I need the specific advantages of digital shooting. This allows me to draw from a seemingly endless selection of unique glass from a wide variety of manufacturers. It is also possible to utilize newer lenses from the Canon EOS system. Even medium format lenses can be adapted, as demonstrated by the Carl Zeiss CB Tessar 160mm f/4.8 T*. If I take pictures with analog systems, the ones that are most interesting for me or the ones that I like best are scanned. To this comes z. The Epson V850 scanner is currently in use. Photography should be fun—so for me, there is no single "BEST" system. It really doesn't matter to me how an image is captured. Whether it’s analog or digital, 35mm film or large format sheet film, a digital SLR, a mirrorless camera, a digital or analog compact, or even a scanned slide—every single imaging technology complements the others and has its own rightful place. When I need results quickly and efficiently, digital cameras are my go-to. But when I want to feel the charm of the past millennium and enjoy the tactical feel of solid metal and glass, nothing beats vintage analog photo equipment. It doesn't matter what you take pictures with, the main thing is that you take pictures. apertureonepointfour, 2020 Sony A7III A mirrorless digital full format camera with a sensor size of 24x36mm - my first choice for adapting lenses calculated for analog photography. Sony A7III Here with an Ernst Leitz Wetzlar 4/9 cm (4 / 90mm) lens on an E39 to Sony E adapter. Sony A7III Again the 4 / 9cm Ernst Leitz Wetzlar lens. The picture shows the retractable lens hood, which can be adjusted to different focal lengths. Sony A7III / A7rIVa My favorite analog 35mm system: Canon FD—shown here is the 50mm f/3.5 Macro adapted to the Sony A7III. I regularly use numerous FD lenses for both analog and digital shooting. Sony A7III / A7rIVa For a long time, I was on the lookout for an affordable yet optically excellent 100-300mm zoom lens. Even though I completed an apprenticeship in photographic retail back in the late '80s, this particular lens never crossed my mind. For a while, it was my go-to telephoto zoom for landscape photography, until it was eventually replaced by the Canon EF 100-400mm f/4.5-5.6 L IS II USM. Sony A7III / A7rIVa Olympus OM lenses - a good choice for adapting; here the OM G. Zuiko Auto-W 3.5 21mm Olympus OM lenses designed for analog photography are characterized by their high-quality workmanship and small dimensions. Sony A7III / A7rIVa In combination with the Sigma MC-11 lens adapter, this lens works flawlessly on the Sony A7III / A7rIV, even with full Eye-AF support! Sony A7III / A7rIVa Medium format lenses can also be easily adapted. Shown here is the Carl Zeiss CB 160mm f/4.8 T* for Hasselblad. Sony A7III / A7rIVa Here you see another early Canon EF "L" zoom from the dawn of the EF system: the Canon EF 50-200mm f/3.5-4.5 L , or so I thought when I bought it! I only grew skeptical when I noticed the sheer number of infrared index marks on the distance scale; way too many for a highly corrected, luxury L-series lens. And sure enough, the iconic red "L" ring was just glued on. I guess I got greedy because the lens was dirt cheap, and I let that red ring blind me! Today, we're looking at the most affordable Canon EF "L" lens you can adapt to your Sony A7 III or other Sony E-mount bodies. Thanks to the Sigma MC-11 adapter, it works like a charm—giving you full autofocus and even Eye-AF! It’s definitely an older lens, so my main plan is to use it for landscapes. If this zoom range fits your style and you don't need it for fast-paced sports... go for it! Optically, it punches way above its weight, delivering incredibly sharp and crispy images. For a long time, I was on the lookout for an affordable zoom lens with a focal length of 100-300mm. And for just as long, I had completely forgotten about the early generation of Canon EF lenses—even though I did my training in photographic retail as a young man back then and knew these lenses inside out. For my last vacation to Norway, I picked up a Minolta AF 100-300mm f/4.5-5.6 APO and adapted it to my Sony A7III. However, I wasn't happy with it at all due to its underwhelming optical performance. But then I saw it: an "L" lens for under 200 euros? A 100-300mm telephoto zoom at that? I didn't think twice and won the auction. When shooting with analog systems, I scan the images that I find most interesting or that I like the best. For this process, I currently use the Epson V850 scanner. Photography should be fun—so for me, there is no single "BEST" system. It really doesn't matter to me how an image is captured. Whether it’s analog or digital, 35mm film or large format sheet film, a digital SLR, a mirrorless camera, a digital or analog compact, or a scanned slide—every single imaging technology complements the others and has its own rightful place. When I need results quickly and efficiently, digital cameras are my go-to. But when I want to feel the charm of the past millennium and enjoy the tactile feel of solid metal and glass, nothing beats vintage analog photo equipment. No matter what gear you use: The main thing is, you just shoot! Epson V850 SilverFast AE Studio 8 software This picture was taken with the Nikon F501 and the Nikkor AF 3.5-4.5 / 35-70mm on an Ilford XP2 super; scanned with Epson V850. Epson V850 SilverFast AE Studio 8 software This picture was taken with the Nikon F501 and the Nikkor AF 3.5-4.5 / 35-70mm on an Ilford XP2 super; scanned with Epson V850. Epson V850 SilverFast AE Studio 8 software This picture was taken with the Nikon F501 and the Nikkor AF 2.8 / 70-200mm on an Ilford XP2 super; scanned with Epson V850. Scan Epson V850 Epson V850 SilverFast AE Studio 8 software Minolta X500 - part of a camera system that I didn't pay much attention to for decades. My perspective changed when I looked through your viewfinder again ... WOW ... so bright thanks to the Acute Matte focusing screen! Epson V850 SilverFast AE Studio 8 software As in the picture on the left, a Minolta X500 with a Minolta MD 1.4 50mm was used. Epson V850 SilverFast AE Studio 8 software As before, Minolta X500 with Minolta MD 1,4 50mm, scan with Epson V850. After purchasing this miniature camera, I fitted it with new light seals, currently one of my favorite cameras (hey, Canons, you are still in the first place). Epson V850 SilverFast AE Studio 8 software Minolta X-500: the MD 50mm f/1.4 is a fantastic match and looks incredibly sharp on this camera. EPSON V850 SilverFast AE Studio 8 software Captured with the Minolta 9000 AF and the Minolta AF 28-135mm f/4-4.5. Epson V850 SilverFast AE Studio 8 software Minolta X-500: a highly recommended body of mine that is also excellently suited for getting into analog 35mm photography. It is straightforward to use, yet offers everything a photographer truly needs! EPSON V850 SilverFast AE Studio 8 software Captured with the Canon F1n, bellows and Canon nFD 3.5 50mm Macro. Epson V850 SilverFast AE Studio 8 software Sadly, not my estate. EPSON V850 SilverFast AE Studio 8 software Captured with the Canon F1n, bellows and Canon nFD 3.5 50mm Macro. Anker 1

Roll film is a photographic film wound onto a spool, usually wrapped in paper to protect it from light. It does not have individual image cassettes like 35mm film, but is used in medium format cameras (e.g., 6×4.5 cm, 6×6 cm, 6×7 cm). Common formats are 120 and 220. The film is transported step by step during photography and completely wound onto the take-up spool after the last image. Image dimensions: 6x4.5cm on color reversal film, exposed using a Mamiya 645 1000s. Image dimensions: 6x4.5 cm on black`n`white film, exposed using a Mamiya 645 1000s. Image dimensions: 6x6 cm on color reversal film, exposed using a Hasselblad 500c/m and the Carl Zeiss Planar 2.8/80mm T*. Image dimensions: 6x7 cm on color reversal film, exposed using a Pentax 67. Image dimensions: 6x9 cm on color reversal film, exposed using a Mamiya Universal Press. Discovering Formats with Roll Film Unlike the classic 35mm format, which rigidly restricts us to a standard frame size of 24x36 mm, roll film offers a fascinating variety of dimensions. It doesn't lock you into a single, uniform size for negatives or slides. Instead, the specific camera system you use—or interchangeable accessories like film backs and magazines—determines the actual frame size on the film strip.

Everyone always wants your money. Me too. With a donation you would actively support the maintenance and expansion of this site. This time you changed your mind, even though there are such great deals to be found here ... Nevertheless "Thank you" for visiting my website and have fun browsing! back to: Brochures and brochures

Das Tamron SP 3,8-5,4 60-300mm ist eine 5-fach Telezoomobjektiv, welches im letzten Jahrtausend noch für die analoge Fotgrafie entwickelt wurde. Doch wie schlägt es sich heute an digitalen, spiegellosen Kameras? Die Antwort findet ihr hier! Tamron 3.8-5.4/ 60-300mm Adaptall2 This lens is a high-performance zoom from Tamron's premium SP (Super Performance) series. When it first hit the market, this lineup represented the pinnacle of quality. It was manufactured between 1982 and 1990. The technical specs of this 5x zoom read beautifully and point to exceptional build quality. And indeed, no corners were cut here, it is a solid construction of metal and glass. Furthermore, all markings are engraved and color-filled; a premium, durable method that not only looks great but stands the test of time. Stripped of its adapter, the lens weighs 875 grams (approx. 31 oz), measures 161 millimeters in length, and has a diameter of 68 millimeters. The optical design consists of 15 elements inside 11 groups. The minimum aperture is f/32, created by an 8-blade diaphragm. Screw-in filters require a 62mm thread size. While the standard minimum focusing distance is 1.9 meters, it also features a macro option that allows for a maximum reproduction ratio of 1:1.55, an incredible feat for a zoom lens! Tamron 3.8-5.4/ 60-300mm Adaptall2 Tamron lenses were not built with fixed mounts for a specific camera brand. Instead, customers had to purchase a separate "Tamron Adaptall-2" adapter to match their camera system. For instance, if a photographer shot with a Canon A-1, they would buy the "Tamron Adaptall-2 FD" adapter. If they used a Minolta X-500, the "Tamron Adaptall-2 MD" adapter was required. Tamron offered dedicated adapters for almost every camera brand on the market. These were simply mounted and locked onto the back of the lens, fully maintaining all the mechanical linking and automatic functions that an original proprietary lens would provide. Naturally, these adapters could be swapped out by the photographer at any time, allowing completely different camera bodies from various manufacturers to share the exact same lens. The best part? This system remains fully functional to this day, even when adapting to modern digital bodies. Brilliant, isn't it? Enclosed is a gallery of images of the focal lengths 60mm, 100mm, 135mm, 200mm and 300mm as aperture series, each with f3.8-5.6-8-11-16 as well as some single shots, they were taken with my Sony A7III. So you can get a good impression about the performance of the lens. 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 interchangeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about movies here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

Photographic films You can get more information about the various film materials and film sizes by clicking on the respective button: Color slide Kodachrome Farbnegativ Instant photo SW negative C41 SW slide SW negative Packing film Infrared Sheet film Kodak Motion Picture Film 3 This is my go-to film for 35mm photography. It’s sold by various re-spoolers and boutique brands, available in different film speeds, and comes balanced for either daylight or tungsten (artificial) light. If you use a tungsten-balanced film, you can easily shoot it in daylight without color shifts by simply adding an 85B correction filter (equivalent to a KR15). You can source these films through major auction platforms, from several specialized sellers in the UK, or from Silbersalz. Silbersalz, a company located in Germany, offers these films bundled with the required ECN-2 processing and a 21.4 MB scan at a highly attractive all-in price (as of July 2021). Head over to their site and take a look—it’s highly recommended! This cinema stock is also available from other vendors as 120 roll film. However, please remember that these films cannot be developed using the standard C-41 color negative process. Additionally, some labs strictly develop the cinema films they sell themselves. ..... Packing film KB 35mm film SW negative Instant photo Color slide Color negative SW slide 120 roll films 120 roll films Color slide Sheet film Kodachrome Packing film Infrared SW negative C41 Read Here you will find a small compilation of the film materials available today from the companies Fuji and Kodak Fujifilm offers e.g. The following color negative films for analog photography are currently available (November 2020): Fujicolor C200 ISO 200 film for sunlight or flash. Highly flexible film with enhanced color reproduction, sharpness, and smooth, fine grain. ISO 200 Overview Designed for flexibility and ease of use, SUPERIA 200 works equally well outdoors in daylight or indoors with flash. Enhanced color reproduction, sharpness, and smooth, fine grain. Features Enhanced skin tones The perfect choice for natural looking portraits or group shots. Further refined sharpness The kind of image quality and clarity you expect from ISO 100 films. Wide exposure latitude Excellent results under a wide range of daylight conditions. Sensitivity and Film Sizes ISO: 200 Film Sizes: 135: 24, 36 exp Fujifilm offers e.g. Currently the following color slide (color reversal) films for analog photography (November 2020): Fujichrome VELVIA 50 The new Fujichrome Velvia 50 Professional is a slide film of the absolute top class. The film achieves the same RMS value as the Velvia 50. The RVP50 is a daylight reversal film with an RMS value of 9 and an ISO sensitivity of 50/18 °. A film that is characterized by its ultra-fine grain, extreme image sharpness and natural, highly saturated color reproduction. It has a high-contrast rendition of all tone values with a fine differentiation from the highlights to the shadows at the same time. The new Fujichrome Velvia 50 is the first choice in the fields of fashion, product, art, landscape and science photography. Available as 35mm, roll and sheet film Sensitivities daylight ISO 50/18 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Vibrant Color Reproduction / Rich Color Tone Depiction Vivid skin tone reproduction with the world's highest color saturation equal to that of the current Velvia. Superb color tone depiction for rich color reproduction. Fine Grain Quality / High Definition / High Resolving Power Superb grain quality, vibrancy and resolving power, as with the current Velvia. Neutral Grays and Excellent Deep Shadows Fine neutral gray reproduction from the highlights to the shadows. Superb push / pull processing Minimum color balance variation over a range from -1/2 to +1 stop to enable wider photo opportunities. Also allows fine adjustments of exposure and density to be easily done during processing Fujicolor Pro 400H Update January 2021: Fuji stops producing this film. According to Fuji, there are difficulties in producing the carrier layer. The Fujicolor PRO 400 H is a fine-grain daylight color negative film of the latest generation for professional use. In addition to natural skin tone reproduction and exact color reproduction, it offers an even gray balance. High ISO speed of 400 Higher effective film speed and finer grain. Wide exposure latitude Faithful reproduction of neutral grays over a wide exposure range from underexposure to overexposure. Superb skin tone reproduction Superb skin-tone and hue reproduction with continuously smooth gradation from the highlights to the shadows without any washout. Excellent three-dimensional appearance Clearer colors in the highlights and appropriately controlled color saturation in the shadows to allow rendering of subjects with a feeling of three-dimensional realism. Faithful color reproduction Faithful color reproduction of scenes under a wide variety of lighting. Addition of single-channel suitability Negative density level unified with other PRO series films for maximum printing uniformity and efficiency Fujichrome VELVIA 100 The Velvia 100 (RVP 100) Professional uses new technologies that enable a finer grain and a doubling of sensitivity. The color saturation and color rendering of the Velvia 50 are retained. The Velvia 100 uses new technologies that allow a finer grain and a doubling of the sensitivity. The color saturation and color rendering of the Velvia 50, which have made it a reference film for landscape and nature photographers, are retained. The Fujichrome Velvia 50 has been in production since 1990 and has been popular with professionals and ambitious amateurs alike. Since then, photographers have wanted a more sensitive Velvia film. Advances in emulsion technology have now made it possible to produce a slide film with the color characteristics of the Velvia 50, which has twice the sensitivity with finer grains. The new generation of the Velvia 100 should therefore not only appeal to photographers who expect the special color saturation typical of Velvia, but at the same time offer them a product in which the current state of the art has been implemented. Data Sensitivities daylight ISO 100/21 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) RMS granularity value 8 Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Specifications are subject to change without notice. ISO 100 speed Easy-to-use ISO 100 rating with the world's highest level of color saturation. Ultra-high-saturation color reproduction Attainment of the world's highest color saturation level equal to that of Velvia (ISO 50) through the incorporation of new cyan, magenta and yellow couplers. Super fine grain RMS granularity of 8, one of the finest levels. Color Image Storage Permanence Color image storage permanence (anti-fading characteristics) equal to that of RVP 100F as a result of new couplers. Superb push / pull processing suitability Minimum variation in color and gradation during push / pull processing over a range from -1/2 to +1 stop, providing an expanded range of phototaking opportunities, as well as facilitating fine adjustments in exposure and density during processing and allowing an increase in speed of up to +2 stops (equal to EI400), depending on the scene. Grade: RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Fujichrome PROVIA 100F The Provia 100 F Professional (RDP III) is a medium-sensitive daylight reversal film ISO 100/21 ° with exceptionally fine grain, lively color reproduction, extensive tonal value reproduction and extremely neutral gray balance. The Provia 100 F Professional (RDP III) is a very high quality color reversal film for daylight with a sensitivity of ISO 100/21 °. With very fine grain (RMS granularity value of 8) and extremely high sharpness, it captures details with excellent clarity, while it is equipped with rich gradation, lively and lifelike color rendering and optimal gradation balance. These properties make the Provia 100 F the ideal film for high-end processing through to the finished printed image. Data Sensitivities daylight ISO 100/21 ° Special properties Very fine grain, very good gray balance. The film for high-end processing through to the finished printed image Areas of application For professional applications, from product and outdoor photography to fashion and portrait photography. The ideal film for high-end processing through to the printed image Assembly (small picture) 135-36 RMS granularity value 8 Processing procedure CR-56, C6R, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20), 8x10 inch (20) Specifications are subject to change without notice. Super fine grain Finely detailed image formation for large-size enlargements and other work requiring high-magnification as a result of the finest grain among ISO 100 color reversal films. Vivid and Faithful Color Reproduction Extremely satisfying color depiction, providing the most brilliant primaries without sacrificing the delicate pastels, for wide-ranging application. Rich Tone Reproduction Smooth gradation reproduction with superb depth, thanks to bias-free, brilliant highlights and excellent highlight-to-shadow gradation linearity. Improved Reciprocity Characteristics Increased resistance to loss in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance. Excellent push / pull processing Outstanding tolerance to exposure and density compensation during processing, within -1/2 stop to +2 stops, resulting in minimal variations in color balance and gradation. E-6 / CR-56 * / C6R ** Processing As with other FUJICHROME film, worldwide processing available using E-6 / CR-56 / C6R chemicals. Notes: * CR-56 is Fujifilm processing system equivalent to E-6 processing. ** C6R is Fuji / Hunt processing system equivalent to E-6 processing. RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Kodak offers e.g. The following films for analog photography are currently available (November 2020): A Kodak brochure describing all films can be downloaded here: Kodak film brochure English Nice service from Kodak:

When I started photography in 1982, I mostly fed my camera slide film. I wanted to see my pictures large on the screen, and of course, high-quality images could also be produced from slides in a professional photo lab. Unmounted color reversal film 35mm Slide Film with a Frame Size of 24x36 mm Slide film, color reversal film, or transparency film (derived from the Ancient Greek dia, δία, "through") is a photographic film that displays tones and colors in their natural, positive state once processed. Typically, slide films are used to project the captured images onto a screen using a slide projector. For this to happen, the individual frames must first be mounted into slides. A standard roll of 35mm slide film offers 36 exposures, though 24-exposure rolls are occasionally found. In the processing lab, unmounted film is typically cut into strips of 5 or 6 frames. Up until a few years ago, labs also offered the option to automatically mount the individual slides into cardboard or plastic frames during processing. . Mounted color reversal film For projection, both glassless mounts (as seen in the example below) and glass slide mounts are used. With glass mounts, the slide is sandwiched between two panes of glass, much like a picture hanging on a wall. The main advantage of glass mounts is that they ensure perfect flatness of the film during projection. This prevents the slide from buckling under the heat of the projector lamp, resulting in uniform sharpness across the entire screen. Disadvantages, however, included the higher cost of these mounts, the risk of trapped dust particles, and the formation of Newton's rings. To prevent these colorful distortions, slides can be mounted using special Anti-Newton glass (AN glass). Newton's rings (named after Isaac Newton) appear as light-and-dark zones or rainbow-like interference patterns. They occur due to light wave interference within the tiny air gap between two highly reflective, nearly parallel surfaces—specifically, the smooth film base and the glass pane. While the selection of color slide films is limited, it is entirely sufficient for practical analog photography. Anyone wanting to experience the magic of genuine color slides today relies on the standardized E-6 development process. The selection of freshly manufactured emulsions boils down primarily to two remaining giants: Kodak Ektachrome E100: The current backbone of modern slide photography. This film delivers extremely fine grain, natural colors, and clean whites. It is widely available in 35mm format (36 exposures), 120 roll film, as well as for large format cameras. Fujichrome Provia 100F: Fujifilm’s faithful all-rounder, prized for its neutral color reproduction and outstanding sharpness. It continues to be offered in both 35mm and 120 roll film formats, though it is frequently out of stock due to irregular production cycles. Fujichrome Velvia 50 / 100: The top choice for landscape photographers seeking vibrant, highly saturated colors. While its distribution is heavily restricted by strict environmental regulations (especially Velvia 100 in the US), fresh batches or remaining stock can still be found in Europe and Asia depending on market conditions. Legacy films like the aforementioned Kodachrome or older emulsions like Agfachrome can no longer be processed using their original chemistry. Today, they serve collectors at best for experimental cross-processing in the lab. Here you can see a gallery featuring advertisements for film stocks—both color reversal (slide) and color negative films. Of course, you can also buy expired film, which is widely available on popular online marketplaces. Another great way to find unusual, experimental, and fun-to-shoot stocks is this shop (external link). The following gallery features photos captured on Kodak Ektachrome SE Duplicating Film SO-366. The film was exposed at speeds between ISO/ASA 3 to 9 and some of the images have been converted to black and white. You can download the technical datasheet for Kodak SO-366 here. KB-Diafilm SO-366

Zwei klassische Profi-Nikkore AF 2,8 35-70mm und AF 2,8 80-200mm ED zusammen mit dieser Kamera bilden ein qualitativ hochwertiges und tolles Set zum Einsteigen in die Welt der digitalen Vollformatfotografie. Mehr Informationen bekommt ihr heir auf dieser Seite und im verlinken Video. Nikon D600 (FX) Again a Nikon camera found a new home with me. After I got some classic Nikon lenses as gifts ( -THANKS to Maja- ) Nikon AF 2.8 35-70mm and Nikon AF 2.8 80-200mm - a Sigma AF 3.5 18mm and a Tokina AF AT-X 4.5-5.6 80-400mm with rod output were also there), the Nikon F5 found its way into my home first. A fantastic analogue camera! It would be nice if I could also use these treasures of Japanese lens construction digitally. Spontaneously, the two older Nikon Body D600 (610) and D800 (810) came to mind. After I found out a little bit about this camera and searched in auction houses, it quickly became clear to me: it has to be this camera. I did a quick calculation and found that with just under 750 euros (as of April 2022) it is possible for anyone to get into digital full-frame photography, because this price is for the package of a Nikon D600 and the two Nikon lenses AF 2.8 35-70mm and AF 2.8 80-200mm ED due. More about this in the video on YouTube. Nikon D600 (FX) In the near future I will be using the camera extensively and will share my experiences with this camera-lens combination with you. My first impression is: digital full format with two classic Nikon professional lenses at a reasonable price! Here you can see the first pictures that were taken with the Nikon D600 Nikon wrote about this camera on their homepage: 24.3 megapixel FX format (full frame) CMOS sensor Outstanding signal-to-noise ratio and large dynamic range. Delivers detailed images with smooth color transitions. Highly sensitive autofocus module Multi-CAM4800 with 39 measuring fields Responsive coverage of almost the entire field of view. Sensitivity down to -1 EV and compatibility from a minimum aperture of 1:8. ISO 100 to 6,400 Expandable up to 25,600 (equivalent) and down to 50 (equivalent). Enables sharp, low-noise images through short exposure times. D-Movie with field adjustment Records Full HD (1080p) movies in FX and DX format at 30p, 25p, and 24p frame rates. Maximum recording time of about 29 minutes 59 seconds. Provides uncompressed HDMI output to external devices as well as Hi-Fi audio control. EXPEED 3 Image processing engine with 14-bit A/D conversion and 16-bit image processing for exceptional tonal richness. HDR (High Dynamic Range) Ideal for high-contrast motifs. With a single release, two exposures are superimposed into one image. The result shows a high dynamic range, low noise, good highlight and shadow definition and fine tonal gradation. Active D-Lighting: This captures more detail in high-contrast lighting conditions. Nikon's Active D-Lighting automatically improves the details in dark and bright areas and creates a natural contrast in the image. Scene recognition system: The camera's image sensor and the 2,016-pixel RGB sensor provide precise data to the scene recognition system; this optimizes exposure, autofocus and white balance immediately before the shutter release point, creating precise exposures and razor-sharp images. Time-lapse photography: Use interval photography to capture images at set intervals. With time-lapse recording, you can save images as movie files and view slow-moving events in time-lapse, at playback rates from 24x to 36,000x speed. Picture Controls allow you to fine-tune the appearance of photos and videos before they are taken, such as sharpness, color saturation, and hue. Precise 8 cm (3.2 inch) VGA monitor with approx. 921,000 pixels and automatic monitor brightness control. Provides bright and sharp image reproduction with high color rendering capability. Brilliant, large viewfinder with approx. 100% frame coverage and 0.7x magnification. Provides viewfinder masking when shooting in DX format. Continuous shooting at 5.5 fps captures the action, even with fast-moving subjects. Quiet shutter release: This mode is ideal for discreet shots, as the noise of the mirror slap is noticeably reduced. Mirror Mass Balance: Brings the mirror to a standstill faster, allowing more time to look through the viewfinder and autofocus meter between exposures when shooting continuously. This is one of the reasons that the D600 offers precise autofocus and focus tracking even with fast continuous shooting. Compact, light and robust: The camera also defies harsh conditions. The top and back covers are made of magnesium alloy, so the camera weighs only 760g (excluding the battery). The camera is just as well protected against the ingress of moisture and dust as the professional Nikon D800 SLR camera. Dual-Axis Electronic Virtual Horizon: You can check both the camera's position in relation to the horizon and its tilt angle (forward or backward) at any time on the monitor or in the viewfinder. Double SD memory card compartment: Two memory card compartments ensure even more flexibility when taking photos. Use the second card as a reserve. It is also possible to take pictures and films separately. SDXC and UHS-I compatible.Wireless transfer: With the optional Nikon Wireless Mobile Adapter WU-1b, you can transfer images directly from the D600 to a smartphone or tablet computer, or control your camera remotely via such a device." Source, as of 04/2022: https://www.nikon.de/de_DE/product/discontinued/digital-cameras/2013/d600#overview: