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A Minolta MD 50mm f/1.4 lens (a classic "standard lens"). The focus ring is set to infinity and an aperture of f/8 has been selected. The zone that will appear acceptably sharp with these settings can be easily read directly from the lens barrel. Just look at the indicator markings below the feet and meter scales, as pointed out by the two yellow arrows! That's it! At f/8, the depth of field stretches from approximately 10 meters all the way to infinity (and visually even beyond on the scale)—indicated by the two white arrows! If you stop down to f/16, the depth of field expands even further, covering everything from 5 meters to infinity. You can now easily check and verify this on the scale yourself! Schärfentiefenrechner

apertureonepointfour "No matter what camera you use, the main thing is that you shoot!" apertureonepointfour, 2020 Welcome! This space is dedicated to exploring the fascinating world of cameras, lenses, and photographic gear, all through the lens of a dedicated collector with a deep-rooted passion for both the art of photography and the technology behind it. "It’s not the gear, it’s the finger on the shutter." apertureonepointfour, 2025 Wondering where the name comes from? It’s a nod to two of my all-time favorite lenses: the classic Canon New FD 50mm f/1.4 and the razor-sharp Sigma Art 40mm f/1.4 for Sony E-mount. My journey into photography began way back in 1982 when I picked up my first camera at the age of 11. Over four decades later, the spark is as bright as ever. I love sharing my hands-on experiences, tips, and reviews with the community, both on my YouTube channel @apertureonepointfour and directly here on my website. Glad to have you here! about me Hey man are you crazy Do you take photos with a digital camera and use flash lamps ?! Yes, I am!!! It's funny, it's crazy and it's a real head turner !!! But watch out! Never connect flash lamps directly to your digital camera! Your camera's electronics could be damaged. Interested in exploring further? Here is just a small selection of featured topics available for "quick access"! Rollei 35 Tessar 3.5 40mm T * Rollei 35 S with Sonnar 2.8 40mm HFT here is the article 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 Contaflex Super BC here is the article different systems here is the article 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 (2) Rated 0 out of 5 stars. No ratings yet Add a rating Write a comment Write a comment Sort by: Newest Martin Weber Jun 01 Vielen Dank für deine großartige Arbeit beim Erstellen dieser Webseite. Du schreibst über so viele Kamerasysteme, deine Begeisterung dafür ist total ansteckend! Viele Grüße "Der Minolta-Martin" Like Reply Stefan Lotz Admin Jun 02 Replying to Martin Weber Vielen Dank für deinen Kommentar. Ich bin ein eben kleiner Foto-Nerd 😁. Like Reply

Your home for photography. All about my passion. All about analog, hybrid and digital photography in all its forms. Expertise since 1983. On this website, you will find links to external third-party websites. Please note the following legal disclaimer: No Liability for Third-Party Content: I have no influence over the content or design of these linked websites. At the time the links were created, the external pages were checked for potential legal violations; however, permanent monitoring of linked pages without concrete evidence of a violation is not reasonable. The respective provider or operator is solely responsible for the content of the linked pages. I do not assume any liability for third-party content. Direct Video Playback on YouTube: Clicking on a button or text labeled "External Link to YouTube" will redirect you directly to the YouTube platform, where the corresponding video will open. Please be aware that from this moment on, the privacy policies and terms of service of Google and YouTube (YouTube LLC) apply, and data may be collected and processed by them. For further information, please refer to the Impressum (Legal Notice) and Privacy Policy sections. A Adapt lenses Adapter solutions for lenses on digital mirrorless cameras Aberrations, optical Alpa Aperture Aperture series - the image effect Apollon 14K Scan by silbersalz35 ASA - American Standards Association Autoknips I - Self timer B Buying tip - the best camera for you (external link to YouTube) Blur Brochures to download and browse C (Canon FD-System) Accessories for your Canon A or T series camera Canon AV-1 Canon AL-1 qF Brochure .pdf-download Canon AL-1 qF YouTube Video Canon AV-1 Brochure .pdf.download Canon FD System Canon FD: Wich standard zoom to buy? Canon FD Lenses 1979 Canon FD System 1984 Canon FD System 1984/1985 Canon FD System: Looking through the viewfinder of different models Canon magnifier (external link to YouTube) Canon nFD 4.0/28-85mm Canon nFD AF 4.0/35-70mm Autofocus Canon nFD/4.0 35-70mm Canon nFD 3.5/50-135mm Canon nFD 2.8/85mm Softfocus Canon nFD 4.0 200mm Macro with Canon converter 2xB Canon Motor Drive MA Canon T50 - the easy to use camera of the FD System! (external link to YouTube) Canon T60 - The Last FD Underdog (external link to YouTube) Canon T70 - computerized camera from 1984 (external link to YouTube) Canon T80 - the only autofocus camera for the FD System! (external link to YouTube) Canon Winder A Canon Winder A2 Canon Wonderland - FD Lenses Guide Book C (Canon EOS-System) 35 years Canon EOS-System EOS 650-620-600-RT (external link to YouTube) Canon EOS 1n Canon EOS 620 Canon EOS 750 / 850 (external link to YouTube) Canon EOS 850 in 2026 The Ultimate "No-Brainer" Film SLR? (external link to YouTube) Canon EOS RT Canon EF 3.5-4.5/20-35mm USM (external link to YouTube) Canon EF 2,8-4/28-80mm L Canon EF 3.5-5.6/28-135mm L IS USM (external link to YouTube) Canon EF 3.5-5.6/28-300mm L IS USM Canon 28-300mm L IS USM - Re-Tested on the EOS R5 After Repair (external link to YouTube) Canon EF 3.5-4.5/35-135mm (AFD-Drive) tested on a Sony A7III Canon EF 3.5-4.5/35-135mm (AFD-Drive) Re-Tested on a Canon R5 Canon EF 3.5-4.5/50-200mm Canon EF 2.8/80-200mm L - The Magic Drainpipe Canon EF 5.6/100-300mm L Canon EF 3.5/180mm Macro L Canon Macro System / Close-up System1992 Canon Speedlite System 1992 C All about Carl Zeiss Contaflex lenses (Pro-Tessar) on Sony E-Mount camera Carl Zeiss Contaflex lenses (Pro-Tessar) on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/115mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/85mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex Makro-Tessar 2.8/50mm 1:1 on Sony E-Mount cameras (external link to YouTube) Carl Zeiss 3,3-4/28-85mm für Contax/Yashica (external link to YouTube) Cokin Creativ Filter System Color Reversal Film Color Negative Film Contaflex Super BC Contaflex brochures Contax-Yashica bajonet for Contax-SLR cameras Contax AX - the SLR-Autofocus camera for all C/Y-lenses D Dead Sea (Canon EF 3.5-5.6/28-300mm USM IS L) (external link to YouTube) DIN - German Institute for Standardization Distance meter E Eastman Kodak Double-X Motion Picture Film Engine sounds of different cameras Epson V850 (scroll down) Leica Ernst Leitz Wetzlar Hektor 4.5/13.5cm LTM - M39 Leica Ernst Leitz Wetzlar Elmar 4/9cm LTM - M39 (external link: YouTube) Exposure metering and exposure compensation Exposure time F Films: 135mm (35mm film) - 120 (roll film) - sheet film and specialities Filter (Photographic filters) Flash bulbs - Usage Flash bulbs - Instructions G Gepe Archiving system Gossen Light meter Conversion chart neutral density filters H Hasselblad V-System, inkl. YouTube-Videos Hedeco Lime 1 Heliopan Filter System Horseman Roll Film Holder Instructions Horseman 6x7 and 6x9 film backs for 4x5 cameras (external link to YouTube) I I`m Back 35 I`m Back RAW-processing Intrepid MK V (external link to YouTube) Intrepid MK V Fixing loose roll film backs on the Intrepid 4x5 (external link to YouTube) ISO - International Organization for Standardization Ilford HP 3 (from 1969) Ilford HP 3 (from 1969) (external link to YouTube) J Jobo Lab equipment for the photo lab K Kodachrome Kodak Gray Card Kodak Motion Picture Film 50D/50T/250D/250T/500T Kodak Motion Picture Film Vision 3 and Apollon 14K Scan Kodak Double-X Motion Picture Film Kodak SE Slide Duplicating Film SO-366 Kodak BW400CN L Leaflets Leica Ernst Leitz Wetzlar Hektor 4.5/13.5cm LTM - M39 Leica Ernst Leitz Wetzlar Elmar 4/9cm LTM - M39 (external link to YouTube) Leitz Summicorn 3,5cm und 5cm Linhof Color Cardan 45s Lomography: Nour Triplet V 2,0/64mm Bokeh Control Art Lens - unboxing and use (external link to YouTube) Long exposure photography my tips (external link to YouTube) M Mamiya Universal Press Mamiya brochures / Mamiya leaflets The Minolta A-System Minolta 9xi Minolta AF 4,5-6,7/100-400mm APO Minolta AF 4-4.5/28-135mm Review: analog + digital Monster Adapter (converted Sony LA-EA4) Monster Adapter LA-FE2 (Nikon AF incl. Screw-Drive to Sony E-Mount) Motor sounds of different cameras (external link to YouTube) N NFTs from selected photographs for sale Nikon D600 (FX) Nikon F5 Nikon F5: On the road with Kodak Vision 3 - 200T in Norway (external link to YouTube) Nikkor 3.5-5.6/28-300mm G VR on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) Nikkor AF 3.5-4.5/35-135mm N on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) Nikkor AF-S 3.5-4.5/18-35 mm N on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) O optical Aberrations Olympus AF-1 Twin - an analog classic Olympus OM g.Zuiko Auto-W 3.5 / 21mm Osram XM1/XM1b Olympus IS-3000 - The 1990s Bridge Camera Packed with Features (external link to YouTube) P Panoramic Photography Extreme 35mm Film Goes Ultra Wide! Pentax Brochure 2000 Pentax Auto 110 Bonus: use lenses digitally and analogously Pentax 645N Pentax 645 Advertising Pixelfeld Praktica super TL Advertising R Reversal film ReflxLab Distance meter ReflxLab Display for cameras - with templates download! Ricoh TLS 401 Rodenstock digital professional lenses Rollei 35 / 35s Rollei SL26 (126 Film - Instamatic) Rolleivision Twin MSC 300 S Shutter speed Shutter Speed Tester for your smartphone - Check the shutter of your analog camera Scale: Depth of field scale Schneider Kreuznach Filter and Lupes Slide Film: Instant 35mm slide film Soligor AF 2.8-4.5 28-70mm (Canon AF ) (external link to YouTube) Sony GM 2.8 24-70mm (version I) with me on my trip to Norway (external link to YouTube) Sony LA-EA4 and LA-EA4r Sony A900 - a Little Love Letter Sound check of analogue cameras T Tamron SP 3,5-4,2 / 28-85mm Adaptall 2 Tamron SP 3.8-5.4 / 60-300mm Adaptall 2 Tamron SP 2,8 / 35-105mm Adaptall 2 Tamron SP 2,8 / 28-105mm AF A-Mount Tetenal Tripod Tips before triggering Tokina AT-X 2.8 28-80mm Pro TTArtisan 2.8/100mm Bubble Bokeh Lens adapt to M42 adapter (external link to YouTube) U - V Viltrox FE 1.8 50mm as "macro replacement" Voigtländer Bessa L Voigtlander Bessamatic Voigtlander Bessa series (L, R etc.) Voigtländer Septon 2,0/50mm Z Zeiss (to the Contaflex) Zeiss Ikon Contaflex lenses (Pro-Tessar) by Carl Zeiss on Sony E-Mount cameras (external link: YouTube!) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras

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. Optics 101: Understanding Photographic Lens Aberrations No optical system is perfect. Every lens—whether a modern high-tech giant or a cherished vintage classic—is subject to the laws of physics. As light waves pass through glass elements, they are refracted. This causes deviations between reality and the projected image on the camera sensor: these are known as lens aberrations (optical aberrations). A fundamental distinction is made between monochromatic aberrations (which occur even with single-color light) and chromatic aberrations (color defects caused by the varying refraction of different wavelengths of light). Here is a detailed overview of the most important phenomena: 1. Spherical Aberration Spherical aberration is caused by the geometry of the lenses. Classic lens elements possess a spherical surface because it is the easiest shape to grind during manufacturing. The Cause: Light rays passing through the outer marginal zones of a spherical lens are refracted more strongly than rays arriving close to the optical axis (through the center). Consequently, they intersect the optical axis at different focal points. Visual Impact on the Image: The image loses contrast and peak sharpness. A characteristic soft veil drapes over the subject—often referred to as a "glow" or a "soft-focus effect." This effect is particularly visible wide open on older, fast lenses. The Remedy: Stopping down! Since closing the aperture blocks the aberrant marginal rays, sharpness increases rapidly. In modern lens design, this error is corrected by using aspherical lenses (aspheres), whose surfaces flatten out toward the edges. 2a. Axial / Longitudinal Chromatic Aberration (LoCA) Axial or longitudinal chromatic aberration (often referred to as LoCA or "bokeh fringing") occurs along the optical axis—meaning in the depth of the image space. The Physical Cause: When white light passes through the lens parallel to the optical axis, the different color wavelengths are refracted at different angles. As a result, each color comes into focus at a different position one behind the other along the optical axis. Blue light is refracted the most and focuses closer to the lens, while red light is refracted less and focuses further back. Visual Impact on the Image: Because the colors focus at different depths, the camera sensor can logically only align with a single wavelength (color) at the perfect focal plane. The other colors are already out of focus at this point, creating blur circles. This artifact is visible across the entire image field (including the very center of the frame), primarily appearing in highly contrasting out-of-focus areas (bokeh): Objects located in front of the plane of focus (foreground) typically display unsightly magenta or purple fringes. Objects located behind the plane of focus (background) exhibit green or cyan fringes (e.g., specular highlights on water or tree branches against a bright sky). Correction in Practice: Stopping down helps immensely here! Closing the aperture narrows the light cone and increases the depth of field. This effectively masks the misfocus of the individual colors, causing the color fringes to almost completely disappear. Optically, this aberration can only be corrected by using expensive specialized glass (such as fluorite or UD/Ultra-low Dispersion elements) in apochromatic (APO) lenses. 2b. Lateral / Transverse Chromatic Aberration (LaCA) Lateral or transverse chromatic aberration (commonly called lateral CA or lateral color) occurs perpendicular to the optical axis—meaning across the width and height of the final image. The Physical Cause: This aberration exclusively affects light rays that enter the lens at an angle relative to the optical axis. Due to the varying refraction of colors, there is no shift in depth here; instead, it causes a difference in magnification scale. This means the lens projects a slightly different-sized image for each color onto the camera sensor. For instance, the blue image component might be fractionally smaller or larger than the red one. Visual Impact on the Image: Since all light rays enter perpendicularly and parallel at the exact center of the frame, the center of the image is completely free of this defect. The color misalignment only drifts apart toward the edges and corners of the image. Along high-contrast edges in the corners (such as the silhouette of a building against the sky), you will see very sharp, well-defined color fringes. These usually appear in pairs, typically as red/cyan or blue/yellow. The tricky part: because this is a pure magnification error, these color fringes are tack-sharp even within the perfect plane of focus. It is not a blur issue. Correction in Practice: Stopping down does absolutely nothing here! Because closing the aperture does not alter the magnification scale of the different colors, lateral CA remains just as pronounced at f/8 or f/11 as it is wide open. The good news for modern photographers: since the error is purely geometric and mathematically predictable, it can be corrected almost 100% perfectly and seamlessly in digital post-processing (e.g., in Lightroom with a single click on "Remove Chromatic Aberration") or directly in-camera. 3. Coma (often called comatic aberration) Coma is an aberration that exclusively affects light rays entering the lens obliquely (at an angle) relative to the optical axis. Therefore, it appears primarily in the corners of the image. The Cause: When a bundle of light hits a lens obliquely, the marginal rays are refracted differently than the central rays. The various zones of the lens generate images of differing sizes. Visual Impact on the Image: Point light sources (such as stars in astrophotography or streetlights at night) in the corners of the frame are not rendered as sharp points. They distort asymmetrically and drag a tail behind them—looking like tiny comets (hence the name "coma") or small swallows. The Remedy: Stopping down effectively reduces coma. For astrophotographers, excellent coma correction when shooting wide open is the most critical quality criterion for a wide-angle lens. 4. Astigmatism Astigmatism is closely related to coma but describes a different geometric problem involving oblique light rays entering the marginal areas of the lens. The Cause: An oblique bundle of incoming light strikes the lens in two different planes: the meridional (tangential) plane and the sagittal plane. Due to the angle, the lens optically possesses a different curvature in these two directions. This causes the light to focus not into a single point, but into two focal lines perpendicular to each other. Visual Impact on the Image: Points in the corners of the image are distorted into lines or ovals, either in a radial direction (pointing toward the center of the image) or in a tangential direction (concentric around the center). The image loses a massive amount of resolution in the corners. The Remedy: Stopping down reduces the length of the focal lines, which improves sharpness. Astigmatism can only be fully corrected through the purposeful use of lens groups with opposing defects (known as anastigmats). For photographers, the theoretical representation using focal lines in space is often difficult to grasp. In practice, astigmatism is most noticeable when photographing test charts (e.g., Siemens stars or concentric circles) or fine textures like tree branches and brick walls. Astigmatism causes the lens to render radial structures (structures pointing toward the center of the image) on a different focal plane than tangential structures (structures running perpendicular to them). 5. Field Curvature In theory, a lens is supposed to project a flat reality onto a flat camera sensor (or film stock). Field curvature prevents exactly that. The Cause: The inherent nature of a simple lens dictates that the image plane is not a flat surface, but rather a curved shell (often bowl-shaped). Visual Impact on the Image: If you focus on the center of the frame and it is tack-sharp, the sharpness visibly drops off toward the edges and corners because the focal plane there lies slightly in front of or behind the sensor. Conversely, if you focus on the corners, the center becomes blurry. This is particularly troublesome in copy-stand photography (documents) or landscape photography. The Remedy: Heavy stopping down increases the depth of field enough so that the blur caused by the curvature disappears within the sharp area of rendition. 6. Distortion Unlike the other aberrations, distortion does not affect image sharpness, but purely the geometric shape of the image. The Cause: Distortion occurs when the magnification scale is not constant across the image field. If the magnification scale decreases or increases toward the edges, the image geometry becomes distorted. Visual Impact on the Image: Straight lines (such as building walls, horizons, or architecture) are rendered curved. Three types are distinguished: Barrel Distortion: Lines bend outward (typical for wide-angle lenses). Pincushion Distortion: Lines bend inward (typical for telephoto lenses). Wave Distortion ("Mustache Distortion"): A mixture of both—barrel distortion in the center, turning into pincushion distortion toward the edges (extremely complex to correct). The Remedy: Stopping down does absolutely nothing here! Because it is a pure geometric error, distortion remains identical at every aperture setting. However, it can be excellently corrected digitally via lens profiles in post-processing (Lightroom, etc.) or directly in-camera. Sphärische Aberration (Öffnungsfehler) Sphärische Linse Fokus Randstrahlen Fokus Zentralstrahlen Axiale Chromatische Aberration Weißes Licht Blauer Fokus Roter Fokus Laterale Chromatische Aberration (Farbquerfehler) Optische Achse Sensor Rot Blau Versatz Unterschiedliche Bildhöhen Effekt am Bildrand Scharfe Farbränder (Rot & Cyan) an Kanten Koma-Effekt (Coma) Bildmitte Perfekt runder Punkt Bildecke Verzerrter Schweif Astigmatismus auf einem Testchart 1. Sagittaler Fokus Speichen scharf Kreise verschwommen 2. Beste Kompromissebene Kreis kleinster Verwirrung (Alles minimal unscharf) 3. Meridionaler Fokus Kreise scharf Speichen verschwommen Bildfeldwölbung (Field Curvature) Objektiv Flacher Sensor Gewölbte Schärfeebene Grüner Punkt: Bildmitte ist perfekt scharf auf dem Sensor fokussiert. Orange Punkte: Randschärfe fällt vor den Sensor (führt zu Randunschärfe). Pincushion Distortion Perfect Rectangle (Reference) Spherical Aberration Spherical Lens Marginal Rays Focus Central Rays Focus Axial Chromatic Aberration White Light Blue Focus Red Focus Astigmatism on a Test Chart 1. Sagittal Focus Spokes in focus Circles blurred 2. Circle of Least Confusion Overall Balanced Compromise (Slight uniform blur) 3. Meridional Focus Circles in focus Spokes blurred Lateral Chromatic Aberration Optical Axis Lens Sensor Red Blue Offset Different Image Heights Corner of Image Sharp Color Fringes (Red & Cyan) at Edges Coma Effect Center of Image Perfect Round Point Corner of Image Distorted Comet Tail Field Curvature Lens Flat Sensor Curved Focal Plane Green Dot: Center of the image is perfectly focused on the sensor. Orange Dots: Edge focus falls in front of the sensor (causes blur). Wellenförmige Verzeichnung (Schnurrbart) Perfektes Rechteck (Referenz) Tonnenförmige Verzeichnung Perfektes Rechteck (Referenz) Barrel Distortion Perfect Rectangle (Reference) Kissenförmige Verzeichnung Perfektes Rechteck (Referenz) Mustache Distortion Perfect Rectangle (Reference)

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

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.

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.

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"

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

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

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:

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