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

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. My passion for photography is deeply rooted in the Canon ecosystem, regardless of the era or the underlying technology. To me, every system tells its own fascinating success story: The FD System: It represents the golden age of mechanical precision. The interplay of solid glass and metal, the tactile feedback of manual focusing, and the timeless look of these classics continue to spark a very special fascination in me to this day. The EF System: A masterstroke and a historic turning point. By switching to a purely electronic interface, Canon laid the foundation for modern autofocus. For decades, lenses in this lineup set the benchmark for reliability, sharpness, and optical performance, remaining dependable everyday tools for photographers worldwide. The RF System: The logical evolution for a mirrorless future. A short flange focal distance, innovative optical designs, and extremely fast apertures impressively demonstrate what is possible today both optically and technically. Whether full manual mechanics, proven autofocus classics, or cutting-edge mirrorless technology: to me, these systems share a common DNA of innovation, thoughtful ergonomics, and outstanding image quality. I appreciate the tools from each of these chapters equally and enjoy using them with great enthusiasm depending on the creative vision and mood. The Canon EOS - System "n March 1987, Canon introduced a camera system that would permanently transform the landscape of photography. They named it EOS, an acronym for Electro-Optical System. On an engineering level, it marked a radical leap forward, replacing mechanical linkages with pure electronic communication between lens and body. But behind this technical brilliance lay a much older story. In Greek mythology, Eos is the Titan goddess of the dawn. Every morning, she rises from her home at the edge of the ocean, flying across the sky with her rosy fingers to open the gates of heaven. Her arrival dispels the darkness, painting the atmosphere in rich gold and pink tones, signaling to the world that light has returned. Canon's engineers intentionally named their system after the goddess to signify the dawn of a new era in camera design. Just as Eos opens the sky to let light flood the earth, a camera's shutter opens to welcome that very same light onto sensor or film. The mythic parallels within the system run even deeper. Accompanying the goddess of dawn is her son, Phosphorus, the bringer of light, personified as the morning star. In photography, light is the single element that makes the image possible. The entire EOS ecosystem was engineered around capturing that light with absolute precision, utilizing an innovative all-electronic lens mount known as EF, Electro-Focus. Following Eos across the sky comes her brother, Helios, driving his radiant golden chariot pulled by fire-breathing steeds to pull the sun across the heavens. Together, these celestial siblings govern the cycle of illumination, the very foundation upon which photography rests. When you hold a Canon EOS camera today, you aren't just holding decades of Japanese optical precision. You are holding a tribute to the ancient storytellers who saw light not merely as physics, but as poetry. 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

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

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

Die Modelle der Rollei 35 Reihe gelten als die kleinsten vollmechanischen 35mm Kameras, die je gebaut wurden sind und sie überzeugen mit hochwertigen Opjektiven von Carl Zeiss oder wesentlich seltener von Schneider-Kreuznach. Taucht ein in die Faszination dieser Kameras. Rollei 35 At the time of its release, the Rollei 35 was the smallest 35mm camera in the world, renowned for its outstanding lenses. To the best of my knowledge, a total of over two million units were manufactured. Excluding the numerous limited special editions, the main production models consist of the following: Rollei 35 (1966–1975): Tessar 40mm f/3.5 – the iconic "original model" (Made in Germany until 1971, then Made in Singapore). Rollei C 35 (1969–1971): Triotar 40mm f/3.5 – a simplified budget version without a light meter. Rollei B 35 / 35 B (1969–1978): Triotar 40mm f/3.5 – featured a battery-free selenium light meter. Rollei 35 Xenar (1972–1973): Schneider-Kreuznach Xenar 40mm f/3.5 – a rare variant equipped with a Schneider lens. Rollei 35 S (1974–1980): Sonnar HFT 40mm f/2.8 – the fast, premium model featuring Zeiss optics (Made in Singapore). Rollei 35 T (1976–1980): Tessar 40mm f/3.5 – the continuation of the classic Tessar model (Made in Singapore). Rollei 35 LED (1978–1980): Triotar 40mm f/3.5 – introduced a modern LED exposure indicator inside the viewfinder (Made in Singapore). Rollei 35 TE (1980–1982): Tessar 40mm f/3.5 – updated electronic version of the "T" with in-viewfinder LED metering (Made in Singapore). Rollei 35 SE (1980–1982): Sonnar HFT 40mm f/2.8 – updated electronic version of the "S" with in-viewfinder LED metering (Made in Singapore). Rolei 35 left to right: Film rewind crank, tripod thread (can still be seen below Picture counter), rear panel release, flash accessory shoe Rollei 35 S Rollei 35, Made in Singapore. Here with the five-lens lens with multi-layer coating HFT Sonnar 2.8 40mm Rolei 35 S with Voigtlander rangefinder An ingenious accessory: the Voigtländer rangefinder. Just like the built-in mechanisms found in classic rangefinder cameras (such as the Leica M3, M4, etc.), you use a double-image method where you rotate the dial until the two overlapping images align perfectly. Rollei 35 From my perspective, the advantages of this camera are: Small, lightweight, and compact Outstanding lenses (Tessar/Sonnar) Fully mechanical leaf shutter, including the aperture mechanism Built-in CdS light meter (on most models) A masterpiece of fine mechanics An unmistakable, iconic design This camera simply invites you to enjoy the pure joy of photography! Of course, this camera isn't perfect. To achieve its ultra-compact size, a built-in rangefinder had to be omitted. On the flip side, this forces the photographer to (re)learn how to work with the interplay of aperture and distance settings—the depth of field. A more conscious engagement with your subject and a wonderful slowing down of the photographic process are the welcome side effects. For critical close-up shots or when shooting wide open, I use an external Voigtländer rangefinder (see the pictures below). If you prefer, you could even carry a tape measure with you. Additionally, there is no automatic indicator or correction for parallax error. Quick Note on Parallax Error: Parallax compensation is necessary in viewfinder cameras to achieve a better alignment between the frame shown in the viewfinder and the actual image projected onto the film by the lens. This parallax effect occurs because the viewfinder does not look through the taking lens itself, but through its own separate optics offset parallel to it. The resulting effect is primarily a "shifted" image composition. The closer the camera is to the subject, the more pronounced this effect becomes. Furthermore, several controls are not located where you would traditionally expect them: the film advance lever is on the top left, and the hot shoe for the flash is mounted on the bottom of the camera. Yet, despite all this—or perhaps precisely because of it—this camera invites you to go out and discover the world through its lens! Rolei 35 p Top view of the controls (from left to right): Shutter button with a cable release socket, lens release button (Caution: The lens can and must only be collapsed/retracted when the shutter is cocked!), the light meter display, and the film advance lever. Rolei 35 S with Voigtlander rangefinder The distance measured on the rangefinder is then manually transferred to the lens. This makes shooting wide open or taking close-up shots completely hassle-free. In this video you can see how the Kodak Recording 2475 film is inserted into a Rollei 35. Have fun! Here you can listen to and watch the shutter sound of a Rollei 35 from 1/500 to "B"! In this video you see how to load a Kodachrome 64 into a Rollei S and you get some information about this film. In english. How to Load Expired Kodachrome 64 into a Rollei 35S First, you just have to look at this fantastic camera—you have to touch it, feel its mechanical precision, and simply enjoy it! In its heyday, this camera was mainly used by photographers who typically shot with a Single-Lens Reflex (SLR) camera but wanted a small, pocketable "walk-around" body equipped with an outstanding lens. And this camera truly delivers. The Carl Zeiss Sonnar 40mm f/2.8 is tack-sharp, offers high contrast, and is incredibly resistant to stray light. Loading a Rollei 35 camera is remarkably easy: Check the chamber: Make sure the film inside your camera is properly rewound or that there is no film left in the body. Cock the shutter: Always cock the shutter of the Rollei 35 before proceeding. Check the lens: The lens must be extended and locked into its shooting position. Turn the camera over: Flip the camera upside down to access the bottom plate. Remove the back: Release the small locking lever on the bottom and slide the removable back away from the camera body. Insert the film: Load the film cartridge as demonstrated in the video. Make sure the film tip is threaded carefully into the take-up spool. Fire the shutter: Press the shutter release button. Advance and check: Carefully advance the film one frame to ensure it is catching and tracking properly. Reassemble: Slide the back plate back onto the camera and lock the lever securely. Test the counter: Cock the shutter, press the shutter button, and verify that the frame counter is turning. Advance to frame one: Repeat this process until the frame counter explicitly displays "1". Now you are ready to go out and take great pictures! I In this video you can see how a Kodachrome 64 is inserted into the Rollei 35S and learn that you can still have these films developed today - but only for black and white slide film. In German. In this video, I’ll show you several ways to capture tack-sharp photos using your Rollei 35—or any other camera that lacks a built-in rangefinder but features a manual focus ring. Click on one of the pictures and open the gallery with pictures that were created with the Rollei 35 or Rollei 35S on different film materials. 1/3

Although i "only" bought the Canon EF 3,5-4,5 50-200mm without "L" at auction, I don`t want to withhold some test shots from you. I like this focal length range very much and maybe I`ll grab the "L" version again sometime. Canon EF 3.5-4.5 50-200mm Schätzchen aus der Frühzeit des EOS-Systems: Das Canon EF 50-200mm f/3.5-4.5 Wenn wir über die ersten Zoomobjektive für das 1987 eingeführte Canon EOS-System sprechen, fällt der Blick meist schnell auf dieses interessante Stück Technik: das Canon EF 50-200mm f/3.5-4.5. Auf den Markt gekommen im Dezember 1987, gehört es zu den absoluten Pionieren der EF-Objektive und deckt einen äußerst praktischen Brennweitenbereich ab, der vom klassischen Porträt- bis in das solide Telebereich reicht. Konstruiert ist es als klassisches Schiebezoom („Pumper“), bei dem Brennweite und Fokus über denselben Ring gesteuert werden – ein Design, das heute selten geworden ist, aber eine sehr intuitive Bedienung erlaubt. Im Inneren arbeitet ein AFD-Motor (Arc-Form Drive) für den Autofokus, und das Objektiv verfügt über eine mechanische Entfernungsskala. Optischer Aufbau & Technische Daten Für ein Consumer-Objektiv der späten 1980er Jahre besaß das Standard-Modell einen durchaus ambitionierten optischen Aufbau: Optischer Aufbau: 16 Linsen in 13 Gruppen Anzahl der Blendenlamellen: 8 (was für ein schönes, relativ rundes Bokeh sorgt) Kleinste Blende: f/22 – f/32 (je nach Brennweite) Naheinstellgrenze: 1,2 Meter (über den gesamten Brennweitenbereich) Maximaler Abbildungsmaßstab: 1:4,2 (bei 200 mm) Filterdurchmesser: 58 mm Gewicht: ca. 690 g Der legendäre Zwilling: Die L-Variante Was viele heute nicht mehr wissen: Canon brachte im Juni 1988 – nur wenige Monate nach der Standardversion – eine optisch stark aufgewertete Edel-Variante heraus: das Canon EF 50-200mm f/3.5-4.5 L. Äußerlich fast identisch und ebenfalls in Schwarz gehalten (nicht im heutigen L-Typischen Off-White), trug es den legendären roten Ring an der Front. Der entscheidende Unterschied lag im optischen Aufbau (16 Linsen in 14 Gruppen): Canon integrierte hier eine Fluorit-Linse sowie zwei UD-Glaselemente (Ultra-low Dispersion). Diese Version eliminierte chromatische Aberrationen fast vollständig und lieferte eine knackscharfe Abbildungsleistung, die selbst an modernen hochauflösenden Sensoren noch erstaunlich gut performt. Wer heute ein gut erhaltenes Exemplar der seltenen L-Variante erwischt, besitzt ein echtes Sammlerstück mit hervorragenden optischen Eigenschaften. 200mm - f5.6 This lens saw the light of day in 1988. It consists of 16 elements arranged in 13 groups. 200mm - f5.6 Max magnification x 0.23 200mm - f5.6 The smallest aperture is 29; a total of 8 aperture blades were installed 200mm - f5.6 Even at f/5.6, the lens offers very pleasing performance 50mm - f5.6 Unfortunately, I didn't have a lens hood available at the time. 100mm - f5.6 The lens accepts 58mm screw-in filters 200mm - f5.6 Here is a comparison between aperture 5.6... 100mm - f4.5 The length is 146.4mm with a diameter of 75.6mm 200mm - f5.6 The lens weighs 690g 50mm - f5.6 An unusual, but very practical, focal length range! 200mm- f11 As an "L" variant, I could easily fall in love with this lens 50mm - f3.5 When the aperture is wide open, the corners of the image lose a lot of performance 200mm- f11 The sharpness holds up remarkably well even at 200mm when stopped down! 200mm- f11 ...and aperture 11 at 200mm The video for the lens - here in German The video for the lens - here in English comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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

Die Canon EOS 620 war die zweite analoge Canon Autofokuskamera der EOS-Serie. Sie erblickte 1987 das Licht der Welt. Auch heute noch kann ich diese robuste, einfach zu bedienende Kamera sehr empfehlen. Ihr findet hier alle Informationen über dieses Modell. Canon EOS 620 The Canon EOS 620 hit the market in May 1987. At launch, it carried a price tag of 146,000 yen with the EF 35-70mm f/3.5-4.5 kit lens, or 108,000 yen for the body alone. Positioned as the upscale sibling to the original EOS 650, the 620 introduced several premium features that the base model lacked: Shiftable Program AE, automatic exposure bracketing up to ±5 stops in 1/2-stop increments, up to 9 multiple exposures, and a beautifully even EL-backlit external LCD panel—making it the first camera in the world to feature an illuminated top deck. I remember my brother becoming a proud owner of this exact camera shortly after it debuted (unfortunately, he walked away from this wonderful hobby decades ago...). At the time, I wasn't ready to jump on the AF bandwagon just yet; I stayed loyal to my manual-focus setups, routinely shooting with my Canon A-1, T90, and Hasselblad 500C/M. But as autofocus technology proved its worth, my skepticism dissolved. A year or two later, I took the plunge, and a Canon EOS 600 became a staple in my own photo kit. Canon EOS 620 Peer through the viewfinder, and you’re greeted by a clean, informative display showing the most crucial shooting data: shutter speed and aperture. It also features a focus confirmation light, over/underexposure warnings, and an electronic exposure level indicator for shooting in full manual mode. Clean, functional, and clutter-free—just the way I still like it today. You can find all the details and information about this ingenious and robust autofocus SLR in the video below. And remember: No matter what camera you use— the main thing is that you shoot! Here you can find my video about the camera - external link to YouTube Here you can find the manual of the Canon EOS 650 and 620 in english language as pdf-file for download! Here you can download a dealer brochure in English as a pdf file! Canon EOS 620 Händlerbroschüre

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

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

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

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