Jahrzehnte lang mied ich Nikon. Aus Prinzip. Alle anderen durften und dürfen gerne mit Nikon fotografieren - so wie zwei meiner besten Freunde. In meiner Jugend musste ich mich für ein System entscheiden - Nikon verlor, Canon FD wurde mein System. Lest hier die Geschichte, wie es dazu kam und last euch in den Bann der letzten analogen 35mm Spiegelreflexkamera mit Wechselsucher von einem der großen Hersteller ziehen! Nikon F5 Life is change, since the beginning of the year (2021), I have a new favorite analog 35mm AF camera. And it’s not a Canon! I never thought this would happen to me, let alone that I’d actually write these words and find myself heading out to shoot with this camera more and more often. It’s a Nikon F5, the last analog 35mm flagship camera from the major manufacturers to feature interchangeable viewfinders. So, what happened to me? Of course, I’ve dabbled with Nikon cameras from time to time. A good friend of mine, who was also a former coworker of mine back in the last millennium at Foto Brell in Bonn, is a dedicated Nikonian. And then, this happened: My partner was cleaning up and found a camera bag she had been searching for forever. Maja asked me if I wanted the old gear; otherwise, it was going straight into the trash. THAT WOULD HAVE BEEN MURDER! Naturally, I had to rescue the equipment. The first thing I unearthed from the bag was a Minolta 7xi with a 28-80mm lens. Well... not exactly my cup of tea. Nikon F5 Then I discovered a Tokina AF AT-X 80-400mm f/4.5-5.6 (screw-drive) for Nikon. Mint condition! Oh, nice :-) Next, a Nikkor AF 35-70mm f/3.3-4.5 (screw-drive) emerged. Mint condition! It just keeps getting better :-) And then, I found the real crown jewel in this unassuming bag—a Nikkor AF ED 80-200mm f/2.8 (screw-drive, push-pull zoom), also in near-mint condition! Finally, at the very bottom of the bag, I spotted a Sigma 18mm f/3.5 (screw-drive). All of this was headed for the trash? Seriously? But why did my girlfriend own gear like this in the first place? What dark secret was she trying to hide from me? The mystery was solved quickly and rather unspectacularly: a trip around the world in the last millennium after graduating high school, and for a minor course during her college studies in the US. Today, Maja just shoots with a smartphone Nikon F5 But my Nikon camera saw the light of the 21st century for the first time after years of obscurity, trapped in that nondescript camera bag. Slowly, it was supposed to go. Nikon - a no-go for me in my youth. But now, of course, these lenses had to refocus light, burn it into silver, and thus be put to their intended use. In the first step, I bought a Nikon F501 at auction - its design appealed to me even back then as an apprentice at Foto Brell. Nikon F5 A couple of lenses were added: Nikkor AF 2.8 35-70mm My standard lens on the F5. Nikkor AF 1.8 50mm High light intensity for just a few euros. Nikkor AF 3.3-4.5 28-70mm D. Just bought it for 20 euros. If at some point I could still get a light shaft finder cheaply ... Nikon F5 You can download the Nikon F5 instruction manual here - just click on the picture and go to the link ... Nikon F5 After a while I wanted MORE - GIVE ME MORE: MORE CAMERA - MORE AUTOFOCUS - AND ABOVE ALL MORE SEEKERS! F4s or F5 - I was torn. But I discovered an almost perfect F5 for less than 300 euros - that was the case and I adopted my F5. The DW31 magnifying glass viewfinder for the Nikon F5 is shown here. It is especially suitable for working in the macro area or for reproduction work because of its 6x magnification and allows precise manual focusing. Of course, it offers all of the camera's automatic functions, including AF. There is one small limitation: the viewfinder does not offer any Color matrix measurement. This is surely to be gotten over. It enlarges the entire viewfinder image by a factor of 6 and has a built-in diopter correction of +3 to -5 dpt. - ideal for people who wear glasses. Nikon F5 In the gallery at the bottom of this page you can see some pictures that I have recently taken with the F5. I didn't scan the black and white negatives myself; I sent the film to a very good photo lab on the island, in Great Britain. This laboratory also fulfills unusual requests and so I always add black and white negative films to the package as an encore - to the chagrin of my account.

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

Gegnlichtblende Films Obviously, without film, nothing happens in the world of analog photography! Before you buy your next roll, however, you should at least consider the following basic questions: Do you want black and white images? A classic black and white negative film is what you need! Do you want to project your images onto a screen? Then you naturally want a color slide film (also known as reversal film). Do you want standard color prints as your final product? Makes sense! Go with a color negative film. Are you planning to scan your film? All three film stocks can be scanned successfully, though scanning traditional black and white negative film is definitely more challenging—mainly because automatic infrared dust and scratch removal tools (like Digital ICE) do not work on silver-based B&W emulsions. Tripods The most reliable way to avoid camera shake is, without a doubt, a tripod! Long exposures—whether captured during twilight, at night, or in broad daylight using neutral density filters to achieve slower shutter speeds—are nearly impossible without this essential tool. A tripod can be set up almost anywhere, and because it allows you to change your perspective effortlessly, it enables you to capture the exact shot you envisioned. Depending on the scenario, I use different tripods; a lightweight carbon fiber model accompanies me on many trips, while a mini tripod is always by my side. transport Camera equipment requires proper protection during transport, so a camera backpack is usually my go-to. When I only need to carry a lighter setup—such as a single camera body with one or two lenses—I switch to various shoulder bags depending on the size of the gear. I actually received many of these bags as bonus items when buying used cameras and lenses over the years. In fact, one bag is permanently kept in my car, safely tucked away with a Minolta X-500, an MD 50mm f/1.7, and an MD 135mm f/2.8. Better safe than sorry—otherwise, I might find myself standing in front of the shot of a lifetime without a camera! I also keep several other bags pre-packed and ready to go, so I can just grab them at a moment's notice. It’s incredibly practical and saves a lot of space in my gear cabinets. My Linhof, on the other hand, travels in style, safely transported to its destination in a rugged, rolling outdoor hard case. photographic filters Based on my many years of experience, there are three types of photographic filters that I highly recommend—they are permanent fixtures in my daily workflow. I have to confess :-), a UV filte r sits on every single one of my lenses that has a filter thread, purely for front element protection. On more than one occasion, this type of filter has saved a lens from certain death. A Polarizing filter is also indispensable (make sure to choose a Circular Polarizer / CPL for cameras with through-the-lens metering). It reduces reflections on non-metallic surfaces and provides stronger color saturation, making a blue sky pop, for example. Finally, Neutral Density (ND) filters belong in every gear bag. They cut varying amounts of light, allowing for much longer exposure times even in broad daylight. This is the key to making motion beautifully visible in your images. Flash units A Metz Mecablitz 45 CT-4 has been my loyal companion since 1988. He always donated good light to all the cameras I have used so far! I also used and still use suitable system flash units on my cameras, but the Mecablitz 45 CL-4 and 45 CL-5 were added to the Mecablitz 45 CT-4. Also buy a good used one from the 45s series! My 45 CT-4 was and is used, among other things, on - even if not all of the mentioned cameras live with me: Canon A - Series, Canon FTb, Canon F1, F1n, T90, EOS 600, 620, EOS 1n, EOS 20D, EOS 1D MKII, EOS 6D, Minolta X500, Minolta x700, Sony A7II / III, Hasselbald 500cm, 503cx, Mamiya 330f, Mamiya 645 1000s, Mamiya Universal Press, Nikon F501, Minolta 9xi, 7xi, Minolta 9000AF, Pentax 67 ... I apologize for the models I couldn't name ... and much more Every camera needs to be equipped with its own specific accessories. There are external viewfinders for rangefinder cameras, batteries along with chargers for digital bodies, specialized filters for analog black and white photography, extension tubes for close-up and macro work, mechanical cable releases, electronic remote releases, viewfinder magnifiers, right-angle finders, interchangeable focusing screens, handgrips, winders, and motor drives—the list could go on forever! There is truly an accessory for absolutely everything. For cameras without a built-in light meter, a Gossen Multisix has been by my side since 1988. Alongside a few of its siblings, it remains a loyal companion to this day. Stative I highly recommend reading this brochure from Heliopan. It explains the various applications of photographic filters in a simple yet excellent way. You can, of course, download the complete brochure as a PDF file (approx. 38 MB) right here. Download the Heliopan brochure Here, I will show you how to use flashbulbs on two different cameras: a Canon F-1 and a Zeiss Ikon Contaflex. Believe it or not, you can still buy freshly manufactured flashbulbs today right here: https://flashbulbs.com/ — or, you can look for vintage stock from private sellers on platforms like eBay first.

Ich feiere mit! 35 Jahre Canon EOS - System: 1987 - 2022. Dafür habe ich mir etwas ganz besonderes ausgedacht. Ihr könnt euch eine große Gegenüberstellung der vier Ur-EOS-Modelle als .pdf-Datei herunterladen. Diese vier Modelle basieren alle auf dem Gehäuse der Canon EOS 650 - der UR-EOS! Und wenn ihr wollt, dann gönnt euch ein solch analogs Schätzchen - oder gleich alle vier Modelle (so wie ich es tat)... Canon EOS 650-620-630-600 and RT - the original EOS models Celebrating a true milestone in photography: I’ve put together the ultimate side-by-side comparison of the four original models that started the analog Canon EOS lineup. Each of these camera bodies shares its DNA and chassis design with the trailblazing first model, the Canon EOS 650. To this day, I absolutely love taking these cameras out for a spin! For me personally, the Canon EOS 600 was the exact camera that marked my entry into the EOS ecosystem all those years ago. Canon EOS 650-620-630-600 and RT - the original EOS models Feel free to download my complete comparison guide for free. Just click on the image below to get your PDF copy! You will need a PDF reader to open the document, which is typically pre-installed on most modern computers and smartphones. If you enjoy my content and would like to support the running costs of this site, any small donation would be greatly appreciated! Canon EOS System 1987 - 2022 A milestone has turned 35 years old! Over 35 years ago, Canon introduced the world to the EOS system with its debut model, the EOS 650, quickly followed by the EOS 620, 600, and the unique RT. And yes, before anyone mentions it: I know there were two other models—the EOS 750 and 850—but we’re going to skip those basic, stripped-down bodies... We are talking about proper analog SLRs for the absolute king of film formats back then: 35mm. To this day, I can wholeheartedly recommend each of these four bodies. They aren't just great entry-level tools; they are fantastic performers for any analog shooter. In this video, we’ll take a deep dive into the differences between these four classic cameras. Thanks for watching and for your interest! Die ersten vier EO Modelle Here I have some more .pdf files for you to download - enjoy! Just click on the respective image! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Mamiya Universal Press - Größer geht immer! Mittelformat bis 6x9cm. Bei dieser Kamera schätze ich die Möglichkeit Polaroid- oder Fuji-Packfilm verwenden zu können und damit 8,5 x 10,5 cm große Sofortbilder (Trennbildverfahren) zu erhalten. Und mit etwas Übung und Chemie bekommt ihr zusätzlich noch Negative! Mamiya Universal A rangefinder camera manufactured by Mamiya. Produced in various models until 1990, its versatility spanned from press and passport photography to landscape and macro work. A defining characteristic is its distinctive, vertical body design. The camera is pictured here with its handgrip and a Polaroid back for peel-apart packfilm. Thanks to interchangeable film backs, the camera supports multiple formats, including 6x4.5, 6x6, 6x7, and 6x9! I exclusively use the 6x9 backs and the Polaroid back—at least for as long as packfilm is still available... Mamiya Universal Download the German instruction manual for the Mamiya Universal here as a PDF (approx. 30 MB). A quick word of advice before diving into this system: be sure to get comfortable with the mechanics of a rangefinder camera first. Also, keep the ecosystem in mind before buying—particularly the fact that you will need separate, shoe-mounted viewfinders for some of the lenses. Sector 5.6 150mm A great lens - a clear buy recommendation from me! Mamiya Sekore Mamiya offered the following lenses for this camera: 50 mm f / 6.3 - 65 mm f / 6.3 - 75 mm f / 5.6 - 90 mm, 100 mm f / 3.5 and f / 2.8, 127mm f / 4.7 - 150mm f / 5.6, 250mm f / 5 and 250mm f / 8. Sector 6.3 50mm A great lens - a clear buy recommendation from me! Sector 6.3 50mm A great lens - a clear buy recommendation from me! Mamiya Universal Press: The Ultimate Modular Workhorse The Mamiya Universal Press (often simply called the "Mamiya Universal") represents the pinnacle of Mamiya's evolution in analog press and rangefinder cameras. Designed to offer photographers maximum flexibility in the medium format system, it remains legendary today as one of the most rugged and versatile camera systems ever built. Release Date The Mamiya Universal Press was introduced to the market in 1969. It replaced the older models in the lineup (such as the Mamiya Press, Standard, and Super 23) and remained in professional use well into the 1990s. Technical Specifications at a Glance Camera Type: Modular medium format rangefinder camera. Shutter: Leaf shutter, integrated directly into each individual lens. Shutter Speeds: 1/500 - 1 s, plus B (Bulb). Flash Sync: Fully synchronized (X-sync) at all shutter speeds (up to 1/500s), making it ideal for studio and flash photography. Focusing: Manual coupled rangefinder with automatic parallax compensation. Film Formates: Extremely versatile depending on the magazine (6x9, 6x7, 6x6, 6x4.5 on 120 or 220 roll film) as well as Polaroid/instant film. Weight: Approx. 4.4 lbs (2,000 g), depending on the lens and film back used, a massive but incredibly stable all-metal system. Key Features of the System 1. Absolute Modularity (The "Universal" Principle) The name says it all: the camera body essentially lacks a fixed rear ground glass or back. By utilizing various adapters (such as the M-Adapter or G-Adapter), a wide array of film magazines can be attached. You can swap mid-roll from black-and-white to color film, or change your format from 6x4,5 to 6x9. 2. Polaroid / Instant Film Compatibility Unlike its predecessors (like the Super 23), the Universal Press does not feature an extendable bellows on the back. This design choice was made to clear out space for the large Polaroid film back. The Mamiya Universal is one of the very few cameras capable of exposing the full frame of classic Polaroid packfilm (e.g., Type 100) without causing any vignetting (shading at the corners). 3. The Combined Large-Window Viewfinder The built-in viewfinder is a mechanical masterpiece. It features not only the central rangefinder focusing patch but also selectable brightline frames for the three primary focal lengths: 65mm, 90mm, and 150mm. Switching between these frames adjusts the finder mask to automatically compensate for parallax error at close focusing distances. 4. Legendary Sekor Lenses The Mamiya Sekor lenses developed for this system enjoy an outstanding reputation. They are extremely sharp, virtually distortion-free, and their large image circle easily covers the massive 6x9 format. Highly sought-after gems include the wide-angle Sekor 50mm f/6.3 (which requires a separate shoe-mounted viewfinder) and the incredibly fast Sekor 100mm f/2.8. 5. The Iconic Pistol Grip The Universal Press is traditionally operated using a removable, ergonomic handgrip mounted on the left side. This grip features an integrated mechanical cable release that connects via a linkage directly to the lens shutter. This gives the heavy, bulky camera its distinct, classic "press-reporter" handling. Conclusion for Photographers Today The Mamiya Universal Press is by no means a lightweight, and its completely manual operation (cocking the shutter and releasing it are two separate steps!) leaves no room for mistakes. However, for those seeking a slower, more deliberate workflow, the unmatched image quality of a big 6x9 negative, or the magic of packfilm-compatible backs, this is an indestructible tool that operates entirely without batteries.

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

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

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

Kodachrome was a color reversal film developed by Kodak and introduced in 1935. It offered exceptional color reproduction, fine grain, and high archival stability. It used a complex K-14 development process in which the dyes were only formed during development. This ruled out home labs, and only a few labs worldwide offered development services. Production ended in 2009, and development in 2010. Kodachrome Kodachrome – A Color Slide Film Like No Other A legendary color reversal film that stood completely apart from the rest: Kodachrome was not developed using the industry-standard E-6 process. Instead, these rolls had to be sent directly to a specialized Kodak laboratory. The unique twist back then: the cost of this complex processing (the K-14 process) was usually included in the initial purchase price of the film. As shown in the example above, it was also possible to buy the film as an all-in-one package that included both development and mounting. Kodak would then return the finished slides in their iconic cardboard mounts. The sample photos were taken in 1987 and feature a Pentax 67 with its distinct wooden grip. The product datasheet can be downloaded here. A product data sheet can be downloaded here.

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

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

For the following shots of the three cameras and lenses, I locked focus exclusively on the center camera. The distance between the taking camera and the subjects remained completely unchanged—only the aperture was varied. You can clearly see the different visual effects that can be achieved through different apertures and how the depth of field changes! The individually pictured camera-lens combination shows you the exact aperture setting used for each shot. In the first image, no aperture blades are visible because the lens is shot completely wide open. f 1.4 f 2 f 2.8 f 4 f 5.6 f 8 f 11 f 16 f 22 It really is that simple! By mastering these rules, you will always carry one of the most important creative tools for capturing "better images" right in your back pocket! Small Aperture Opening (= narrow aperture) = high f-number = deep Depth of Field (e.g., f/11 – f/16 – f/22) Large Aperture Opening (= wide aperture) = low f-number = shallow Depth of Field (e.g., f/1.4 – f/2 – f/2.8) back