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Wissenswertes für jeden Beginner der analogen (und digitalen) Fotografie. Hier erfahrt ihr ein paar grundlegende Zusammenhänge von Blende-Zeit-Filmempfindlichkeit und einiges mehr. Viel Freude euch mit dem schönsten Hobby!! Read the best tip on the net here! Read the best tip on the net here! The doorbell rings, the mail carrier drops off a package, and your "new" used analog 35mm SLR has finally arrived! You eagerly tear open the box, inspect the camera, hold it, admire it, play around with the controls... and then you notice something else hidden in the packaging: an analog rangefinder camera! You think to yourself: "How awesome is that?!" Your immediate instinct is to pop a roll of film in and head straight outside to shoot. Totally understandable! But... STOP right there! While many of you are likely familiar with the fundamental relationship between light, aperture, and shutter speed, anyone who feels a bit rusty is more than welcome to stay and read on. Please don't expect a dry, scientific paper—this text is intentionally kept simple and easy to understand. If you're looking for highly technical deep dives, the internet is vast! Aperture and Shutter Speed Inside the camera, the film sits safely protected from light. However, to create an image, light must eventually hit that film. The film is coated with light-sensitive color layers—or silver halides in the case of black-and-white film. These layers are also responsible for the film's distinct "grain" and level of detail. We control the total amount of light hitting the film using two main parameters: the aperture, which functions just like the pupil of a human or animal eye and the duration of the light exposure, known as the shutter speed. The standard aperture scale in full stops looks like this: 1 – 1.4 – 2 – 2.8 – 4 – 5.6 – 8 – 11 – 16 – 22 – 32 – 45 – 64 Additionally, there are intermediate steps referred to as half or third stops. The progression in half stops typically runs like this: 1 – 1.2 – 1.4 – 1.7 – 2 – 2.4 – 2.8 – 3.4 – 4 – 4.8 – 5.6 – 6.7 – 8 – 9.5 – 11 – 13 – 16 – 19 – 22 – 27 – 32 – 38 – 45 – 54 – 64 The aperture also controls something else incredibly important in photography! Along with the focus distance set on your lens, it determines the zone that appears acceptably sharp in the image—this is known as the Depth of Field (DoF). Controlling which areas of an image are sharp vastly alters the overall mood and impact of your photo. That is why choosing the right aperture is one of the most powerful creative tools in photography! Strictly speaking, a lens can only lock focus on a single, flat plane in space. Anything in front of or behind this plane will inherently be more or less blurry. However, by adjusting the aperture size (abbreviated as f), we can expand this sharp zone. As a general rule of thumb: Large Aperture (= wide open = small f-number) = shallow Depth of Field: Only a tiny slice of the image is sharp, beautifully isolating your subject from the background. Small Aperture (= stopped down/narrow = large f-number) = deep Depth of Field: A much wider area from foreground to background appears sharp, which is perfect for landscapes. Blende Take a look at the depth of field scale on the lenses! Depth of field scale Aperture row and image effect Furthermore, depth of field depends heavily on the focal length being used. To put it simply: wide-angle lenses inherent a deeper depth of field than standard lenses, which in turn provide more depth of field than telephoto lenses. Additionally, the depth of field is always shallower at close-focusing distances than it is at longer distances for any given lens. Technically speaking, a photographer would correctly state that the achievable depth of field is ultimately determined by the magnification ratio. Shutter Speed (Exposure Time) Shutter speed can freeze subject movement (avoiding motion blur) and prevents camera movement while holding the camera-lens combination (avoiding camera shake). Of course, a longer shutter speed can also be used intentionally to convey a sense of motion within the frame. For the image of the wind turbines, the camera was tripod-mounted. This eliminates camera shake during longer exposures, while the rotation of the blades is made beautifully visible as creative motion blur through a slower shutter speed—in this case, 1/3 of a second. Verschlußzeit In the table below I have given you a few tips regarding the use of exposure times. Table of the usual shutter speeds in seconds in full steps Good to know! To safely eliminate camera shake, there is another simple guideline to follow: always use the reciprocal of your focal length as your slowest handheld shutter speed. Additionally, make sure you have a solid, steady stance and, if necessary, briefly hold your breath right as you press the shutter! Here are a few examples of how to apply the "reciprocal rule" to standard shutter speed steps: For a 50mm lens, the reciprocal is 1/50 sec. = use an exposure time of 1/60 sec. For a 135mm lens, the reciprocal is 1/135 sec. = use an exposure time of 1/125 sec. For a 200mm lens, the reciprocal is 1/200 sec. = use an exposure time of 1/250 sec. Aside from camera shake caused by the photographer, we also have to deal with motion blur. This occurs whenever the subject is moving relative to the camera—whether they are approaching, moving away, or crossing right through the frame. Think of fast-moving cars or active children running, jumping, and playing sports. To freeze this fast action, you generally need very fast shutter speeds. Anything slower than 1/250 sec. or 1/500 sec. simply won't cut it. While many vintage analog models max out at 1/1000 sec. or 1/2000 sec., more modern film cameras offer blazing fast shutter speeds of up to 1/8000 sec. These "three friends" always work in perfect unison: Aperture, Shutter Speed, and Film Sensitivity (ISO/ASA/DIN). In this example, I want to show you the direct relationship between aperture and shutter speed. Let’s assume our light meter calculated a baseline reading of 1/60 sec. at f/8, regardless of the camera mode used, whether it's shutter priority, aperture priority, or full program auto. Starting from this baseline, every single combination listed in the chart below will result in an identically and correctly exposed image. The only difference is the creative outcome and visual impact, just refer back to the guide on aperture and shutter speeds above! Table 1: Equivalent Exposure Combinations But what happens when we load our camera with different films that possess varying light sensitivities? In the previous example, our film had a baseline sensitivity of ISO/ASA 100. The table below illustrates the differences that occur when changing film speeds, note that the selected aperture of f/8 remains completely unchanged for this demonstration. Keep in mind, however: the higher the film sensitivity, the more prominent the film grain will appear in the final image, causing a slight loss in fine details and often impacting color brilliance. Table 2: The Impact of Film Speed (ISO/ASA) on Shutter Speed at a Constant Aperture of f/8 Naturally, you don't have to limit your adjustments to the shutter speed alone; you can also change the aperture or opt for a completely new combination of both. You can explore several of these options in the interactive Table 3 below. Once again, our baseline for this example is a shutter speed of 1/60 sec. at f/8, using an ISO/ASA 100 (21° DIN) film. It’s really not as daunting as it seems, but keeping these fundamental concepts in mind when you are out shooting will make a world of difference. No matter how many automatic exposure modes your camera features—be it aperture priority, shutter priority, or full program auto—at the end of the day, it all comes down to just aperture and shutter speed. Using them intentionally is what will grant you truly unique and unforgettable images! Kodak Ektachrome 400 data sheet as .pdf Here is an example of a datasheet for a now-discontinued film stock. It contains some very interesting insights and information that I’m sure you’ll find helpful for your own shooting. Enjoy the read—I absolutely loved this film! ISO ASA DIN Canon showcased this focal length comparison in an original brochure for the Canon EOS system. Every image was captured from the exact same vantage point—only the lenses were changed. It is a wonderful example to visually compare the effects of different focal lengths! Here I present you useful photo accessories - a "must have" for each of you!! But now, get out there! Have fun with your new camera and enjoy discovering the wonderful world of analog photography! Always remember: No matter what you shoot with, The main thing is that you shoot. download as .pdf file

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. - - - - - -

Voigtländer Bessamatic - Qualität Made in West Germany. Ähnlich wie die Zeiss Ikon Contaflex bot ebenso Voigtländer Qualitätskameras und Objektive an. Glas und Metall - ein purer Genuss! Voigtlander Bessamatic CS A view of the leaf shutter and the bayonet mount manufactured by the Deckel Company. Officially known as the "DKL" mount, it is often referred to as the "German standard bayonet mount." While several camera manufacturers adopted this system, they unfortunately introduced minor mechanical modifications of their own, meaning that lenses cannot be easily interchanged between different brands without modification. Voigtlander Bessamatic CS The Skoparex 3.4 35mm was the strongest wide angle from Voigtländer for the Bessamatic. Voigtlander Bessamatic CS Unfortunately, I don’t yet own a Dynarex 90mm f/3.4 or a Dynarex 100mm f/4.8. This leaves a small gap in my lens lineup, as my next focal length straight after the Septon 50mm f/2.0 is 135mm: the Super Dynarex 135mm f/4.0. It is a truly small but excellent lens! Voigtlander Bessamatic CS A close-up lens - Voigtländer called this "Focar" adapted to a Voigtländer Septon 2.0/50mm (a terrific lens!). Voigtlander Bessamatic CS The widest lens in the lineup—originally manufactured for the DKL mount of the Retina Reflex III / S. With a minor modification to the bayonet tabs, you can use these lenses seamlessly and without any restrictions on Voigtländer Bessamatic models. Learn more here. Voigtlander Bessamatic CS My absolute highest recommendation, if there is one lens you should treat yourself to for your Bessamatic, it is the Septon 50mm f/2.0. A total dream of a lens! Voigtlander Bessamatic CS My longest telephoto lens for the Bessamatic: the Voigtländer Super-Dynarex 200mm f/4.0. Voigtländer also offered a 350mm f/5.6, but unfortunately, I've always been outbid at auction, so that particular lens hasn't found a home in my collection yet. Voigtlander Bessamatic CS This picture was taken with a Voigtländer 4/135mm with a Focar D. I adapted this combination to a Sony A7III for this photo. Voigtländer Bessamatic and Lenses for the Kodak Retina Reflex I love shooting with my Voigtländer Bessamatic cameras. I also frequently adapt their lenses to my Sony A7III, especially the legendary Septon 50mm f/2.0. Unfortunately, the widest focal length Voigtländer ever offered was a 35mm lens. Kodak, however, took a different approach for its Retina Reflex system, offering options like the Rodenstock Eurygon 30mm f/2.8 or the Schneider-Kreuznach Curtagon 28mm f/4. Both camera systems, along with a few other manufacturers—utilized the Compur bayonet developed by the Deckel Company in Munich, commonly known as the "German standard bayonet" or DKL mount. Unfortunately, you cannot just swap these lenses between different systems out of the box. The manufacturers introduced slight proprietary variations on the camera mounts, which by design prevents lenses from being interchanged between brands. To use Kodak Retina Reflex lenses on Voigtländer Bessamatic bodies, a small "surgical" intervention on the lens mount is required, which you can see in the video. A tiny piece of metal needs to be milled away from the bayonet tab. My son Julian performed the operation for me. It is incredibly straightforward—don't be afraid to try it yourself and unlock a whole new world of lenses for your Voigtländer Bessamatic! Watch the German version of the video here: Video Weitwinkel für die Bessamtic Watch the English version of the video here: Here you can see where the notch needs to be milled. In my experience, it doesn't depend on the millimeter! You may also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with interchangeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about movies here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

Das Tamron SP 3,8-5,4 60-300mm ist eine 5-fach Telezoomobjektiv, welches im letzten Jahrtausend noch für die analoge Fotgrafie entwickelt wurde. Doch wie schlägt es sich heute an digitalen, spiegellosen Kameras? Die Antwort findet ihr hier! Tamron 3.8-5.4/ 60-300mm Adaptall2 This lens is a high-performance zoom from Tamron's premium SP (Super Performance) series. When it first hit the market, this lineup represented the pinnacle of quality. It was manufactured between 1982 and 1990. The technical specs of this 5x zoom read beautifully and point to exceptional build quality. And indeed, no corners were cut here, it is a solid construction of metal and glass. Furthermore, all markings are engraved and color-filled; a premium, durable method that not only looks great but stands the test of time. Stripped of its adapter, the lens weighs 875 grams (approx. 31 oz), measures 161 millimeters in length, and has a diameter of 68 millimeters. The optical design consists of 15 elements inside 11 groups. The minimum aperture is f/32, created by an 8-blade diaphragm. Screw-in filters require a 62mm thread size. While the standard minimum focusing distance is 1.9 meters, it also features a macro option that allows for a maximum reproduction ratio of 1:1.55, an incredible feat for a zoom lens! Tamron 3.8-5.4/ 60-300mm Adaptall2 Tamron lenses were not built with fixed mounts for a specific camera brand. Instead, customers had to purchase a separate "Tamron Adaptall-2" adapter to match their camera system. For instance, if a photographer shot with a Canon A-1, they would buy the "Tamron Adaptall-2 FD" adapter. If they used a Minolta X-500, the "Tamron Adaptall-2 MD" adapter was required. Tamron offered dedicated adapters for almost every camera brand on the market. These were simply mounted and locked onto the back of the lens, fully maintaining all the mechanical linking and automatic functions that an original proprietary lens would provide. Naturally, these adapters could be swapped out by the photographer at any time, allowing completely different camera bodies from various manufacturers to share the exact same lens. The best part? This system remains fully functional to this day, even when adapting to modern digital bodies. Brilliant, isn't it? Enclosed is a gallery of images of the focal lengths 60mm, 100mm, 135mm, 200mm and 300mm as aperture series, each with f3.8-5.6-8-11-16 as well as some single shots, they were taken with my Sony A7III. So you can get a good impression about the performance of the lens. You might also be interested in the following topics: Rollei 35 with Tessar 3.5 40mm & Rollei 35 S with Sonnar 2.8 40mm here is the article Nikon F5 the last AF-KB analog workhorse with interchangeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about movies here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article different systems here is the article

Die 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

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

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.

Egal womit du fotografierst - Hauptsache du fotografiert. In meiner Jugend kannte ich niemanden, der mit Minolta fotografierte - und alle meine Freunde waren fotobesessen! Nachdem ich über die jahrzehnte etliche Kameras ausprobierte, kauft, wieder verkaufte und mir neues Fotoequipment zulegte - Minolta aber weiterhin mied, kam das Jahr 2018 und die erste Minolta zog bei mit ein. Es folgten einige weitere Modelle gerade das Minolta AF 4-4,5 28-135mm als ein Standardzoom haben es mir angetan. Minolta 9xi The Minolta Dynax 9xi (known as the Minolta Maxxum 9xi in the US and the Minolta α-9xi in Japan) is a professional 35mm autofocus SLR camera introduced in June 1992. It replaced the 1985 Minolta 9000 as the flagship model in Minolta's AF SLR lineup. The "xi" in the model name stands for "eXpert Intelligence," signifying that the camera's underlying technologies were built upon the expertise of professional photographers. Innovations introduced with the xi generation included the use of fuzzy logic within the camera’s exposure programs, alongside additional automated features. For instance, several of the new lenses launched with the xi series were equipped with a power zoom. Personally, I don't consider a power zoom to be a hallmark of professional photography; in fact, when paired with a pro-grade body like this one, it feels rather obstructive. A professional photographer wants to adjust the focal length with precise, tactile control—something that is simply not possible with any of the xi power zoom lenses I have encountered. More substantial innovations, however, include the transparent LCD matrix overlay beneath the focusing screen, which projects status information directly into the viewfinder, and the dual control dial interface, a layout already popularized by the Canon EOS lineup. Minolta AF 4.0-4.5 28-135mm I had heard many positive reports about the optical quality of this lens. Unfortunately, its mechanics are quite fragile. The core structure of this 16-element lens consists of three nested metal barrels. And these exact metal barrels often pose a problem, as they can lose their alignment and precision due to bumps, impacts to the barrel, or other accidents. Other weaknesses include a susceptibility to lens flare, chromatic aberrations (CAs, where different wavelengths of light refract at varying angles, causing color fringing), and blooming in high-contrast situations. To maximize sharpness, stopping down to f/8 or f/11 is required. Nevertheless, I enjoy using this lens when traveling light or when shooting interior lost places under unproblematic lighting conditions. I also like using it on my Sony A7 III via the Sony LA-EA4 adapter. The autofocus is usually spot-on and sufficiently fast, and any distortion can be easily corrected in post-processing—provided you are shooting in RAW. Minolta 9xi AF system: Minolta's through-the-lens phase detection system (TTL) with four CCD sensors; activated by Eye-Start; multidimensional predictive focus control; built-in AF illuminator, which is automatically activated in low light conditions or low contrast; AF sensitivity range: EV −1 to 19 (at ISO100) Measurement: TTL type; 14-segment silicon honeycomb photocell (SPC) automatically activated by Eye-Start; second SPC for TTL flash metering of a dedicated flash unit; Range: Honeycomb EV 0-20, Center Weighted Average EV 0-20, Spot EV 3-20 (ISO100, 50mm f1.4 lens) Shutter: electronically controlled type with vertical traverse and focal plane; automatic shutter speeds: in the "P" and "A" modes stepless from 1/12000 to 30 seconds, showing the nearest half-stop; manual shutter speeds: in "S" and "M" modes 1/12000 to 30 seconds in increments of 1/2 stop plus BULB in M mode; x-sync shutter speed: 1/300 second; X-sync shutter speed in wireless/remote flash mode: 1/60 Viewfinder: Fixed pentaprism at eye level with 92% vertical and 94% horizontal field of view; Magnification: 0.75× with 50mm lens at infinity; transparent LCD screen and acute matte screen; Diopter: -2.5 to +0.5 adjustable; long eye relief. Screen: changeable at an authorized Minolta service facility; Type L (matte panel with grid) or Type S (matte panel with vertical-horizontal scales) Film Speed Range: Auto range: ISO 25-5000 in 1/3 increments; Manual Range: ISO 6-6400 in 1/3 stop increments Battery: 6 volt 2CR5 lithium battery Battery Performance Approximately 50 KB movies (based on Minolta's standard testing method using movies with 24 exposures) Dimensions: 6 7/16 × 3 7/8 × 2 1/2 in. (163 × 98.5 × 64 mm) Weight: 740 g (1 lb. 10 1/8 oz) without lens and battery; Quartz Data Back model: 755 g (1 lb. 10 5/8 oz) without lens and battery Technical data without guarantee. Minolta 9xi Minolta is fun too!!

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!

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

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:

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