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Hasselbald V - das analoge Mittelformatsystem aus Schweden. Mit Objektiven von Carl Zeiss aus Oberkochen sorgt es für die Freunde der analogen Filmfotografie für umwerfende, detailreiche Bilder. Mein Mittelformattraumsystem. Hasselbald V-system Ever since I was young, there was an undeniable equation in my mind: medium format equals Hasselblad. The ultimate turning point came entirely unexpected when my father surprised me with a secondhand Hasselblad 500C/M and a Carl Zeiss Planar CF 80mm f/2.8 T*. What an absolute dream of a gift! In the years that followed, I had the privilege of shooting with plenty of other high-caliber medium format systems—like the Pentax 67, Mamiya 645 1000s, Mamiya C330f, Rolleicord, and the Mamiya Universal Press. Yet, in terms of overall prestige, build, and elegance, nothing quite holds a candle to a Hasselblad. The stellar performance and unique character of those legendary Carl Zeiss lenses from Oberkochen are simply in a league of their own. Hasselblad Product Catalog 2000 You can browse through this catalog and see which products Hasselblad had in store for this system in 2000. Hasselbald camera operator Hasselblad camera operator with models 201F, 203F, 205 TCC, 501c, 503cxi, 553 ELX and 903 SWC. The camera operator briefly introduces the models mentioned on a maximum of 1 page. A "MUST" for all Hasselblad lovers. Hasselblad brochure 1982 A little journey through time - the Hasselblad slide projector is also presented in the brochure! Hasselblad General prospectus The Hasselblad general brochure for the cameras 500EL / M, SWC / M, 2000FC and 500C / M with all lenses and accessories - absolutely worth seeing! Hasselblad 2000FC / M brochure A Hasselbald camera with focal plane shutter - but also suitable for central shutter lenses Hasselblad coming soon Another brochure / catalog awaits you here soon! You can receive a high-quality scan of the Hasselblad camera guides and product catalogs for a small contribution starting at €2.99 via PayPal. Your support helps me maintain and preserve this website. The digital files are usually sent out on the very same day payment is received, directly to the email address associated with your PayPal account. Thank you very much! 35mm panorama Do you already own a Hasselblad and want to shoot 35mm film in it just for fun? Maybe discover a new format? Expand your creative potential? Then this is an inexpensive way to get started with a new shooting format. Budget-friendly offers for the necessary film reels and viewfinder masks constantly pop up on online auction sites. Of course, you could also just crop a 6x6 negative or slide to get a panoramic format. But shooting 35mm film in a panorama format just looks way cooler. And cropping a roll of film is a sin :-) For me the 1st time After the film was loaded, the camera went for a walk with its owner. The first pictures were taken, and right away, the first obstacle appeared: portrait orientation. I was only able to take photos in portrait mode—unless I wanted to completely contort myself because of the waist-level finder. No, not this time. So, make sure to bring your prism finder with you! The A12 magazine with a difference Check out my video on this topic. You can find it on my YouTube channel "apertureonepointfour" or embedded further down this page. You are more than welcome to subscribe to my channel! A big "thank you" in advance for your support. And now? How do I get the film? All 12 pictures were in the box—an A12 magazine doesn't allow for more. And now what? I had wound the 35mm film onto a standard roll film spool. As you know, medium format roll films are not rewound; they are simply protected from light by their backing paper. Well, that meant the fun was over after just a short time. Back home, I carefully extracted the film inside a changing bag and rewound it manually into its original cartridge. That way, I could send it off for developing without any hesitation. Lesson learned once again! I need another set of those adapters that make 35mm film compatible with the 120 magazine. And, of course, an empty film cartridge to rewind it into. With that setup, changing the film should work seamlessly, even without a changing bag. More on this in my video! With this procedure, the 35mm film’s sprocket holes and the edge lettering are also exposed. You can either scan the entire film strip and crop the image later during post-processing, or you can keep the picture exactly as it is—in all its glory. For me, that’s definitely the cooler option. Hasselblad V-System: Four must-have accessories for your V-cameras (500cm, 500 EL-M, 500 EL-X)! Hasselblad V-System: Why you should buy older Carl Zeiss C-Lenses! Hasselblad Videos Hasselblad V-System: Using the non automatic bellows (inclusive a few tricks) Hasselblad: Format Masks 6x4.5 and 6x3 for the analog V-system Hasselblad V System: Waist level finder - Install diopter correction lens Hasselblad: Loading a C12 magazine with a superimposed Agfachrome 1000 RS-inclusive tips and tricks Hasselblad V-System: How to attach and remove an extension ring or a bellow! Hasselblad V-System: Use of tripod quick couplers Hasselblad V-System: Photographing classic cars with the 501c and the expired Agfacolor XRS 400 Disaster struck! Hasselblad crash while shooting rare expired Kodak Film Vericolor 160

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 The EF 5.6/100-300m L on the Canon EOS 5DsR

Although i "only" bought the Canon EF 3,5-4,5 50-200mm without "L" at auction, I don`t want to withhold some test shots from you. I like this focal length range very much and maybe I`ll grab the "L" version again sometime. Canon EF 3.5-4.5 50-200mm 200mm - f5.6 This lens saw the light of day in 1988. It consists of 16 elements arranged in 13 groups. 200mm - f5.6 Max magnification x 0.23 200mm - f5.6 The smallest aperture is 29; a total of 8 aperture blades were installed 200mm - f5.6 Even at f/5.6, the lens offers very pleasing performance 50mm - f5.6 Unfortunately, I didn't have a lens hood available at the time. 100mm - f5.6 The lens accepts 58mm screw-in filters 200mm - f5.6 Here is a comparison between aperture 5.6... 100mm - f4.5 The length is 146.4mm with a diameter of 75.6mm 200mm - f5.6 The lens weighs 690g 50mm - f5.6 An unusual, but very practical, focal length range! 200mm- f11 As an "L" variant, I could easily fall in love with this lens 50mm - f3.5 When the aperture is wide open, the corners of the image lose a lot of performance 200mm- f11 The sharpness holds up remarkably well even at 200mm when stopped down! 200mm- f11 ...and aperture 11 at 200mm The video for the lens - here in German The video for the lens - here in English

Canon EF 2,8-4 28-80mm L - das erste Canon Standardzoom mit dem Gütesiegel "L" im Canon-Sortiment. "L" steht für optisch und mechanisch hochwertige Objektive. Seit 1990 ist dieses Objektiv mein treuer Begleiter an meinen analogen Canon EOS Modellen - und sollte ich analo und digital unterwegs sein, dann ist es meine Lösung als Universalobjektiv - auch an meiner Sony A7III. Canon EF 5,6 100-300mm L To play, press and hold the enter key. To stop, release the enter key. This Canon zoom was a genuine milestone in the company’s history. It holds the title of being the first-ever standard zoom to earn the legendary " L " badge, which represents Canon's uncompromising commitment to peak optical and mechanical performance. It also introduced a faster, quieter era of focusing thanks to the then-new Ultrasonic Motor (USM). Back in the 1990s, this was my workhorse standard zoom across multiple EOS bodies. It accompanied me from the EOS 650 and 620 to the EOS 600, until it ultimately found a permanent home on my EOS-1N. To this day, I am incredibly impressed by its mechanical construction; it truly feels like a substantial, heavy-duty instrument made of pure glass, metal, and premium plastics. These days, it’s one of my favorite lenses for hybrid road trips where I routinely shoot film (on the EOS RT or EOS-1N) alongside digital (on my Sony A7 III). Granted, the lens has its optical quirks. When shooting wide open—particularly at the wide end—performance drops a bit. However, that’s a compromise I’m entirely willing to make. For landscapes between 28mm and 35mm, I just stop down to f/5.6, or use f/8 to f/11 to pull out the best possible corner resolution. At the 80mm telephoto long end, the outer edges are admittedly a bit soft as well, but since I mostly use that focal length to separate my subject from the background at f/4, edge-to-edge sharpness isn't really a priority anyway. (c) Canon Camera Hall / Canon Lens Hall: https://global.canon/en/c-museum/product/ef282.html Feel free to browse through my colorful gallery of sample images and see if the optical performance holds up for you. In my book, this lens easily earns a "buy" recommendation, particularly for photographers who love bridging the gap between film and digital. Click on the images to view them in full size! The first batch was captured using the Sony A7 III. Further down the page, you’ll find additional sample photos taken with various analog Canon EOS bodies, as well as images shot on the high-resolution, 50-megapixel digital Canon EOS 5DS R. 62mm-f8 48mm- f8 28mm - f5.6 62mm- f11 58mm - f4 50mm- f8 62mm - f5.6 80mm - f4.5 32mm- f8 80mm- f9 52mm- f9 80mm- f5 80mm-f8 28mm - f2.8 28mm- f5 58mm- f8 80mm - f5.6 80mm - f5.6 80mm - f7.1 80mm - f5.6 35mm- f9 48mm- f9 35mm - f3.5 52mm- f5 I am happy to be able to offer you two videos about this lens. In the first video (Video 01), you will learn all the technical specifications of the lens, its build quality, and its autofocus performance on both analog Canon EOS models and the Sony A7 III. Here, I also demonstrate its optical performance with sample images taken on a 24-megapixel camera, the Sony A7 III. In the second video (Video 02) below, I tested the lens on the Canon EOS 5DS R—Canon's high-resolution 50-megapixel SLR that lacks a low-pass filter (the "R" model). Video 01 Also check out the gallery (below) of analogue shots as well as images shot with the digital models Sony A7III and Canon EOS 5DsR! Video 02 Canon EOS RT, Kodak Gold 200 and Canon EF 2.8-4/28-80mm L Canon EOS 5DsR and Canon EF 2,8-4 28-80mm L USM

Egal womit du fotografierst - Hauptsache du fotografierst. Dies ist das Thema dieser Seite. Sofortbildfotograf, Pocketfilmbelichter, digitale Kompaktkamera, TLR-Fotograf - es spielt keine Rolle. Ein paar meienr Kameras zeige ich euch hier. No matter what you take pictures with, the main thing is that you take pictures! apertureonepointfour, 2020 Polaroid 330 For pack or release film Sony ZV 1 The ideal camera for a vlogger Polaroid Supercolor 635 A camera for 600 Polaroid film Polaroid 636 Polaroid 600 instant film very popular in the past Rollei SL 35 M. This is the ideal place to share more about your business and services. Would you like to add your own content? It's easy. Yashica GSN 35mm rangefinder camera Contax RTS A Contax RTS, here with the Tamron 2.8 / 35 -105mm - a bright standard zoom lens Praktica super TL 3 Who still remembers the GDR? Canon EOS 50 D digital mirror reflex camera in APS-C format Pentax auto 110 The only pocket camera with interchangeable lenses Rollei 35 A joint production by Rollei, Carl Zeiss, Gossen and Compur - the crème de la crème of the German manufacturers at the time Made in Germany with Tessar 3.5 40mm Fuji X20 simply beautiful digital Rollei SL26 The ingenious, puristic SLR camera for film, here with the Hedeco Lime 1 clip-on light meter Nikon D600 (FX) Digital full-frame camera (FX) with two f2.8 classic professional lenses - my buy tip for a great FX entry. The video of this camera-lens combination is available on YouTube (external link) Autoknips I Autoknips I - use Autoknips if your analog camera doesn`t have a built-in self-timer Click on the picture to open a video on YouTube coming soon - Rolleicord 6x6 medium format is also inexpensive with excellent optical quality Fuji X20 simply beautiful digital Rollei 35S Made in Singapore with Sonnar 2.8 40mm and Voigtlander rangefinder plugged into the hot shoe Nikon F5 My currently favorite AF reflex camera with interchangeable viewfinder Contaflex Super BC Zeiss Ikon - the camera brand from Carl Zeiss here: the Contaflex with CDS exposure meter and automatic aperture control Olympus AF-1 Twin This analog camera can always be taken with you! The video of this model is available on YouTube (externer Link). coming soon - Intrepid MKV Large format photography YouTube Video in english Nikon D600 Olympus AF-1 Twin Autoknips I Sound check Sound check of analogue cameras for Falki and Fred So far only dreams ... Rolleiflex 6000 System Rolleiflex - wie bei den analogen Hasselbladkameras finden auch beim Rolleifelx 6000 System die legendären Carl Zeiss Objektive Verwendung Carl Zeiss 5,6 350mm Superachrom Ein Traum eines Teleobjektives zu jeder analogen Hasselblad des V-Systems - nur leider fast unbezahlbar Alpa 12 WA technische Daten Alpa System Rolleiflex 6000 System Rolleiflex - wie bei den analogen Hasselbladkameras finden auch beim Rolleifelx 6000 System die legendären Carl Zeiss Objektive Verwendung 1/14 download the dreams as a .pdf file (approx. 39 MB) You can receive additional high-quality scans for a fee from 2.99 euros via PayPal. So you support me so that this website can be preserved. The dispatch usually takes place on the day of receipt of payment to your email address stored with PayPal. Many Thanks! The following brochures are available: Zenza Bronica In this general brochure, the three medium format cameras from Zenza Bronica, ETRsi - SQ-Ai and GS-1, including lenses and accessories, are presented. Fine, used very cheap medium format systems! Voigtlander The Classic Collection Bessa-L Bessa-T Bessa -R Bessa R2 plus accessories and lenses in one brochure analog photography in its simplicity Fujifilm In this compilation you will find information about various Fujifilms: Fujicolor Super G Plus 800, Fujichrome 64 T (artificial light film), Neopan 400 prof. and Fujicolor 160 NPS & NPL - a reminder of the great days of analog photography. Special viewfinder for the Leica camera What the Ernst Leitz Wetzlar company produced for a wide variety of (clip-on) viewfinder systems for their 35mm cameras is brilliant. An interesting brochure for lovers of Leica cameras and those who want to become one. Bessa Serie

I'm Back 35 Transform your analog 35mm film cameras into a digital camera. Welcome! On this page, I’m sharing my insights, practical tips, and tricks for the I'm Back 35 digital back. After much anticipation, I finally got my hands on this unique piece of gear in early April 2023. Click on the image below to download the user manual as a PDF copy. It’s finally here! I just received this highly anticipated piece of gear: the I'm Back 35 transforms almost any analog 35mm SLR into a digital camera, beautifully blending modern convenience with that unmistakable analog look. My first video covers the full unboxing, offers essential setup tips, and guides you step-by-step through the process of mounting the digital back to your camera body. Note: The video is currently available in German only. Here you can download and edit a .dng file, unedited, converted online (service on the I`m back homepage) from the original .raw file. Publication is allowed with source and message to me by mail. You can also download the following files in their full, original size. Each image is a 20-megapixel, straight-out-of-the-camera JPEG that has been processed in Photoshop. Feel free to publish them, as long as you provide proper attribution and drop me a quick email to let me know. Many users report difficulties with the I`m Back35. On the Facebook page of the company are some solutions of known problems described. I have summarized them for you here and supplemented. Problem: If you remove the battery, the date is reset to 2019, because the motherboard does not have a backup battery for cost reasons. The I'm Back35 has no battery in the PCBA (motherboard) and therefore every time you remove the battery, the date is reset to 2019. There is a simple solution. Before you remove the battery, connect the USB-C cable to a smartphone power bank and plug it into the USB-C port on the I`m Back35, and only then remove the battery from the I`m Back35. Since it is connected to an external power source, the time and date data will not be lost. When the NP F 550/570 battery is charged, reinsert it and turn the device off and on again. Your date will be retained! Then remove the power bank. Problem: The ISO function only works in AUTOMATIC (A) mode. A mode: When you change the ISO value, it changes and you see a change in the exposure values (leave identical aperture setting for comparison). M mode: If you shoot in manual mode, the ISO value is fixed at 100. You can compensate the EV value on the digital back I`m Back35 if you want to correct the exposure. Problem: How do I take photos in mode A (automatic mode)? To take photos in A (Auto) mode, follow the steps below: Step 1) Click twice on the "M" on the I`m Back35. Step 2) Set your camera to the exposure time B (bulb) or T (time). Step 3) Now you can see the image on the display of the I`m Back35 (Live View). Step 4) Click the OK button and the photos will be taken. Problem : SD-CARD ERROR message when clicking any button? Format the SD card! Format the SD card by using the format function of the I'M BACK back panel. DO NOT use your computer to format! You can see a short sou nd test here: I`m Back 35 - your digital back for analog 35mm cameras - used in automatic mode (A-mode) I'm Back35 is a digital back that turns (almost) any 35mm camera into a digital camera. So you can take digital photos with your analog camera. I was asked more often via my homepage www.apertureonepointfour.com how to take pictures with the digital back I`m Back35. In this video I show you how to use the A-Mode correctly and which special features there are. I would like to show you a few more pictures that I took with the I`m Back35. Great art is not there yet, but for an impression regarding the image quality it is enough. Maybe with special software for noise reduction an improved result is possible, unfortunately I can not check this. I use Lightroom / Photoshop for image processing. The AI-based noise reduction of Lightroom (which delivers fantastic results of the sensors of my Sony A7II and Canon 5DsR) is currently only designed for use with RAW files. In this video I show you my workflow to get the best results from the RAW files of the I`M Back35. But even after this processing, the digital images retain their unique charm. I`m Back RAW Workflow

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

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

apertureonepointfour / aperture 1.4 "No matter what camera you use—the main thing is that you shoot!" apertureonepointfour, 2020 Welcome! This space is dedicated to exploring the fascinating world of cameras, lenses, and photographic gear—all through the lens of a dedicated collector with a deep-rooted passion for both the art of photography and the technology behind it. "It’s not the gear, it’s the finger on the shutter." apertureonepointfour, 2025 Wondering where the name comes from? It’s a nod to two of my all-time favorite lenses: the classic Canon New FD 50mm f/1.4 and the razor-sharp Sigma Art 40mm f/1.4 for Sony E-mount. My journey into photography began way back in 1982 when I picked up my first camera at the age of 11. Over four decades later, the spark is as bright as ever. I love sharing my hands-on experiences, tips, and reviews with the community—both on my YouTube channel @apertureonepointfour and directly here on my website. Glad to have you here! about me Hey man are you crazy Do you take photos with a digital camera and use flash lamps ?! Yes, I am!!! It's funny, it's crazy and it's a real head turner !!! But watch out! Never connect flash lamps directly to your digital camera! Your camera's electronics could be damaged. Interested in exploring further? Here is just a small selection of featured topics available for "quick access"! Rollei 35 Tessar 3.5 40mm T * Rollei 35 S with Sonnar 2.8 40mm HFT here is the article Rollei 35 Tessar 3.5 40mm T * Rollei 35 S with Sonnar 2.8 40mm HFT here is the article Nikon F5 the last AF-KB analog workhorse with changeable viewfinder here is the article Brochures of various systems here is the article Hasselblad V system here is the article Canon FD system here is the article all about film here is the article Filters for photography here is the article Kodak Motion Picture Film 3 here is the article Tips and Tricks here is the article Contaflex Super BC here is the article different systems here is the article

Canon nFD 4.0 28-85mm - the only Canon (n)FD standard zoom with 28mm focal length to light telephoto. Learn all about this lens: its mechanical and optical and wether it is worth buying today! Canon nFD 4.0 28-85mm Canon FD Gallery Canon nFD 4.0 28-85mm - the only Canon (n)FD standard zoom with 28mm focal length to light telephoto. Canon offered a fantastic lineup of standard zoom lenses for their FD-mount cameras. This included standout gems like the Canon nFD 35-70mm f/2.8-3.5, the Canon nFD 35-105mm f/3.5, and the optically superb Canon nFD 50-135mm f/3.5. The 28-85mm f/4.0 zoom featured here is perfect for any Canon FD shooter looking for a versatile "all-in-one" lens. It easily tackles most photographic challenges—especially on the road—saving you from hauling a backpack full of heavy lenses. I actually purchased this lens in 1989 during my vocational training as a camera store clerk. Back then, I was thoroughly pleased with the optical output. Even though the mechanical build isn't quite on the same level as the robust nFD 35-105mm, it was a much lighter alternative for the focal range it covers. I guess you can't have it all! This nFD 28-85mm f/4.0 was originally launched in November 1985. According to the archives of the Canon Camera Museum: "This lens features a 3-group optical zoom system in which part of the optical system is fixed, resulting in a compact body without loss of optical performance. In addition, it features Canon's movable flare stopper, which blocks stray light that degrades image quality by coupling with the optical system during zooming to ensure a crisper image. The lens delivers a 3x zoom range from a wide 28mm to an 85mm portrait telephoto, alongside a continuous macro mode that allows focusing down to 0.5 meters from the film plane across the entire focal range." In the video below, I'll walk you through a detailed review of this lens. Scroll down to explore the image gallery, where you'll find product shots of the lens as well as real-world sample photos. In this video you will get to know the lens and whether it is worth buying. - external link to YouTube - Take a look at this diverse mix of sample shots and decide if the optical quality works for you. In my experience, this lens performs incredibly well when stopped down just a bit, which is highly impressive given that it hit the market in 1985! Click on the images to view them in full size!

Die Canon EOS RT war die erste Canon EOS Kamera mit einem feststehenden, teildurchlässigen Spiegel. Dies ermöglichte eine Auslöseverzögerung von nur 0,008 Sekunden - zum Vergleich betrug die Auslöseverzögerung der analogen Profikamera (FD-System) Canon F1n noch 0,04 Sekunden. Auf dieserSeite erfahrt ihr mehr über diesen Meilenstein der analogen Canon EOS Modelle. Canon EOS RT "RT" stood for "Real Time." Thanks to its fixed pellicle mirror, this camera drastically minimized shutter lag. Built with professionals in mind, a simple half-press of the shutter button puts the camera into an immediate state of readiness. Once fully depressed, it takes a mere 0.008 seconds for the first shutter curtain to release. The camera is fully packed with features, offering a continuous drive speed of 5 fps, predictive AI Servo AF, auto exposure bracketing (AEB), multiple exposures, six AE modes, manual metering, and 15 custom functions. Operating the Canon EOS 650 (the first EOS), 620 (the second EOS), 600, and RT is virtually identical, with only subtle nuances separating them. Almost all dials and buttons share the exact same layout and tactile design. Of course, the hallmark of the EOS RT is the dedicated "RT" setting on the main command dial, which unlocks that lightning-fast 0.008-second release response. If you prefer a more traditional feel, one of the custom functions allows you to switch the lag to 0.04 seconds—perfectly mimicking the shutter response of the legendary mechanical Canon F-1. Canon EOS RT Every single Canon EF lens features a built-in autofocus motor. This key innovation set the Canon EOS system apart from its competitors at the dawn of the autofocus era. While other manufacturers relied on an AF motor built into the camera body—using a mechanical drive coupling to physically turn the lens elements ("screw-drive autofocus")—Canon put the motor right where the action is: inside the lens itself. Here you can find my video about the camera - external link to YouTube I loaded the Canon EOS RT with a roll of Kodak BW400CN, a unique chromogenic black-and-white film that requires standard C-41 color processing. Check out the gallery below to see the results! Kodak BW400CN

Photographic films You can get more information about the various film materials and film sizes by clicking on the respective button, for example Color slide Kodachrome SW negative SW negative C41 Packing film Instant photo Farbnegativ SW slide Infrared Sheet film Kodak Motion Picture Film 3 This is my go-to film for 35mm photography. It’s sold by various re-spoolers and boutique brands, available in different film speeds, and comes balanced for either daylight or tungsten (artificial) light. If you use a tungsten-balanced film, you can easily shoot it in daylight without color shifts by simply adding an 85B correction filter (equivalent to a KR15). You can source these films through major auction platforms, from several specialized sellers in the UK, or from Silbersalz. Silbersalz, a company located in Germany, offers these films bundled with the required ECN-2 processing and a 21.4 MB scan at a highly attractive all-in price (as of July 2021). Head over to their site and take a look—it’s highly recommended! This cinema stock is also available from other vendors as 120 roll film. However, please remember that these films cannot be developed using the standard C-41 color negative process. Additionally, some labs strictly develop the cinema films they sell themselves. ..... Packing film KB 35mm film SW negative Instant photo Color slide Color negative SW slide 120 roll films 120 roll films Color slide Sheet film Kodachrome Packing film Infrared SW negative C41 Format Guide & Definitions 35mm Format (135 Film) This is standard 35mm film housed in light-tight cassettes. It is used in compatible cameras like the 35mm SLRs of the Canon FD system (Canon F-1, F-1n, New F-1, AE-1, AE-1 Program, AV-1, FTb, EF, T50, T60, T70, T80, and T90), which all utilize the manual-focus FD lens mount. It’s also used in the autofocus Canon EOS system (EOS 650, 620, 600, EOS-1, EOS-1N, EOS-1V). While countless brands built incredible 35mm SLRs, the Canon FD system is my absolute favorite when it comes to analog 35mm shooting. Classic 35mm rangefinders use this exact same film type as well—the most iconic example being the Leica M system, featuring bodies like the Leica M2, M3, M4, M4-2, M4-P, M5, M6, M6 TTL, M7, and the purely mechanical Leica M-A. On these systems, a standard exposure results in a slide or negative measuring 24mm high by 36mm wide (the classic 24x36mm frame). Additionally, there are specialty panoramic cameras and dedicated medium-format film backs that allow you to expose wider panoramic frames on standard 35mm film, such as 24x54mm. 120 Roll Film The standard film choice for medium format photography. Depending on your choice of camera body or film back, a single roll can yield negatives or slides in various aspect ratios: 4x4cm, 4.5x6cm, 6x6cm, 6x7cm, 6x8cm, 6x9cm, or even panoramic 6x12cm. The total number of shots you get per roll is determined by the size of the frame format you are shooting. Specialty Formats: 220 Film 220 film shares the same width as 120 film but is twice as long, doubling your frame count per roll. It manages this by eliminating the traditional paper backing. Today, this format is essentially obsolete and barely manufactured. Specialty Formats: 127 Film The 4×4cm "Super Slide" format for 127 roll film was incredibly popular from the 1930s through the 1960s, but it has largely vanished from modern photography. This roll film was exactly 4.6 cm wide, wound onto a spool with protective backing paper. It was first introduced by Kodak back in 1912. Sheet Film Individual sheets of film crafted for large format view cameras. Unlike roll film, these sheets (with very few exceptions) must be hand-loaded into light-tight film holders in pitch-black darkness. Common sheet film dimensions include 4x5", 8x10", or massive 10x24" sheets (1 inch = 25.4mm). click me Here you will find a small compilation of the film materials available today from the companies Fuji and Kodak Fujifilm offers e.g. The following color negative films for analog photography are currently available (November 2020): Fujicolor C200 ISO 200 film for sunlight or flash. Highly flexible film with enhanced color reproduction, sharpness, and smooth, fine grain. ISO 200 Overview Designed for flexibility and ease of use, SUPERIA 200 works equally well outdoors in daylight or indoors with flash. Enhanced color reproduction, sharpness, and smooth, fine grain. Features Enhanced skin tones The perfect choice for natural looking portraits or group shots. Further refined sharpness The kind of image quality and clarity you expect from ISO 100 films. Wide exposure latitude Excellent results under a wide range of daylight conditions. Sensitivity and Film Sizes ISO: 200 Film Sizes: 135: 24, 36 exp Fujicolor Pro 400H Update January 2021: Fuji stops producing this film. According to Fuji, there are difficulties in producing the carrier layer. The Fujicolor PRO 400 H is a fine-grain daylight color negative film of the latest generation for professional use. In addition to natural skin tone reproduction and exact color reproduction, it offers an even gray balance. High ISO speed of 400 Higher effective film speed and finer grain. Wide exposure latitude Faithful reproduction of neutral grays over a wide exposure range from underexposure to overexposure. Superb skin tone reproduction Superb skin-tone and hue reproduction with continuously smooth gradation from the highlights to the shadows without any washout. Excellent three-dimensional appearance Clearer colors in the highlights and appropriately controlled color saturation in the shadows to allow rendering of subjects with a feeling of three-dimensional realism. Faithful color reproduction Faithful color reproduction of scenes under a wide variety of lighting. Addition of single-channel suitability Negative density level unified with other PRO series films for maximum printing uniformity and efficiency Fujifilm offers e.g. Currently the following color slide (color reversal) films for analog photography: Fujichrome VELVIA 50 The new Fujichrome Velvia 50 Professional is a slide film of the absolute top class. The film achieves the same RMS value as the Velvia 50. The RVP50 is a daylight reversal film with an RMS value of 9 and an ISO sensitivity of 50/18 °. A film that is characterized by its ultra-fine grain, extreme image sharpness and natural, highly saturated color reproduction. It has a high-contrast rendition of all tone values with a fine differentiation from the highlights to the shadows at the same time. The new Fujichrome Velvia 50 is the first choice in the fields of fashion, product, art, landscape and science photography. Available as 35mm, roll and sheet film Sensitivities daylight ISO 50/18 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Vibrant Color Reproduction / Rich Color Tone Depiction Vivid skin tone reproduction with the world's highest color saturation equal to that of the current Velvia. Superb color tone depiction for rich color reproduction. Fine Grain Quality / High Definition / High Resolving Power Superb grain quality, vibrancy and resolving power, as with the current Velvia. Neutral Grays and Excellent Deep Shadows Fine neutral gray reproduction from the highlights to the shadows. Superb push / pull processing Minimum color balance variation over a range from -1/2 to +1 stop to enable wider photo opportunities. Also allows fine adjustments of exposure and density to be easily done during processing Fujichrome VELVIA 100 The Velvia 100 (RVP 100) Professional uses new technologies that enable a finer grain and a doubling of sensitivity. The color saturation and color rendering of the Velvia 50 are retained. The Velvia 100 uses new technologies that allow a finer grain and a doubling of the sensitivity. The color saturation and color rendering of the Velvia 50, which have made it a reference film for landscape and nature photographers, are retained. The Fujichrome Velvia 50 has been in production since 1990 and has been popular with professionals and ambitious amateurs alike. Since then, photographers have wanted a more sensitive Velvia film. Advances in emulsion technology have now made it possible to produce a slide film with the color characteristics of the Velvia 50, which has twice the sensitivity with finer grains. The new generation of the Velvia 100 should therefore not only appeal to photographers who expect the special color saturation typical of Velvia, but at the same time offer them a product in which the current state of the art has been implemented. Data Sensitivities daylight ISO 100/21 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) RMS granularity value 8 Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Specifications are subject to change without notice. ISO 100 speed Easy-to-use ISO 100 rating with the world's highest level of color saturation. Ultra-high-saturation color reproduction Attainment of the world's highest color saturation level equal to that of Velvia (ISO 50) through the incorporation of new cyan, magenta and yellow couplers. Super fine grain RMS granularity of 8, one of the finest levels. Color Image Storage Permanence Color image storage permanence (anti-fading characteristics) equal to that of RVP 100F as a result of new couplers. Superb push / pull processing suitability Minimum variation in color and gradation during push / pull processing over a range from -1/2 to +1 stop, providing an expanded range of phototaking opportunities, as well as facilitating fine adjustments in exposure and density during processing and allowing an increase in speed of up to +2 stops (equal to EI400), depending on the scene. Grade: RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Fujichrome PROVIA 100F The Provia 100 F Professional (RDP III) is a medium-sensitive daylight reversal film ISO 100/21 ° with exceptionally fine grain, lively color reproduction, extensive tonal value reproduction and extremely neutral gray balance. The Provia 100 F Professional (RDP III) is a very high quality color reversal film for daylight with a sensitivity of ISO 100/21 °. With very fine grain (RMS granularity value of 8) and extremely high sharpness, it captures details with excellent clarity, while it is equipped with rich gradation, lively and lifelike color rendering and optimal gradation balance. These properties make the Provia 100 F the ideal film for high-end processing through to the finished printed image. Data Sensitivities daylight ISO 100/21 ° Special properties Very fine grain, very good gray balance. The film for high-end processing through to the finished printed image Areas of application For professional applications, from product and outdoor photography to fashion and portrait photography. The ideal film for high-end processing through to the printed image Assembly (small picture) 135-36 RMS granularity value 8 Processing procedure CR-56, C6R, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20), 8x10 inch (20) Specifications are subject to change without notice. Super fine grain Finely detailed image formation for large-size enlargements and other work requiring high-magnification as a result of the finest grain among ISO 100 color reversal films. Vivid and Faithful Color Reproduction Extremely satisfying color depiction, providing the most brilliant primaries without sacrificing the delicate pastels, for wide-ranging application. Rich Tone Reproduction Smooth gradation reproduction with superb depth, thanks to bias-free, brilliant highlights and excellent highlight-to-shadow gradation linearity. Improved Reciprocity Characteristics Increased resistance to loss in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance. Excellent push / pull processing Outstanding tolerance to exposure and density compensation during processing, within -1/2 stop to +2 stops, resulting in minimal variations in color balance and gradation. E-6 / CR-56 * / C6R ** Processing As with other FUJICHROME film, worldwide processing available using E-6 / CR-56 / C6R chemicals. Notes: * CR-56 is Fujifilm processing system equivalent to E-6 processing. ** C6R is Fuji / Hunt processing system equivalent to E-6 processing. RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Kodak offers e.g. The following films for analog photography are currently available (November 2020): A Kodak brochure describing all films can be downloaded here: Kodak film brochure English Nice service from Kodak: