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

Die Rollei SL26 ist eine robuste, ungewöhnlich im äußeren Design, Spiegelrefelxkamera mit drei wechselbaren Satzobjektiven für die Kassettenfilme 126 (Instamatic). Auf dieser Seite stelle ich euch die Kamra vor und zeige Bilder, die ich mit diesem Modell fotografierte. Ich liebe diese Kamera! Rollei SL26 Unusual in its shape. Unusual in its lens technology. Unusual in its choice of film format, the "Instamatic" 126 cartridge film. Simple. Small and lightweight. Focused on the essentials. Robust. Endearing. That is how I would describe the Rollei SL26, a single-lens reflex (SLR) camera manufactured between 1968 and 1974. The image shows the camera's bayonet mount with the permanently attached rear lens element, which is directly integrated into the optical formula of the available lens attachments. This built-in lens system houses the entire shutter and aperture control mechanism. Therefore, it utilizes a leaf shutter system, which you might already be familiar with from various medium format cameras. These specialized lens attachments are known as "convertible lenses." Rollei SL26 The camera features a remarkably large and bright viewfinder (even by today's standards), making focusing on your subject quick and easy. The built-in CdS light meter uses a traditional match-needle system. However, it requires a PX625 mercury battery, which is no longer available in Europe. Excellent workarounds include zinc-air batteries or a glance toward Russia... Rollei SL26 The Rolleiflex SL26 is a beautifully crafted 126 cartridge SLR (Instamatic system), though only about 28,000 units were ever produced. It featured a list price of 628.23 DM. In addition to the standard Pro-Tessar 40mm f/2.8 lens included with the camera, two other convertible lenses were available: the Pro-Tessar 28mm f/3.2 wide-angle for 232.43 DM, and the Pro-Tessar 80mm f/4 telephoto for 282.88 DM. Rollei SL26 Technical Specifications (Rollei SL26): Manufacturer: Rollei-Werke Franke & Heidecke, Braunschweig, Germany Film Format: 126 cartridge film (Instamatic), 28 × 28 mm negative size Standard Lens Element: Carl Zeiss Pro-Tessar 40mm f/2.8 (4 elements in 3 groups) Focusing: Manual focus Aperture Range: f/2.8 to f/22 (depending on the front lens element used) Lens Mount: SL26 bayonet mount (interchangeable front lens elements / convertible system) Filter Mount: SL26 filter bayonet Shutter Speeds: 1/2 to 1/500 sec. plus Bulb (B) Exposure Metering: TTL match-needle metering Viewfinder: SLR viewfinder featuring a split-image indicator and microprism ring (no full ground glass track); displays the match-needle inside the finder Flash: Standard hot shoe with center contact (located on the bottom plate) Features: Cable release socket, neck strap lugs, no self-timer Power Supply: 1 × 1.35V PX625 mercury-oxide cell Dimensions: 112 × 91 × 70 mm (with the standard 40mm lens attached) Weight: 540 grams (approx. 19 oz) Here is a small gallery featuring photos taken with the Rollei SL26. For these shots, I used film that had been expired for at least 21 years. Yet, despite that, or perhaps precisely because of it, the images possess a very special charm of their own. Please note that the black-and-white images on display were actually shot on color film as well. 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 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

Probiert und für phänomenal befunden - Kodak Motion Picture Film 3 im Gesamtpaket von Silbersalz35 Important Notice Regarding Silbersalz35 (Film Purchases & Lab Services) At this time, extra caution is advised when placing orders or sending film to the lab through Silbersalz35. There have been increasing reports of significant delays, unfulfilled orders, and an inability to reach customer service (with the exception of automated order confirmations). I hope the situation will be resolved soon. 06.08.2026 Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm The Kodak Motion Picture Film 3 is offered in four different versions. For more information, check out the provider's website directly: www.silbersalz35.com You can find more of my experiences - including the Apollon 14K scan - right here. Important! This is unpaid advertising, I am simply completely blown away by this product! Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm The following films are currently available (May 2021) available: 50D (daylight) 250D (daylight / daylight) 200T (tungsten / artificial light) 500T (tungsten / artificial light) The terms Daylight and Tungsten refer to the color coordination of the film. The film is sent to silver salt for developing (not a "normal" C41 negative process). At the same time, you will receive the images scanned - and in excellent quality. Important! This is unpaid advertising, I am simply completely blown away by this product! Kodak Motion Picture Film 3-250D Nikon F5 with Nikkor AF 2.8 35-70mm These three pictures were created with the 250D daylight version ("D" stands for daylight). This is a film for filmmakers, which is wound into KB cartridges by the company. Important! This is unpaid advertising, I am simply completely blown away by this product! New: 14K Apollon Scan by silbersalz An unprecedented resolution of approx. 14204 x 8820 scan resolution. Here you can learn everything about the fantastic scanning possibilities of silbersalz35. Check out more pictures, this time captured on the Kodak Motion Picture Film 500T. Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm, konvertiert in SW mit Photoshop CC Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm - im vollen Gegenlicht sind deutliche Überstrahlungen zu erkennen Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Tessar 2,8 50mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm Kodak Motion Picture Film 500T Contaflex Super BC mit Pro Tessar 3,2 35mm comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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

Thanks for your donation. With this you support the further maintenance and expansion of my site. I also use the donation to buy brochures, cameras, lenses and photographic accessories. So I can offer you new content in the future as well. And I keep saying "Thank you" for visiting my website and I hope you enjoy browsing! back to: Brochures and brochures

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"

Everyone always wants your money. Me too. With a donation you would actively support the maintenance and expansion of this site. This time you changed your mind, even though there are such great deals to be found here ... Nevertheless "Thank you" for visiting my website and have fun browsing! back to: Brochures and brochures

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

Photographic films You can get more information about the various film materials and film sizes by clicking on the respective button: Color slide Kodachrome Farbnegativ Instant photo SW negative C41 SW slide SW negative Packing film Infrared Sheet film Kodak Motion Picture Film 3 This is my go-to film for 35mm photography. It’s sold by various re-spoolers and boutique brands, available in different film speeds, and comes balanced for either daylight or tungsten (artificial) light. If you use a tungsten-balanced film, you can easily shoot it in daylight without color shifts by simply adding an 85B correction filter (equivalent to a KR15). You can source these films through major auction platforms, from several specialized sellers in the UK, or from Silbersalz. Silbersalz, a company located in Germany, offers these films bundled with the required ECN-2 processing and a 21.4 MB scan at a highly attractive all-in price (as of July 2021). Head over to their site and take a look—it’s highly recommended! This cinema stock is also available from other vendors as 120 roll film. However, please remember that these films cannot be developed using the standard C-41 color negative process. Additionally, some labs strictly develop the cinema films they sell themselves. ..... Packing film KB 35mm film SW negative Instant photo Color slide Color negative SW slide 120 roll films 120 roll films Color slide Sheet film Kodachrome Packing film Infrared SW negative C41 Read Here you will find a small compilation of the film materials available today from the companies Fuji and Kodak Fujifilm offers e.g. The following color negative films for analog photography are currently available (November 2020): Fujicolor C200 ISO 200 film for sunlight or flash. Highly flexible film with enhanced color reproduction, sharpness, and smooth, fine grain. ISO 200 Overview Designed for flexibility and ease of use, SUPERIA 200 works equally well outdoors in daylight or indoors with flash. Enhanced color reproduction, sharpness, and smooth, fine grain. Features Enhanced skin tones The perfect choice for natural looking portraits or group shots. Further refined sharpness The kind of image quality and clarity you expect from ISO 100 films. Wide exposure latitude Excellent results under a wide range of daylight conditions. Sensitivity and Film Sizes ISO: 200 Film Sizes: 135: 24, 36 exp Fujifilm offers e.g. Currently the following color slide (color reversal) films for analog photography (November 2020): Fujichrome VELVIA 50 The new Fujichrome Velvia 50 Professional is a slide film of the absolute top class. The film achieves the same RMS value as the Velvia 50. The RVP50 is a daylight reversal film with an RMS value of 9 and an ISO sensitivity of 50/18 °. A film that is characterized by its ultra-fine grain, extreme image sharpness and natural, highly saturated color reproduction. It has a high-contrast rendition of all tone values with a fine differentiation from the highlights to the shadows at the same time. The new Fujichrome Velvia 50 is the first choice in the fields of fashion, product, art, landscape and science photography. Available as 35mm, roll and sheet film Sensitivities daylight ISO 50/18 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Vibrant Color Reproduction / Rich Color Tone Depiction Vivid skin tone reproduction with the world's highest color saturation equal to that of the current Velvia. Superb color tone depiction for rich color reproduction. Fine Grain Quality / High Definition / High Resolving Power Superb grain quality, vibrancy and resolving power, as with the current Velvia. Neutral Grays and Excellent Deep Shadows Fine neutral gray reproduction from the highlights to the shadows. Superb push / pull processing Minimum color balance variation over a range from -1/2 to +1 stop to enable wider photo opportunities. Also allows fine adjustments of exposure and density to be easily done during processing Fujicolor Pro 400H Update January 2021: Fuji stops producing this film. According to Fuji, there are difficulties in producing the carrier layer. The Fujicolor PRO 400 H is a fine-grain daylight color negative film of the latest generation for professional use. In addition to natural skin tone reproduction and exact color reproduction, it offers an even gray balance. High ISO speed of 400 Higher effective film speed and finer grain. Wide exposure latitude Faithful reproduction of neutral grays over a wide exposure range from underexposure to overexposure. Superb skin tone reproduction Superb skin-tone and hue reproduction with continuously smooth gradation from the highlights to the shadows without any washout. Excellent three-dimensional appearance Clearer colors in the highlights and appropriately controlled color saturation in the shadows to allow rendering of subjects with a feeling of three-dimensional realism. Faithful color reproduction Faithful color reproduction of scenes under a wide variety of lighting. Addition of single-channel suitability Negative density level unified with other PRO series films for maximum printing uniformity and efficiency Fujichrome VELVIA 100 The Velvia 100 (RVP 100) Professional uses new technologies that enable a finer grain and a doubling of sensitivity. The color saturation and color rendering of the Velvia 50 are retained. The Velvia 100 uses new technologies that allow a finer grain and a doubling of the sensitivity. The color saturation and color rendering of the Velvia 50, which have made it a reference film for landscape and nature photographers, are retained. The Fujichrome Velvia 50 has been in production since 1990 and has been popular with professionals and ambitious amateurs alike. Since then, photographers have wanted a more sensitive Velvia film. Advances in emulsion technology have now made it possible to produce a slide film with the color characteristics of the Velvia 50, which has twice the sensitivity with finer grains. The new generation of the Velvia 100 should therefore not only appeal to photographers who expect the special color saturation typical of Velvia, but at the same time offer them a product in which the current state of the art has been implemented. Data Sensitivities daylight ISO 100/21 ° Special properties Ultra-fine-grained, excellent sharpness, very high color saturation Areas of application: fashion, product, art, landscape and scientific photography Long exposure corrections Exposure compensation not required at 1/4000 (sec.) - 1 (min.) RMS granularity value 8 Processing procedure CR-56, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20) Specifications are subject to change without notice. ISO 100 speed Easy-to-use ISO 100 rating with the world's highest level of color saturation. Ultra-high-saturation color reproduction Attainment of the world's highest color saturation level equal to that of Velvia (ISO 50) through the incorporation of new cyan, magenta and yellow couplers. Super fine grain RMS granularity of 8, one of the finest levels. Color Image Storage Permanence Color image storage permanence (anti-fading characteristics) equal to that of RVP 100F as a result of new couplers. Superb push / pull processing suitability Minimum variation in color and gradation during push / pull processing over a range from -1/2 to +1 stop, providing an expanded range of phototaking opportunities, as well as facilitating fine adjustments in exposure and density during processing and allowing an increase in speed of up to +2 stops (equal to EI400), depending on the scene. Grade: RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Fujichrome PROVIA 100F The Provia 100 F Professional (RDP III) is a medium-sensitive daylight reversal film ISO 100/21 ° with exceptionally fine grain, lively color reproduction, extensive tonal value reproduction and extremely neutral gray balance. The Provia 100 F Professional (RDP III) is a very high quality color reversal film for daylight with a sensitivity of ISO 100/21 °. With very fine grain (RMS granularity value of 8) and extremely high sharpness, it captures details with excellent clarity, while it is equipped with rich gradation, lively and lifelike color rendering and optimal gradation balance. These properties make the Provia 100 F the ideal film for high-end processing through to the finished printed image. Data Sensitivities daylight ISO 100/21 ° Special properties Very fine grain, very good gray balance. The film for high-end processing through to the finished printed image Areas of application For professional applications, from product and outdoor photography to fashion and portrait photography. The ideal film for high-end processing through to the printed image Assembly (small picture) 135-36 RMS granularity value 8 Processing procedure CR-56, C6R, E6 Assembly (small picture) 135-36 Packaging (roll film) 120 (5) per pack Assembly (sheet film) 4x5 inch (20), 8x10 inch (20) Specifications are subject to change without notice. Super fine grain Finely detailed image formation for large-size enlargements and other work requiring high-magnification as a result of the finest grain among ISO 100 color reversal films. Vivid and Faithful Color Reproduction Extremely satisfying color depiction, providing the most brilliant primaries without sacrificing the delicate pastels, for wide-ranging application. Rich Tone Reproduction Smooth gradation reproduction with superb depth, thanks to bias-free, brilliant highlights and excellent highlight-to-shadow gradation linearity. Improved Reciprocity Characteristics Increased resistance to loss in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance. Excellent push / pull processing Outstanding tolerance to exposure and density compensation during processing, within -1/2 stop to +2 stops, resulting in minimal variations in color balance and gradation. E-6 / CR-56 * / C6R ** Processing As with other FUJICHROME film, worldwide processing available using E-6 / CR-56 / C6R chemicals. Notes: * CR-56 is Fujifilm processing system equivalent to E-6 processing. ** C6R is Fuji / Hunt processing system equivalent to E-6 processing. RMS stands for “Root Mean Square”, a widely used standard method for measuring the degree of grain in photographic film. The lower the RMS number, the smaller the apparent grain. Kodak offers e.g. The following films for analog photography are currently available (November 2020): A Kodak brochure describing all films can be downloaded here: Kodak film brochure English Nice service from Kodak:

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!

Sheet films are photographic films that are usually inserted into a sheet film cassette in complete darkness and are intended for large format cameras. Common sizes are 4×5 inches, 5×7 inches, or 8×10 inches. After exposure, the film is removed and developed. Due to their size, sheet films can capture a lot of detail and deliver the highest image quality, fine grain, and maximum sharpness. Sheet films for large format photography For large format photography, I use these two films almost exclusively. On the left is a Kodak Ektachrome E100, color slide film. Click here for the data sheet. Pictured on the right is a black-and-white negative film from Ilford. Click here for the data sheet. comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

Tauche ein in die Welt der analogen Fotografie und lerne verschiedene Systeme kennen. Zum Schmöckern, Wissen vertiefen, Interessantes erfahren, erstaunt sein, zum Träumen - doch Vorsicht! Das Haben-Will-Gefühl stellt sich schnell ein... Discover my site! On my site there are not only brochures and manuals! Dive into the world of analog, hybrid and digital photography and have a look around - use the search function on the top right of my pages and the index! Have fun browsing! Please note: These scans are provided solely for historical documentation purposes. If you are a copyright holder and object to the publication of any material, please contact us, the relevant content will be removed immediately. Index Back here - brochures, instructions and advertising / Part 1 Brochures/leaflets - continue - again brought to you in the highest quality - Hasselblad Motorkameras Hasselblad XPan lenses Hasselblad Sales Manual Hasselblad Superachromat - Objektive Hasselblad - Das System 1991 (German) Hasselblad Das System - The System Hasselbald Magazin 72 _ Dezember 1982 (German) Carl Zeiss lenses, year 2000 Schneider Kreuznach Large Format lenses (German) G-Claron large format lenses Leitz Diaprojektoren 1933 - Leitz Slide projektor 1933 (German) Contax Real Time System Minolta SLR Systemführer / Minolta SLRSystem guide (German) Minolta Motor Drive MD-90 for Minolta AF 9000 Mamiya Universal Press Mamiya Universal Accessories Pentax Spotmeter V - fleyer Pentax Spotmeter V - Sales fleyer Nikon Large Format Lenses Voigtländer Prospekt von 09.2018 (German) Hasselblad Systemübersicht (German) Hasselblad Neuheiten von 1972 (German) Die Geschichte von Victor Hasselbald (German) Schneider Kreuznach Variogon 5.6/140-280mm für Hasselblad Pentax 645 N II Operating manual Back here - even more brochures, manuals and advertising / Part 1