When I started photography in 1982, I mostly fed my camera slide film. I wanted to see my pictures large on the screen, and of course, high-quality images could also be produced from slides in a professional photo lab. Unmounted color reversal film 35mm Slide Film with a Frame Size of 24x36 mm Slide film, color reversal film, or transparency film (derived from the Ancient Greek dia, δία, "through") is a photographic film that displays tones and colors in their natural, positive state once processed. Typically, slide films are used to project the captured images onto a screen using a slide projector. For this to happen, the individual frames must first be mounted into slides. A standard roll of 35mm slide film offers 36 exposures, though 24-exposure rolls are occasionally found. In the processing lab, unmounted film is typically cut into strips of 5 or 6 frames. Up until a few years ago, labs also offered the option to automatically mount the individual slides into cardboard or plastic frames during processing. . Mounted color reversal film For projection, both glassless mounts (as seen in the example below) and glass slide mounts are used. With glass mounts, the slide is sandwiched between two panes of glass, much like a picture hanging on a wall. The main advantage of glass mounts is that they ensure perfect flatness of the film during projection. This prevents the slide from buckling under the heat of the projector lamp, resulting in uniform sharpness across the entire screen. Disadvantages, however, included the higher cost of these mounts, the risk of trapped dust particles, and the formation of Newton's rings. To prevent these colorful distortions, slides can be mounted using special Anti-Newton glass (AN glass). Newton's rings (named after Isaac Newton) appear as light-and-dark zones or rainbow-like interference patterns. They occur due to light wave interference within the tiny air gap between two highly reflective, nearly parallel surfaces—specifically, the smooth film base and the glass pane. While the selection of color slide films is limited, it is entirely sufficient for practical analog photography. Anyone wanting to experience the magic of genuine color slides today relies on the standardized E-6 development process. The selection of freshly manufactured emulsions boils down primarily to two remaining giants: Kodak Ektachrome E100: The current backbone of modern slide photography. This film delivers extremely fine grain, natural colors, and clean whites. It is widely available in 35mm format (36 exposures), 120 roll film, as well as for large format cameras. Fujichrome Provia 100F: Fujifilm’s faithful all-rounder, prized for its neutral color reproduction and outstanding sharpness. It continues to be offered in both 35mm and 120 roll film formats, though it is frequently out of stock due to irregular production cycles. Fujichrome Velvia 50 / 100: The top choice for landscape photographers seeking vibrant, highly saturated colors. While its distribution is heavily restricted by strict environmental regulations (especially Velvia 100 in the US), fresh batches or remaining stock can still be found in Europe and Asia depending on market conditions. Legacy films like the aforementioned Kodachrome or older emulsions like Agfachrome can no longer be processed using their original chemistry. Today, they serve collectors at best for experimental cross-processing in the lab. Here you can see a gallery featuring advertisements for film stocks—both color reversal (slide) and color negative films. Of course, you can also buy expired film, which is widely available on popular online marketplaces. Another great way to find unusual, experimental, and fun-to-shoot stocks is this shop (external link). The following gallery features photos captured on Kodak Ektachrome SE Duplicating Film SO-366. The film was exposed at speeds between ISO/ASA 3 to 9 and some of the images have been converted to black and white. You can download the technical datasheet for Kodak SO-366 here. KB-Diafilm SO-366

Slide film, my preferred recording material during the heyday of film photography – in color and black and white. My cameras were eating up this material like crazy. Agfa Dia Direct Black and White Slide Projection The film industry once offered dedicated black and white reversal films for slide projection. A well-known example was the Agfa Dia-Direct film: the purchase price included development costs, and the film had to be mailed directly to Agfa for processing. Production and sales of these specialty films have long since been discontinued. Agfa Scala 200 / 200X Black and White Slides: The Agfa Scala Era The Agfa Scala—and its successor, the Agfa Scala X—is widely considered the legendary successor to the Agfa Dia-Direct. Unlike standard films, the Scala was a true black and white reversal film. Prized for its high sensitivity and exceptional tonal range, it became the gold standard for B&W slide photography. Unfortunately, production ceased in the mid-2000s following Agfa's insolvency. However, if you are looking for black and white slides today, you are in luck: While Tetenal previously offered a B&W reversal kit for processing standard negative films, the Czech manufacturer Foma is the go-to source today. Their Fomapan Reversal Kit allows you to develop modern black and white films into stunning positive slides. Give it a try! comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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

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!!

Kodak Eastman Doube-X Motion Picture film. A black and white film for filmmakers and photographers who aspire to capture the world only they see it. Here you see home developed (Kodak D76) and scanned (Epson V850) films. Kodak Eastman Double-X Motion Picture Film For filmmakers and photographers who want to capture the world as they see it! EASTMAN DOUBLE-X negative film 5222 (35mm) / 7222 (16mm) offers the subtleties in tone and scale required for greater depth of field and high quality low-light photography. Kodak Eastman Double-X Motion Picture Film My recommendation for development is Kodak D-76 developer or equivalent alternative products with the same composition. Here are some images shot on Double-X film at ISO/ASA 400. I developed the film in D-76 stock solution at 20°C for 9 minutes. Kodak Eastman Double-X Motion Picture Film For scanning, I used my Epson V850. The scans were then processed in Photoshop CS, where I primarily removed dust and scratches and adjusted the cropping where necessary. You can find the data sheets available for download here: You can download the datasheets here: Eastman Kodak Double-X Film Kodak D76 Developer Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film Kodak Double-X-Pan 5222 Motion Picture Film and Epson V850 Scanner Kodak Double-X-Pan 5222 Motion Picture Film and Epson V850 Scanner comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

35mm black-and-white film was my preferred recording medium, alongside photography on slide film. I have developed thousands of these black-and-white films since 1982. My favorite films were Ilford Pan F, HP5, and later Kodak T-Max 400. 1 A black-and-white negative film strip in a protective glassine sleeve. Featured here is Ilford Delta 400, which was my personal go-to black-and-white negative film throughout the 1990s. Ilford states the following about this film: "ILFORD DELTA 400 Professional revolutionized black and white photography upon its release, winning 'European Black and White Film of the Year 1991/92'. Its pioneering 'core-shell' crystal technology delivered an unprecedented, exceptional image quality. The outstanding sharpness and fine grain of the negatives amazed industry experts and photographers alike." "Despite their benchmark-setting characteristics, both films have been improved even further. To reflect these enhancements externally, the word 'PROFESSIONAL' was added to the product name. The 100 DELTA PROFESSIONAL and the recently upgraded and now renamed DELTA 400 PROFESSIONAL differ from their predecessors by the following advancements: Even higher negative sharpness and acutance. Increased latitude for handling underexposure. Significantly less degradation in image quality during push processing (see section 4.1). Greater compatibility and a wider choice of suitable film developers." comments debug Comments Write a comment Write a comment Share Your Thoughts Be the first to write a comment.

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

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

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

The Canon FDn 4.0 35-70mm its the only lens that gave all analog Canon A, T und F series cameras the autofocus for SLR cameras, wich was still very rare in its time. Of course, you can also use the lens on your digital mirrorless cameras. All you need is a corresponding adapter. Since the autofocus module is in the lens, you can use all the functions of the FDn AF 4.0 35-70mm autofocus - just like on your Canon A, T or F model. The Canon FD system My favorite analog 35mm camera system. Canon FDn AF 4.0 35-70mm - another unusual standard zoom. 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 35-70mm f/4.0 zoom featured here is perfect for anyone looking to explore the dawn of the autofocus era in the SLR market and enjoy some pure, "just for fun" photography. One thing is for sure: this lens is a guaranteed head-turner! Canon FD Gallery In this video you will get to know the lens and whether it is worth buying. - external link to YouTube - A visit to the homepage of the Canon Camera Museum is always worthwhile! (c) Canon Camera Hall / Canon Lens Hall: https://global.canon/en/c-museum/product/nfd247.html See for yourself with this colorful mix of sample photos and decide if the optical performance meets your standards. Personally, I highly recommend this lens, especially when stopped down slightly, which is truly impressive considering it was introduced back in 1981! 35mm - f8 35mm - f5,6 50mm - f8 50mm - f8 35mm - f8 70mm - f8 70mm - f5,6 50mm - f4 70mm - f8 You can find the user manual by clicking on the image below as a .pdf file for download!

Zwei klassische Profi-Nikkore AF 2,8 35-70mm und AF 2,8 80-200mm ED zusammen mit dieser Kamera bilden ein qualitativ hochwertiges und tolles Set zum Einsteigen in die Welt der digitalen Vollformatfotografie. Mehr Informationen bekommt ihr heir auf dieser Seite und im verlinken Video. Nikon D600 (FX) Again a Nikon camera found a new home with me. After I got some classic Nikon lenses as gifts ( -THANKS to Maja- ) Nikon AF 2.8 35-70mm and Nikon AF 2.8 80-200mm - a Sigma AF 3.5 18mm and a Tokina AF AT-X 4.5-5.6 80-400mm with rod output were also there), the Nikon F5 found its way into my home first. A fantastic analogue camera! It would be nice if I could also use these treasures of Japanese lens construction digitally. Spontaneously, the two older Nikon Body D600 (610) and D800 (810) came to mind. After I found out a little bit about this camera and searched in auction houses, it quickly became clear to me: it has to be this camera. I did a quick calculation and found that with just under 750 euros (as of April 2022) it is possible for anyone to get into digital full-frame photography, because this price is for the package of a Nikon D600 and the two Nikon lenses AF 2.8 35-70mm and AF 2.8 80-200mm ED due. More about this in the video on YouTube. Nikon D600 (FX) In the near future I will be using the camera extensively and will share my experiences with this camera-lens combination with you. My first impression is: digital full format with two classic Nikon professional lenses at a reasonable price! Here you can see the first pictures that were taken with the Nikon D600 Nikon wrote about this camera on their homepage: 24.3 megapixel FX format (full frame) CMOS sensor Outstanding signal-to-noise ratio and large dynamic range. Delivers detailed images with smooth color transitions. Highly sensitive autofocus module Multi-CAM4800 with 39 measuring fields Responsive coverage of almost the entire field of view. Sensitivity down to -1 EV and compatibility from a minimum aperture of 1:8. ISO 100 to 6,400 Expandable up to 25,600 (equivalent) and down to 50 (equivalent). Enables sharp, low-noise images through short exposure times. D-Movie with field adjustment Records Full HD (1080p) movies in FX and DX format at 30p, 25p, and 24p frame rates. Maximum recording time of about 29 minutes 59 seconds. Provides uncompressed HDMI output to external devices as well as Hi-Fi audio control. EXPEED 3 Image processing engine with 14-bit A/D conversion and 16-bit image processing for exceptional tonal richness. HDR (High Dynamic Range) Ideal for high-contrast motifs. With a single release, two exposures are superimposed into one image. The result shows a high dynamic range, low noise, good highlight and shadow definition and fine tonal gradation. Active D-Lighting: This captures more detail in high-contrast lighting conditions. Nikon's Active D-Lighting automatically improves the details in dark and bright areas and creates a natural contrast in the image. Scene recognition system: The camera's image sensor and the 2,016-pixel RGB sensor provide precise data to the scene recognition system; this optimizes exposure, autofocus and white balance immediately before the shutter release point, creating precise exposures and razor-sharp images. Time-lapse photography: Use interval photography to capture images at set intervals. With time-lapse recording, you can save images as movie files and view slow-moving events in time-lapse, at playback rates from 24x to 36,000x speed. Picture Controls allow you to fine-tune the appearance of photos and videos before they are taken, such as sharpness, color saturation, and hue. Precise 8 cm (3.2 inch) VGA monitor with approx. 921,000 pixels and automatic monitor brightness control. Provides bright and sharp image reproduction with high color rendering capability. Brilliant, large viewfinder with approx. 100% frame coverage and 0.7x magnification. Provides viewfinder masking when shooting in DX format. Continuous shooting at 5.5 fps captures the action, even with fast-moving subjects. Quiet shutter release: This mode is ideal for discreet shots, as the noise of the mirror slap is noticeably reduced. Mirror Mass Balance: Brings the mirror to a standstill faster, allowing more time to look through the viewfinder and autofocus meter between exposures when shooting continuously. This is one of the reasons that the D600 offers precise autofocus and focus tracking even with fast continuous shooting. Compact, light and robust: The camera also defies harsh conditions. The top and back covers are made of magnesium alloy, so the camera weighs only 760g (excluding the battery). The camera is just as well protected against the ingress of moisture and dust as the professional Nikon D800 SLR camera. Dual-Axis Electronic Virtual Horizon: You can check both the camera's position in relation to the horizon and its tilt angle (forward or backward) at any time on the monitor or in the viewfinder. Double SD memory card compartment: Two memory card compartments ensure even more flexibility when taking photos. Use the second card as a reserve. It is also possible to take pictures and films separately. SDXC and UHS-I compatible.Wireless transfer: With the optional Nikon Wireless Mobile Adapter WU-1b, you can transfer images directly from the D600 to a smartphone or tablet computer, or control your camera remotely via such a device." Source, as of 04/2022: https://www.nikon.de/de_DE/product/discontinued/digital-cameras/2013/d600#overview: