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Legal Notice / Imprint Information pursuant to § 5 TMG (German Telemedia Act) Stefan Lotz Kastanienweg 20a 53578 Windhagen Germany Contact Phone: +49 2645 975799 E-Mail: info@apertureonepointfour.com Fax: +49 3222 1590075 Person responsible for editorial content pursuant to § 18 Abs. 2 MStV (German Interstate Media Treaty) Stefan Lotz Kastanienweg 20a 53578 Windhagen Germany Limitation of Liability for Internal Content As a service provider, I am responsible for my own content on these pages under general legal regulations pursuant to § 7 Abs. 1 TMG. However, according to §§ 8 to 10 TMG, I am not obligated to monitor transmitted or stored third-party information or to investigate circumstances that indicate illegal activity. Obligations to remove or block the use of information under general legal regulations remain unaffected. However, liability in this regard is only possible from the moment of knowledge of a specific legal violation. Upon becoming aware of corresponding legal violations, I will remove this content immediately. Limitation of Liability for External Links My website contains links to external third-party websites, over whose content I have no influence. Therefore, I cannot assume any liability or guarantee for these third-party contents. The respective provider or operator of the linked pages is always responsible for their content. The linked pages were checked for possible legal violations at the time the links were established. No illegal content was recognizable at the time of linking. However, permanent monitoring of the content of linked pages is not reasonable without concrete evidence of a legal violation. Upon becoming aware of any legal violations, I will remove such links immediately. Copyright Notice The content and works created by the website operator on these pages are subject to German copyright law. Duplication, processing, distribution, and any kind of commercialization outside the limits of copyright law require the prior written consent of the respective author or creator. Downloads and copies of this site are permitted for private, non-commercial use only. Insofar as the content on this site was not created by the operator, the copyrights of third parties are respected. In particular, third-party content is identified as such. Should you nevertheless become aware of a copyright infringement, please notify me accordingly. Upon becoming aware of legal violations, I will remove such content immediately. Trademark and Proprietary Rights All trademarks, brand names, product names, company names, trade names, logos, and emblems mentioned, used, or depicted in the images on this website are the property of their respective owners and are subject to applicable national, European, and international trademark laws. Registered or protected trademarks, brands, names, logos, and emblems have not been explicitly marked as such. The absence of such labeling does not imply that these trademarks, brands, names, logos, or emblems are free from third-party rights under trademark law. The mere mention, use, or depiction of these terms and assets does not justify the conclusion that they are not protected by third-party rights. The website operator holds no patent, trademark, or copyrights to these third-party brands. Protected trademarks, brands, names, logos, and emblems are merely mentioned, used, or displayed on article photos, images, or graphics because they form an objective and documentary component of the pages. Their mention, use, or depiction is done in full recognition of all rights of their respective owners.

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... This is a place to browse, search, discover, and get lost for hours. I deliberately avoided alphabetizing everything - after all, exploring is half the fun, isn't it? All documents are available for download as PDF files. Please keep in mind that some of them are quite large (several MBs). Even more Rolleivision Slide projectors of the extra class Canon EOS The goddess of the dawn including with EOS 1n - EOS 3 Gutters Light meters for every application Alpa Camera art from Switzerland Contax 167 MT Made for the legendary Carl Zeiss T * lenses Gutters Light meters for every taste Alpa Rolleivision twin MSC 300 Gossen Belichtungsmesser Hasselblad 205 TCC For Carl Zeiss T * TCC lenses Hasselblad Pictures from Australia Mamiya 6x4,5 6x6 and 6x7 - the latter also as a viewfinder camera Hasselblad The world of Carl Zeiss T * lenses for Hasselblad Leica R The digital - analog system Hasselblad The guide to the professional camera system Mamiya 645 Open your suitcase full of good ideas! Rodenstock For digital specialist format cameras Mamiya Medium Format Cameras Brochure in English Colour temperature meter The color temperature under control - thanks to Gossen Rollei First-class focusing screens are looking for an excellent camera Rodenstock Precision loupes and more Rodenstock Quality filter - Application examples included Zenza Bronica 6x4.5 medium format camera - here is a brochure in English Zenza Bronica 6x6 medium format camera - does it always have to be Hasselblad? Tamron SP 90mm Excellent optical performance Zenza Bronica A small brochure about the overall Bronica system Zenza Bronica more information about this camera system Rolleiflex Carl Zeiss lenses also for the Rolleifelx system Rodenstock Quality filters - a must-have: UV pole and neutral density filters Rolleiflex A 6003 professional would also be something Fenes Rollei The product range briefly presented Voigtlander The resurrection of viewfinder cameras - Bessa L and R Rolleiflex 6008 ingegral Color photo is full of praise! Canon EF lenses Era with the beginnings of IS lenses Zenza Bronica 6x7 system GS-1 in English Kodak Paper for Direct slide prints Canon EOS My system for a long time - some lenses remained Hasselblad The most comprehensive brochure of the 500 C / M EL / M SWC era Kodak Paper for B&W negative prints Voigtlander Lenses for the Bessa and can also be used digitally Tetenal Turns every black and white negative into a black and white image Leica News Immerse yourself in the fascinating Leica world Canon EF lenses The brochure with the 1st EF lens with IS / 75-300mm Tetenal This is how b / w films are developed Leica News Immerse yourself in the fascinating Leica world B + W filters My former bread and butter reading about filters! Canon EF lenses ... from the analog era Novoflex Accessories for the discerning photographer Canon EOS 1 The first professional auto focus Canon camera Kodak Filters for the professional photographer All sorts of interesting facts Voigtlander Bessaflex - R2S - R2C Bessa R - L - TM - R2A - R3A - Hasselblad the entire product catalog from 1996 Philips AG 3B Standard flash bulbs for color photography (therefore marking "B") Osram XM 5 Flash bulbs - also for short-time flash synchronization at the "M" contact Minolta 9000 AF The 1st 35mm autofocus mirror reflex camera for professionals including a sexy quick release lever Polaroid instant slide films easiest film development for home! Kodak T-Max All info about the extremely popular black and white films Osram XM 1 Standard flash light bulbs from Osram with plug-in base Philips PF 6 B Short-time synchronization also on the X contact! Kodachrome The special slide films from Kodak - ISO 25, 64 and 200 Kodak Ektachrome 200 prof. The 200 ASA standard slide film Blitzbirnchen Kodak Vericolor This is how color negatives become transparencies Kodachrome Advertising from 1956 Nikon F5 Nikon's last analogue workhorse with AF and interchangeable viewfinders. Here you can find out more! Canon T90 The Colani Canon Nikon F90x Analogue Nikon with all the features every photographer wants Agfa Process 44 Slide film development Made in Germany Agfacolor Process 70 Colour negative development Made in Germany Canon AE1 A brochure from 1977 Canon's successful model Canon FD lenses Brochure from 1979 Gepe Everything for archiving slides and negative films Agfa - a new ace up its sleeve Agfa Isopan Rapid 25 DIN Canon EOS 620 - RT Adjusting discs - installation made easy! Canon AV-1 A good introduction to the Canon FD world Kaiser photo technology The world of accessories Rodenstock quality filters and more Tenal TT Barite Vario B/W photo paper of variable hardness Tetenal Laboratory Information SW Positive Information that is worth knowing is presented in a compact form Tetenal RA4 Chemistry for processing prints from negative film Heliopan Filter System Made in Germany Leitz Summicron 3,5 und 5cm Lenses from ernst Leitz Wetzlar are still a dream today! Pentax Complete brochure 2000 Small, but fine manufacturer Rodenstock High-quality lenses for digital professional photography Zeiss Ikon Contessa LKE the easy way for great pictures Kodak Ektachrome 200 professional Would you like a little more ISO? Minolta MD-System The big system overview Kodak Gold II The standard Kodak color negativ film Agfa CT64 Agfafilms were always high on my list! Agfachrome CT 18 natural colors from Agfa Agfacolor CT 18 at that time still called Agfacolor CT, not Agfachrome as in later years Agfacolor CT 18 und CT 21 One f-stop more Kodacolor II 126 film Autoknips IV Self timer for cameras and lenses without self timer Pentax 645 Advertising Canon T90 Advertising Agfa Advertising REAL 1000 ISO Kodak Advertising Kodacolor II - 1975 Tamron Tamron General Catalog 2022 Rollei 35 The camera that can always be with you. Canon Quarz Data Back E For your Canon EOS 600, 620, 630, 650 or RT Canon EOS 620 Dealer brochure Canon EOS 630 / 600 Dealer brochure Kodak Infrared films A different view of the world - in black and white or color Nikon Af lenses 1985 The dawn of the autofocus age Osram XM1 and XM5 flashbulbs - a promotional sheet Canon FD System AE1 Programm - A1 - F1n - AL1QF - T-50 - T70 Minolta Remote Cord RC-1000 S Cable release for analogue AF cameras Kodak Vision 250D Motion Picture Film I am enthusiastic about this material: click here Agfacolor Professional The professional films from Germany XRS 100/200/400/1000 Canon AL1 qF Quick Focus for the FD-System Cokin Creative Filters the French rectangular filters at an affordable price Canon EOS 650 Canon EOS 620 Operating instructions for the first two EOS models! Gitzo A stable choice Canon AL-1qF Easier focusing without autofocus Gossen Multisix 1986 was the release year of this digital exposure meter - i still use it today Novoflex high quality accessories Tetenal Photokina novelties 1996 The specialist for the processing of analogue photographic material Tetenal Negafin Excellent SW developer Tenal cleaner cleaning and scrubbing - also in the laboratory Tetenal PK RA 4 kit fast and economical machine development of color color images Jobo Lab equipment for the photo lab - Jobo, that's all you need for your photo lab. Osram XM1/XM1b Flashbulbs a fun change today Schneider Kreuznach Filter System Filters and magnifiers Made in Germany Voigtländer Bessa L - the wide-angle queen Kodak Ektachrome SE Duplicating film SO-366 Kodak Ektachrome 400 professional Want even more ISO? Kodakcolor X A film from almost forgotten times Kodak senkt die Preise However, this was decades ago...today the prices are increased exclusively... Agfa CT18 The slide film from Agfa Rodenstock Large format lens Rotelar 180mm Agfacolor CT 18 Made in Germany Agfachrome 200RS The Agfa professional reversal film with ISO 200 Leica D.R.P. Pentax AG-80 Pentax 645N and NII focusing screen Pentax 645 Advertising Canon A1 Advertising Kodak Advertising 4 fast films by Kodak Visoflex II Mirror box for Leica M models Rolleicord IIc Instruction Canon EF Objektive Even today, every EF lens fits to every EOS with EF bayonet - without any functional restriction; with adapter even to the RF bayonet Canon Macro Lite ML-3 The companion for analog Canon EOS models and the Canon T90 in the field of macro photography. Canon EOS 650 Dealer brochure Polaroid SX-70 The cult camera from 1972 from Polaroid Anker 1 Canon EOS 620 und 650 Gepe Prospekt Cokin Filter Canon FD Prospekt 1979 Agfacolor Filme Chemie Canon AL-1 qF Prospekt Tetenal Prospekte Heliopan Filtr System Jobo Labortechnik Osram XM1 Pentax 64 Werbung Agfa Werbung echte 1000er Canon Händlerbroschüre und mehr Viktor Hasselbald A really fine brochure from 1980 Praktica super TL Camera construction from the German Democratic Republic TTArtisan 2,8 100mm Bubble Bokeh Hasselblad SWC/M The wide angle Hasselblad Praktica super TL Camera construction from the German Democratic Republic Kodak Recording 2475 Film - an old highly sensitive friend Praktica super TL - - Ilford Galerie Fine Art Album Mamiya 645 Pro A step towards the modern medium format camera - - Canon Lens Guide Book Canon Wonderland Mamiya 645 1000S a childhood dream of mine Canon FD Lenses Wonderland Mamiya 67 Pro-S Ideal format for the roll film Mamiya 6 Rangefinder camera for square format Pentax Spotmeter V even more infos about this light meter Mamiya RB 67 prof. S Still today a dream of many "analog" photographers! Pentax Spotmeter V Great spot meter for medium format, large format or anything else! Pentax 645n Bedienungs- anleitung great medium format camera with autofocus Mamiya Prospeke Canon FTb Dealer brochure Canon FD 4/400mm S.S.C. Instruction manual Canon FD 3,5/50mm Macro Instruction manual Canon T90 Instruction manual Adox - Adostop eco Stop bath for black and white development Tetenal Colortec C-41 Color negative processor for at home Canon FD Objektive a great overview Canon nFD 4/400m Instruction manual Canon Extnder 2x A Instruction manual TechArt LM-EA9 AF for Leica M to Sony E and for many other connections additionally with M to... adapter Adox - Adostop eco Stop bath for black and white development -I don't know why, but the picture is not displayed...maybe later? Tetenal Neofin Blue SW one-time developer Pentax SpotmeterV Continue here - for even more brochures, user guides, and promotions / Part 2 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! Index

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

Privacy Policy I have drawn up this Privacy Policy to explain to you, in accordance with the requirements of the General Data Protection Regulation (EU) 2016/679 (GDPR) and the German Telecommunications-Digital-Services-Data-Protection-Act (TDDDG), which information is collected, how data is used, and what choices you have as a visitor to this website. Automatic Data Storage (Server Log Files) When you visit this website, the web server (the computer on which this website is hosted) automatically stores certain data in what are known as server log files. This includes: The address (URL) of the accessed website Browser and browser version The operating system used The address (URL) of the previously visited page (Referrer URL) The hostname and IP address of the accessing device Date and time of access The legal basis for processing this data is my legitimate interest pursuant to Art. 6 Abs. 1 lit. f GDPR to ensure the error-free operation of the website and to maintain IT security. 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Your home for photography. All about my passion. All about analog, hybrid and digital photography in all its forms. Expertise since 1983. On this website, you will find links to external third-party websites. Please note the following legal disclaimer: No Liability for Third-Party Content: I have no influence over the content or design of these linked websites. At the time the links were created, the external pages were checked for potential legal violations; however, permanent monitoring of linked pages without concrete evidence of a violation is not reasonable. The respective provider or operator is solely responsible for the content of the linked pages. I do not assume any liability for third-party content. Direct Video Playback on YouTube: Clicking on a button or text labeled "External Link to YouTube" will redirect you directly to the YouTube platform, where the corresponding video will open. Please be aware that from this moment on, the privacy policies and terms of service of Google and YouTube (YouTube LLC) apply, and data may be collected and processed by them. For further information, please refer to the Impressum (Legal Notice) and Privacy Policy sections. A Adapt lenses Adapter solutions for lenses on digital mirrorless cameras Alpa Aperture Aperture series - the image effect Apollon 14K Scan by silbersalz35 ASA - American Standards Association Autoknips I - Self timer B Buying tip - the best camera for you (external link to YouTube) Blur Brochures to download and browse C (Canon FD-System) Accessories for your Canon A or T series camera Canon AV-1 Canon AL-1 qF Brochure .pdf-download Canon AL-1 qF YouTube Video Canon AV-1 Brochure .pdf.download Canon FD System Canon FD: Wich standard zoom to buy? Canon FD Lenses 1979 Canon FD System 1984 Canon FD System 1984/1985 Canon FD System: Looking through the viewfinder of different models Canon magnifier (external link to YouTube) Canon nFD 4.0/28-85mm Canon nFD AF 4.0/35-70mm Autofocus Canon nFD/4.0 35-70mm Canon nFD 3.5/50-135mm Canon nFD 2.8/85mm Softfocus Canon nFD 4.0 200mm Macro with Canon converter 2xB Canon Motor Drive MA Canon T50 - the easy to use camera of the FD System! (external link to YouTube) Canon T60 - The Last FD Underdog (external link to YouTube) Canon T70 - computerized camera from 1984 (external link to YouTube) Canon T80 - the only autofocus camera for the FD System! (external link to YouTube) Canon Winder A Canon Winder A2 Canon Wonderland - FD Lenses Guide Book C (Canon EOS-System) 35 years Canon EOS-System EOS 650-620-600-RT (external link to YouTube) Canon EOS 1n Canon EOS 620 Canon EOS 750 / 850 (external link to YouTube) Canon EOS 850 in 2026 The Ultimate "No-Brainer" Film SLR? (external link to YouTube) Canon EOS RT Canon EF 3.5-4.5/20-35mm USM (external link to YouTube) Canon EF 2,8-4/28-80mm L Canon EF 3.5-5.6/28-135mm L IS USM (external link to YouTube) Canon EF 3.5-5.6/28-300mm L IS USM Canon 28-300mm L IS USM - Re-Tested on the EOS R5 After Repair (external link to YouTube) Canon EF 3.5-4.5/35-135mm (AFD-Drive) tested on a Sony A7III Canon EF 3.5-4.5/35-135mm (AFD-Drive) Re-Tested on a Canon R5 Canon EF 3.5-4.5/50-200mm Canon EF 2.8/80-200mm L - The Magic Drainpipe Canon EF 5.6/100-300mm L Canon EF 3.5/180mm Macro L Canon Macro System / Close-up System1992 Canon Speedlite System 1992 C All about Carl Zeiss Contaflex lenses (Pro-Tessar) on Sony E-Mount camera Carl Zeiss Contaflex lenses (Pro-Tessar) on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/115mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex 4.0/85mm on Sony E-Mount cameras (external link to YouTube) Carl Zeiss Contaflex Makro-Tessar 2.8/50mm 1:1 on Sony E-Mount cameras (external link to YouTube) Carl Zeiss 3,3-4/28-85mm für Contax/Yashica (external link to YouTube) Cokin Creativ Filter System Color Reversal Film Color Negative Film Contaflex Super BC Contaflex brochures Contax-Yashica bajonet for Contax-SLR cameras Contax AX - the SLR-Autofocus camera for all C/Y-lenses D Dead Sea (Canon EF 3.5-5.6/28-300mm USM IS L) (external link to YouTube) DIN - German Institute for Standardization Distance meter E Eastman Kodak Double-X Motion Picture Film Engine sounds of different cameras Epson V850 (scroll down) Leica Ernst Leitz Wetzlar Hektor 4.5/13.5cm LTM - M39 Leica Ernst Leitz Wetzlar Elmar 4/9cm LTM - M39 (external link: YouTube) Exposure metering and exposure compensation Exposure time F Films: 135mm (35mm film) - 120 (roll film) - sheet film and specialities Filter (Photographic filters) Flash bulbs - Usage Flash bulbs - Instructions G Gepe Archiving system Gossen Light meter Conversion chart neutral density filters H Hasselblad V-System, inkl. YouTube-Videos Hedeco Lime 1 Heliopan Filter System Horseman Roll Film Holder Instructions Horseman 6x7 and 6x9 film backs for 4x5 cameras (external link to YouTube) I I`m Back 35 I`m Back RAW-processing Intrepid MK V (external link to YouTube) Intrepid MK V Fixing loose roll film backs on the Intrepid 4x5 (external link to YouTube) ISO - International Organization for Standardization Ilford HP 3 (from 1969) Ilford HP 3 (from 1969) (external link to YouTube) J Jobo Lab equipment for the photo lab K Kodachrome Kodak Gray Card Kodak Motion Picture Film 50D/50T/250D/250T/500T Kodak Motion Picture Film Vision 3 and Apollon 14K Scan Kodak Double-X Motion Picture Film Kodak SE Slide Duplicating Film SO-366 Kodak BW400CN L Leaflets Leica Ernst Leitz Wetzlar Hektor 4.5/13.5cm LTM - M39 Leica Ernst Leitz Wetzlar Elmar 4/9cm LTM - M39 (external link to YouTube) Leitz Summicorn 3,5cm und 5cm Linhof Color Cardan 45s Lomography: Nour Triplet V 2,0/64mm Bokeh Control Art Lens - unboxing and use (external link to YouTube) Long exposure photography my tips (external link to YouTube) M Mamiya Universal Press Mamiya brochures / Mamiya leaflets The Minolta A-System Minolta 9xi Minolta AF 4,5-6,7/100-400mm APO Minolta AF 4-4.5/28-135mm Review: analog + digital Monster Adapter (converted Sony LA-EA4) Monster Adapter LA-FE2 (Nikon AF incl. Screw-Drive to Sony E-Mount) Motor sounds of different cameras (external link to YouTube) N NFTs from selected photographs for sale Nikon D600 (FX) Nikon F5 Nikon F5: On the road with Kodak Vision 3 - 200T in Norway (external link to YouTube) Nikkor 3.5-5.6/28-300mm G VR on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) Nikkor AF 3.5-4.5/35-135mm N on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) Nikkor AF-S 3.5-4.5/18-35 mm N on a Sony A7rIV with Monster Adapter LA-FE2 (external link to YouTube) O Olympus AF-1 Twin - an analog classic Olympus OM g.Zuiko Auto-W 3.5 / 21mm Osram XM1/XM1b Olympus IS-3000 - The 1990s Bridge Camera Packed with Features (external link to YouTube) P Panoramic Photography Extreme 35mm Film Goes Ultra Wide! Pentax Brochure 2000 Pentax Auto 110 Bonus: use lenses digitally and analogously Pentax 645N Pentax 645 Advertising Pixelfeld Praktica super TL Advertising R Reversal film ReflxLab Distance meter ReflxLab Display for cameras - with templates download! Ricoh TLS 401 Rodenstock digital professional lenses Rollei 35 / 35s Rollei SL26 (126 Film - Instamatic) Rolleivision Twin MSC 300 S Shutter speed Shutter Speed Tester for your smartphone - Check the shutter of your analog camera Scale: Depth of field scale Schneider Kreuznach Filter and Lupes Slide Film: Instant 35mm slide film Soligor AF 2.8-4.5 28-70mm (Canon AF ) (external link to YouTube) Sony GM 2.8 24-70mm (version I) with me on my trip to Norway (external link to YouTube) Sony LA-EA4 and LA-EA4r Sony A900 - a Little Love Letter Sound check of analogue cameras T Tamron SP 3,5-4,2 / 28-85mm Adaptall 2 Tamron SP 3.8-5.4 / 60-300mm Adaptall 2 Tamron SP 2,8 / 35-105mm Adaptall 2 Tamron SP 2,8 / 28-105mm AF A-Mount Tetenal Tripod Tips before triggering Tokina AT-X 2.8 28-80mm Pro TTArtisan 2.8/100mm Bubble Bokeh Lens adapt to M42 adapter (external link to YouTube) U - V Viltrox FE 1.8 50mm as "macro replacement" Voigtländer Bessa L Voigtlander Bessamatic Voigtlander Bessa series (L, R etc.) Voigtländer Septon 2,0/50mm Z Zeiss (to the Contaflex) Zeiss Ikon Contaflex lenses (Pro-Tessar) by Carl Zeiss on Sony E-Mount cameras (external link: YouTube!) Carl Zeiss Contaflex 4.0/35mm on Sony E-Mount cameras

Objektive adaptieren Adapting / Scanning For some years now, I have been adapting lenses designed for analog photography, mostly with manual focus, to mirrorless Sony cameras when I need the advantages of digital photography. This gives me access to an almost infinite selection of lenses from various manufacturers. It is also possible to use newer lenses from the Canon EOS system. Even medium format lenses can be adapted, as the example of the Carl Zeiss CB Tessar 4.8/160mm T* shows. Here you can see other possible combinations: If I take pictures with analog systems, the ones that are most interesting for me or the ones that I like best are scanned. To this comes z. The Epson V850 scanner is currently in use. Photography should be fun - so for me there is no BEST system. It doesn't matter to me how pictures are created. Analog or digital, analog small picture or analog sheet film, digital reflex camera, mirrorless digital camera, digital or analog compact camera or a scanned slide - all types of recording technology complement each other and have their justification. If I need the results easier or faster, then digital cameras are used, but if I want to feel the charm of the last millennium, enjoy the feel of solid metal and glass, then nothing beats analog photo equipment for me. Here you can see other possible combinations: It doesn't matter what you take pictures with, the main thing is that you take picture s. apertureonepointfour, 2020 Sony A7III A mirrorless digital full format camera with a sensor size of 24x36mm - my first choice for adapting lenses calculated for analog photography. Sony A7III Here with an Ernst Leitz Wetzlar 4/9 cm (4 / 90mm) lens on an E39 to Sony E adapter. Sony A7III Again the 4 / 9cm Ernst Leitz Wetzlar lens. The picture shows the retractable lens hood, which can be adjusted to different focal lengths. Sony A7III my favorite analog 35mm system: Canon FD - here the 3.5 50mm Macro on the Sony A7III. I use numerous FD lenses, both analog and digital. Sony A7III For a long time I was looking for a cheap, but optically very good 100-300mm zoom. Although I was doing an apprenticeship in photo retail in the late 80's, I didn't think about this lens. It will now be my standard telephoto zoom for landscape photography. Sony A7III Olympus OM lenses - a good choice for adapting; here the OM G. Zuiko Auto-W 3.5 21mm Olympus OM lenses designed for analog photography are characterized by their high-quality workmanship and small dimensions. Sony A7III In conjunction with the Sigma MC 11 lens adapter, this lens works flawlessly on the Sony A7III - even with Eye-AF! Sony A7III Lenses for the medium format can also be easily adapted. Here the Carl Zeiss CB 4.8 160mm T * for Hasselbald. Sony A7III Here you can see another, older Canon EF "L" zoom from the early days of the EF system: Canon EF 3.4-4.5/50-200mm L - that's what I thought when I bought it! Unfortunately, I became skeptical when I saw the many infrared markings on the distance settings - too much for a highly corrected lens! And indeed: the red "L-ring" was only glued on. I was just too greedy, because the lens was damn cheap and I was blinded by the red ring! Today I show you the cheapest Canon EF L lens for your Sony A7III or other Sony A-cameras. And it will work via Sigma MC11 adapter. Autofocus is possible, even Eye AF. But it`sa rather old lens, I plan to use it for landscape photography mainly. If you like this zoomrange, you need (or want to) and you are not into sports photography...go for it!! Optical it delivers very sharp and crispy images. For a long time I was looking for an affordable zoom with a focal length of 100-300mm. And just as long I forgot about the lenses from the early days of EF lenses, although at that time as a young man I did my first training in the photo trade and therefore knew these lenses well. For my last vacation in Norway, I got the Minolta AF 4.5-5.6 100-300mm APO and adapted it to my Sony A7III - but I wasn't happy with this lens because of its modest imaging performance. Then I saw it: an "L" lens for under 200 euros? Plus a 100-300mm telephoto zoom? I thought about it only briefly and bought this lens at an auction. If I take photos with analog systems, the ones that are most interesting for me or the ones that I like best are scanned. To this comes z. The Epson V850 scanner is currently in use. Photography should be fun - so for me there is no such thing as the BEST system. It doesn't matter to me how pictures are created. Analog or digital, analog small picture or analog sheet film, digital reflex camera, mirrorless digital camera, digital or analog compact camera or a scanned slide - all types of recording technology complement each other and have their justification. If I need the results easier or faster, then digital cameras are used, but if I want to feel the charm of the last millennium, enjoy the feel of solid metal and glass, then nothing beats analog photo equipment for me. No matter what you take pictures with, The main thing is that you take pictures! Epson V850 SilverFast AE Studio 8 software This picture was taken with the Nikon F501 and the Nikkor AF 3.5-4.5 / 35-70mm on an Ilford XP2 super; scanned with Epson V850. Epson V850 SilverFast AE Studio 8 software This picture was taken with the Nikon F501 and the Nikkor AF 3.5-4.5 / 35-70mm on an Ilford XP2 super; scanned with Epson V850. Epson V850 SilverFast AE Studio 8 software This picture was taken with the Nikon F501 and the Nikkor AF 2.8 / 70-200mm on an Ilford XP2 super; scanned with Epson V850. Scan Epson V850 Epson V850 SilverFast AE Studio 8 software Minolta X500 - part of a camera system that I didn't pay much attention to for decades. My perspective changed when I looked through your viewfinder again ... WOW ... so bright thanks to the Acute Matte focusing screen! Epson V850 SilverFast AE Studio 8 software As in the picture on the left, a Minolta X500 with a Minolta MD 1.4 50mm was used. Epson V850 SilverFast AE Studio 8 software As before, Minolta X500 with Minolta MD 1,4 50mm, scan with Epson V850. After purchasing this miniature camera, I fitted it with new light seals, currently one of my favorite cameras (hey, Canons, you are still in the first place). Epson V850 SilverFast AE Studio 8 software Minolta X500 The MD 1,4 50mm cuts a fine figure. EPSON V850 SilverFast AE Studio 8 software Taken with the Minolta 9000 AF and the Minolta AF 4-4.5 28-135mm Epson V850 SilverFast AE Studio 8 software Minolta X500 - a recommendation from me - also very suitable for entry into analog 35mm photography. Easy to use, but one camera that has everything the photographer needs! EPSON V850 SilverFast AE Studio 8 software Taken with the Canon F1n, bellows and Canon FDn 3.5 50mm macro Epson V850 SilverFast AE Studio 8 software Unfortunately not my property. EPSON V850 SilverFast AE Studio 8 software Taken with the Canon F1n, bellows and Canon FDn 3.5 50mm macro Anker 1

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

Nicht immer liefert der eingebaute Belichtungsmesser die gewünschten Ergebnisse, obwohl die Kamerahersteller immer weiter entwickelte Messverfahren in ihre Kameras integrieren. In diesem Artikel möchte ich euch die Grundlagen, gepaart mit etwas Hintergrundwissen, der Belichtungskorrektur näher bringen - und dieses so einfach wie möglich, aber dennoch effektiv. Light Metering and Exposure Compensation – Made Simple – Most modern SLR, DSLR, and mirrorless cameras feature a built-in light meter that offers a variety of different metering modes. No matter the camera, the technical goal of light metering remains identical: based on the selected film or sensor sensitivity (ISO, ASA, DIN), the camera aims to calculate the perfect combination of shutter speed and aperture value to ensure the main subject is correctly exposed. A "correctly" exposed image means it is neither too bright nor too dark—shadows don't block up (clip to pure black) and highlights aren't "blown out" or overexposed. Of course, this describes an ideal scenario. Depending on the scene's high contrast, this perfect balance often cannot be achieved in-camera and requires subsequent post-processing in the darkroom or on a computer. Camera manufacturers have continuously advanced built-in light meters, leading to a wide range of systems and brand-specific terminology on the market. A Quick Overview of Common In-Camera Metering Modes Center-Weighted Metering (Integral): This classic method utilizes the entire photographic frame to determine exposure. It factors in the whole image area equally, without placing special emphasis on any single section. Center-Weighted Average Metering: This mode evaluates all the light hitting the film or sensor but assigns significantly more weight to the center of the frame than to the edges. This is based on the practical assumption that the main subject is more frequently located in the center of the composition. Evaluative / Multi-Segment Metering: An excellent, universal metering mode that handles tricky situations like backlighting remarkably well. The camera automatically assesses the scene and adjusts exposure based on the specific shooting conditions. Multi-segment metering is simply another term for this mode, used by systems like the Pentax 645N or NII. However, as you can see in the video, even this advanced method has its limitations. Matrix Metering (Nikon Models): This setting delivers natural-looking exposure results in the vast majority of shooting environments. The camera measures brightness across a wide area of the frame, analyzing tonal distribution, color, and composition. When using a CPU-enabled lens (Type G, E, or D), it also factors in 3D distance information (3D Color Matrix Metering III). For other CPU lenses without distance data, it defaults to standard Color Matrix Metering III. Highlight-Weighted Metering (Nikon Models) : The camera biases the exposure strictly toward the brightest areas of the scene. This method is incredibly useful for preventing detail loss in the highlights, such as photographing stage performers under intense spotlights. Partial Metering: Only a specific, restricted part of the subject is used for the exposure reading. The partial metering area is indicated in the viewfinder and covers only a small percentage of the frame. For instance, on the Canon EOS R6, the partial metering area encompasses exactly 5.8% of the total frame. Spot Metering: An even more precise method where only a tiny fraction of the frame is metered. The spot circle is visible in the viewfinder; on the Canon EOS R6, it covers just 2.9% of the frame. On many modern bodies, the spot metering circle can be linked directly to the active autofocus point. Multi-Spot Metering: This allows you to take multiple individual spot readings (as described above) across different areas of the scene. The camera then calculates the precise average value. Note: Only use this under controlled lighting conditions. It requires experience to know which points to sample and whether the dynamic range of the scene can actually be captured by the film or sensor. Live View and Exposure Compensation Modern mirrorless digital cameras offer the distinct advantage of displaying the scene in the electronic viewfinder (EVF) or on the LCD exactly as it will be captured. If this setting is enabled, you can see the immediate impact of your metering and use the Exposure Compensation Button (marked with "+" and "-") to make adjustments and track them "live." This button alters the baseline exposure values calculated by the camera: The "+" Setting (Overexposure): Intentionally allows more light to hit the film or sensor than the meter suggested. The camera accomplishes this by either slowing down the shutter speed (e.g., from 1/125 sec. to 1/60 sec.) OR opening up the aperture (e.g., from f/8 to f/5.6 / a smaller f-number). The "-" Setting (Underexposure): Reduces the amount of light hitting the film or sensor. It speeds up the shutter time (e.g., from 1/125 sec. to 1/250 sec.) OR narrows the aperture opening (e.g., from f/8 to f/11 / a larger f-number). In both examples above, the exposure value was adjusted by exactly one full stop (EV). Vintage Camera Quirks On older analog cameras, you won't always find the modern "+" and "-" exposure compensation icons. Some vintage icons like the Canon A-1 or Contax RTS use multiplication factors instead: "x2" or "x4": Represents an overexposure of one or two full stops, respectively. "x1/2" or "x1/4": Represents an underexposure of one or two full stops compared to the calculated reading of the built-in light meter. A Clever Workaround for Analog Cameras However, there are many cameras designed for 35mm film (135 format) or other film sizes that lack a dedicated exposure compensation button. Fortunately, a manual override of the automatic exposure is still entirely possible with these models—as long as you can set the film speed manually. In the following example, let’s assume you are using a film with a base sensitivity of ISO/ASA 100 (21° DIN). For a "+" Correction (Overexposure): If you want to allow more light hit the film, you simply dial in a lower film speed on your camera. For a one-stop overexposure, you would change the setting to ISO/ASA 50 (18° DIN). For a more generous two-stop overexposure, you would select ISO/ASA 25 (15° DIN). For a "-" Correction (Underexposure): Conversely, if you want to underexpose the image, you would select ISO/ASA 200 (24° DIN) for a one-stop reduction in light, or ISO/ASA 400 (27° DIN) for a two-stop underexposure. By doing this, you have successfully "tricked" the camera's built-in light meter, forcing it to allow more or less light onto your film! In this short video, you can see the real-world visual results of using exposure compensation in the "+" range. Here I present you a .pdf file as a download with examples available for exposure correction, just click on the picture and the download will start! The document is downloaded in English! Important to Know! Every camera light meter is calibrated to a neutral gray value with a reflectance of exactly 18% of the incident light. If your subject deviates from this ideal baseline—such as bright white snow or dark black backgrounds—the camera’s automatic exposure will not be accurate. A Kodak Gray Card is a standard reference tool used to achieve precise exposure and accurate color balance in photography. It features a flat, gray surface with a calibrated tonal brightness that serves as a neutral point of reference. Positioned within the scene during setup, the gray card is framed by the lens to establish a reliable baseline for both exposure and color rendering. By placing the card close to the subject, photographers can adjust their manual camera settings to lock in the perfect look. Using a gray card is highly effective for securing dead-on exposures in tricky lighting conditions or when critical color accuracy is required, such as in studio work or product photography. By reading the card, the camera system or editor can calibrate exposure and color values against a known neutral baseline to deliver beautiful, true-to-life tones. Practical Metering Tip When shooting with a gray card, it is best practice to meter the card using your camera's spot or partial metering mode (or a dedicated handheld spot meter). Aim the metering circle directly at the center of the card and use that reading for your exposure. It is highly recommended to cross-check your gray card reading (reflected light measurement) with an incident light reading taken via a handheld light meter. In most cases—provided the gray card is placed in the primary light source—the two readings will match up almost perfectly. To achieve a flawless match, you may need to tilt the card slightly toward the key light. It takes a little practice to master, but this technique yields incredibly accurate and repeatable results. Original Product Information from Kodak KODAK Gray Card / R-27 KODAK and the Munsell™ Color Services Lab of X-Rite®, Incorporated, have partnered to develop an enhanced calibration target for your photographic needs. The KODAK Gray Card / R-27 features the world-renowned Munsell 18% Reflectance (Gray) Neutral Patch. The KODAK Gray Card / R-27 package includes one 4 x 5 inch (10 x 13 cm) card, one 8 x 10 inch (20 x 25 cm) card, and an instructional manual. You can find the PDF download of the original brochure right here (click the image to start the download). Kodak Graukarte Back in the heyday of film photography, Kodak offered a professional gray card as well. You can find detailed information about this vintage model, which I still personally use to this day, right here: Click on the image to start your download. In addition to Kodak, various other manufacturers have produced and continue to offer reliable gray cards. Here is another example of a model that I personally use in my daily photography work as well. Click on the image to instantly start downloading the PDF file.

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! The exact same Minolta MD lens, but now the distance scale is set to 3 meters (around 10 feet), with the aperture remaining at f/8. As you can see, the depth of field has shrunk significantly and now only stretches from approximately 2.5 meters to about 4 meters! Even if you stop all the way down to f/16, your subject will only appear acceptably sharp from about 2 meters to just under 10 meters. Tip: There are a number of apps for your smartphone that automatically calculate the depth of field for a variety of focal lengths and distance settings. Tip: As a rule of thumb, wide-angle lenses offer a greater (larger) depth of field than normal or telephoto lenses at the same distance from the camera to the subject. Here is the simple explanation of why this lens became the standard for the 35mm format: 1. The Optical Reason: A Natural Perspective When you look through the viewfinder of a camera equipped with a 50mm lens (while keeping your other eye open), you will notice that the scale and perspective of objects appear almost exactly as they do to the naked human eye. No Distortion: A wide-angle lens visually pushes objects into the distance and makes the foreground look massive. A telephoto lens, on the other hand, compresses the scene and pulls the background closer. The "Normal" View: The 50mm lens behaves neutrally. It reproduces perspective, depth, and spatial relationships between the foreground and background exactly the way we as humans are used to seeing. This is where the term "normal lens" originates. 2. The Mathematical Reason: The Sensor Diagonale In optical engineering, there is a fixed physical rule used to determine the normal focal length of any given camera system: The normal focal length mathematically corresponds to the diagonal measurement of the recording format (the image sensor or film negative). Therefore, the exact mathematical normal focal length for the 35mm format is actually just under 43mm (which is why a few legendary lenses were built with a 40mm or 43mm focal length). So why did 50mm become the standard? When Oskar Barnack designed the original Leica for the 35mm film format back in the 1920s, he opted for a 50mm lens (the legendary Leitz Elmar). First, a 50mm lens was optically less complex to calculate and manufacture with higher image quality at the time compared to an exact 43mm lens. Second, the slightly tighter field of view of a 50mm lens perfectly compensated for the fall-off in sharpness at the extreme corners of the film negative. Since the Leica was the system that made the 35mm format famous in the first place, the 50mm focal length historically became established as the undisputed standard for the "normal lens." back

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

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

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