Відео

Mine has a burnt pixel sadly

Great and best Video to Zone system. Thank You! But one question is left. HP5 in ID-11 at ISO 250 minus 15% as I have heard. But then: Developing time in relation to ISO 400 minus 15% or to ISO 250 minus 15%??

Nice results, Just got 2 of these lenses , 3.2 - 35mm and a 4 -85 mm out of my fathers collection today who was a collector (about 650 pieces he had) you might even have met him some times at de fotografica beurs, :) as i see you are collecting as well. Took them home together with a few Leicas + extra lenses and going to test them on my camera.

Great historical review! I just purchased a Kiev 4a and am inspired by knowing more about its birth and development. Contax DNA, what a wonderful concept.

Can you please share the website you buy this film for this cheap price. Also do they ship to Australia? The Adox I bought previously cost over double my Ilford film. In my experience this film is very expensive.

hello thanks for the video, i was wonder if you can tell me what battery does this camera use.

I too still have a EPSON 3170. It's probably 20+ yrs old, still going strong.

the reason is because you are addicted to cameras and the reasons given are rationaization for the former. I suffer from the same affliction.

The DNA of the Leica M3 is in the Yashica/Nicca YF. I own both and it is obvious.

👏👏👏

Hi, are you still planning on making a video on the Arsat 30mm f/3.5 lens? I couldn’t find it on your channel.

Hi, hoe vind jij deze in vergelijking met de Rollei B35?

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Please remember that Fuji film is now made in the US by Kodak so don't expect to get those pre 2000 Fuji colors!

The Super Takumar was kind of middle version, the later one was called “Super multi coated” I believe.

There’s always some pure white and pure black in my b&w images. I follow Adams work, he’s fantastic. Cool upload guys, I’ll watch the others as well 👍

Nice video, I have a vito CLR too

Thank you! I want a c4000

uhhhhh ummmmmmm uhhhhhhh ummmmm jeez

Hans looks like one pf the brothers in Simon & Simon.

I have just bought myself a 1955 Kiev 2. Now learning how to use it but so far so good!! Thanks for the video.

So cool. But I can't find part 2 & part 3. Please help me. Thank you very much

I'm sure you already made your decision, but here's hoping you went with Rolleiflex 1937.

it is not suppported on widows 11. i was looking at newer 4490. neither is that.

thanks for this great info. i prefer using scanner because i can use infra red dust and scratch removal. does this have it? do i need to get v600?

2:00 Technically speaking, there were variants of the F3 that employed an autofocus mechanism ... the F3/AF. So the F4 was a 2nd generation Nikon autofocus product.

helped me out when i ended up with an old Polaroid one step rf, turns out the rf stands for range finder and really helps getting shots in focuse

Great information, and easy to follow ... Now to put it into practice!

I see in another video a man putting ISO 800 Iin a contaflex. I have your same model, probably this one doesnt have 800 ISO?

Cool comparison & background 😎 Curious how you processed the P3200? Maybe just how they appear on UA-cam, but sample images seem pretty grainy which surprised me. Thanks! p.s. I’ve just replaced a dead FE with F2A, so looking forward to using it

Please can you tell me where is Part 3 ? Thanks.

Great video, thanks for sharing!

That Hartman Phoenix is an interesting film.

My favorite, and I still mourn losing it, is the F, purely mechanical, tough as nails and reliable.

You made out like a bandit. Congrats.

Very useful. Thanks for sharing your experience.

F4 introduced in 1988

I was able to buy a very nice 35LC (in Sweden). Mechanically everything works. Only the light meter is dead. That's not a problem with the camera, because it works perfectly without it. But do you happen to have service documents that show how it can be repaired?

Thank you so much for this video. This Sl66E is my favorite camera, I dont have one yet but i'm plannig on get one soon.I did not know about the leaf shutter lenses and I guess that ehy might be hard to get. Please continiu showing the results on this camera. Thanks again

very useful! thanks

A great video! Ive seen it twice to not miss anything, looking forward to the third. Thanks.

BS the F4 does 4fps and with the f4e battery grip it can do 5.6 fps

This was my dads first decent camera back in the 50s. I spotted one in a charity shop for just £25 in near mint condition so grabbed as a gift. At first i thought the shutter didn’t fire, but having a close look it seemed to need film to move the wheel, with a film in it works just fine. Beautifully made and very simple to use. I think i want one for myself now.

Thanks for this, i recently just got my first vito B , unfortunately the shutter wont fire so ill need to get it fixed but looking forward to shooting some film with it.

I know this interview was made a very long time ago (i´m in june 2024), but wow! how impressing the information is, the details, the history, I just bought a Kiev 4 camera from 1975, in working condition, I did it to have the chance to use my 3 contax lenses that came with a not working Contax III that I got 3 years ago; I love those lenses and use them every once in a while with Mirrorless cameras, and lately I wanted to have the chance to use them with film, so thank you guys for this great interview! truely useful and satisfying the whole story of Contax and its legacy.

Ricoh made some great cameras. I have used many of them (incl. The Ricoh Diaflex 6x6 TLR). The 500 RF series was not a beautiful camera, but it is quite practical and reliable, with a great Tessar-formula lens and the option of full manual exposure. Good job on the nice video!

You got the deal of the century, just a used enlarger is now about $300, however, an encouragement to be patient, maybe happen on a whole darkroom for a reasonable price. Cheers, Adriel

I've just ordered my first Salyut-C camera. Can't wait to start working with it. Do you also have some tips for a (fellow dutch) beginner?

Really makes case for this over the Yashica! Thank you for sharing the beautiful images.

I learned the Zone System in 1971 became a photo lab tech at National Geographic in 1974 after two years apprenticing with photographer / teacher Monte Zucker. Technically Adams Zone system is based on his desire to make all prints on #2 grade paper. The reason for that is the DlogE response curve of film that has a curved toe in the shadow Zones 0, 1 and 2 then linear response on the rest of the tonal scale. #2 paper requires a negative with a shadow - highlight density range of about 3.0 density units which are the log(Incident/Transmitted). Prior to around 1930 B&W was Orthochromatic and not sensitive to red light. Photographers like Adams, Weston, etc. were able to develop watch the highlights on their sheet film develop in a tray under safelights and pull it when experience told them the highlights had a density of 3.0 to fit the fixed range print paper they used. They knew that it took less time for the highlights to get to 3.0 on a sunny day than cloudy or overcast. They exposed for the shadows and developed for the paper TO FIX THE RANGE OF THE PRINT PAPER. When Panchromatic film was introduced Adams and others using sheet film had to develop in total darkness but they still knew from experience to develop lower contrast scenes for more time to fit the paper. For historical context, when Kodak developed roll film it presented a new problem. One frame might be taken in sun, the next in open shade or overcast but they all had to be developed for the same time. The solution? Develop all film as if it was taken on a sunny day then fit the range to the negative by changing the print paper contrast. #2 was the paper grade that fit a 3.0 density sunny shot, #3 and #4 for shorter density range cloudy, overcast days, and #1 if encountering very contrasty lighting. Adams based his exposure on Zone V = 18% reflectance because Weston meters were calibrated to 18%. Why 18%? Because a typical landscape photo composed with 1/3 sky and 2/3 cross-lit sunlight had and average reflectance of 18%. If one pointed the meter at a scene like that the shadows would wind up with density on the negative-sometimes more than necessary or desirable. That is why the 18% gray card came into existence. Instead of metering off the scene if you metered off the card instead with the 18% calibrated meter you should with correct development of the negative get a reproduction of the card on the print which also reflects 18%! Genius - for the day… But truth be told the “SUNNY 16” of exposing at 1/ASA RATING @ f/16 worked about as well outdoors. The first test in the Adams system was finding actual film speed for correct Zone 0 (clear negative base) / Zone 1 (first silver density) on the negative to keep Zones 1 and 2 in the shadows (shape and visible texture) on the toe of the DlogE curve. You shoot 3-4 sheets / frame bracketing exposure and then look at the negatives. Typically you needed more exposure than the ASA rating indicated; e.g. setting meter dial to 320 for ASA 400 Tri-X. The second series of tests were to match development time to different contrast scene lighting Sunny, Cloudy, Open Shade, Overcast. This was done by waiting for a day with that type of lighting then shooting 2-3 sheets / rolls at the adjust ASA setting from test one, develop them for different times, then printing on #2 paper looking at how the highlights fit the paper range. What those tests accomplished was fitting the entire range any scene to the range of the #2 paper with optimal shadow transitions which were one of the hallmarks of Adams work. The ARTISTIC / IMPRESSIONISTIC part started from the baseline of simply accurately recording ‘seen by eye’ detail everywhere making sure to preserve the specular Zone 10 highlight reflections of the sun on white Zone 9 solids on the print by making the Zone 9 whites gray so with paper base the Zone 10 value. The artistic part was of course the process of dodging (blocking exposure) or burning in (adding more exposure). Adams would first make a baseline evaluation print what showed the scene as it was then dodged and burn until he liked the look. Then he made notes on the tissue overlay of the ‘master edit’ print that would be followed to made the prints for exhibition and sale. Once he created that ‘blueprint’ his assistants could do the work of cranking out the sausage to sell in ‘paint by number’ fashion. It was a very precise way to control the technical process of matching scene detail to print, and also brilliant way to made it possible for others to make the prints for him while he was out in the field capturing more iconic images. Learning the Zone System was my introduction as a teenager to the concept of “process control”. The stunningly good B&W prints I was able to make quite easily following his steps help get me my job with Monte and National Geographic Society, but NGS job resulted from buying a house next door to the Asst. Chief of the NGS photo lab 😊 I went on in my career to manage offset printing for a commercial magazine printer and the US Information Agency and one day in 1985 a dozen Adams prints landed on my desk to reproduce for the cover and article about him in a magazine USIA published and distributed from Embassies to ‘influencers’. I used the same full-range double black duotone technique I had developed at National Geographic to capture their tonal range and texture as well as lithography can. Adams made the process far more complicated than it actually is: 1) Exposure and develop to recored detail everywhere on #2 print paper 2) Dodge and burn until you improve how it looks The genius in the marketing was the scenes rarely looked like his prints in person due to all the tonal manipulation he did with filters color filters on the lens and dodging and burning.