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  @GonzoTheRosarianКүн бұрын

  That Hartman Phoenix is an interesting film.

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  @GonzoTheRosarianКүн бұрын

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

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  @TXGRunner4 күн бұрын

  You made out like a bandit. Congrats.

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  @mohammadazimi58998 күн бұрын

  Very useful. Thanks for sharing your experience.

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  @mmomen35449 күн бұрын

  F4 introduced in 1988

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  @thomasjosiger578910 күн бұрын

  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?

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  @MrMestrebimba16 күн бұрын

  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

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  @39exposures23 күн бұрын

  very useful! thanks

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  @colinwaylett912224 күн бұрын

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

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  @fretlessfender15 күн бұрын

  We are still in the proces! There are some developments that are keeping us from actually making that video, but rest assured... it will come in time!

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  @Drpiwi26 күн бұрын

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

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  @chriscaarnold27 күн бұрын

  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.

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  @brendonwhite238229 күн бұрын

  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.

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  @ScottCallas24 күн бұрын

  Be aware that the shutter will not be cocked if you don't have film in the camera. I believe you can test the shutter with the film compartment open, and turn the cog wheel that would catch the film perforations to cock the shutter. I can't test at the moment, as I have film in mine.

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  @hectorquitenoАй бұрын

  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.

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  @scottcog1Ай бұрын

  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!

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  @adrielrowleyАй бұрын

  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

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  @HenkBakkerАй бұрын

  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?

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  @chopsticks51Ай бұрын

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

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  @TeddyCavachonАй бұрын

  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.

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  @gopalpanday4921Ай бұрын

  Congratulations 👏

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  @numekon24Ай бұрын

  Très bon reportage. Bravo!

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  @DmitriV-gh3unАй бұрын

  If you depress gently the shutter release, and keep it depressed, you allow the camera to memorize an aperture. This way you are able to chose to expose for the shadows, the middle tones or the highlights, depending to what you aim the camera at. Forget the density filter !

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  @kalenderquantentunnel9411Ай бұрын

  To pour some water in the wine: I had and used the 2/35 AIs for 15 and shot hundreds of rolls through it and I have to say it's a good lens but not one of Nikon's outstanding ones. After having used Summicron 2/35 ver. IV on the Leica M and a Distagon ZF 2/35 there simply was no going back. Nowadays I prefer the 2.8/28 mm AIs not only for its wider angle, which I also prefer these days, but also for its visibly crisper detail and higher resolution. That one should be on your list too. But I'm curious what you have to say about the 1.8/85 mm one of my favourites for rendition and character, though not being as perfectly corrected as the newer 1.4/85 mm AIs. 😊

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  @linjicakonikon7666Ай бұрын

  Stunningly beautiful results 🏆👍

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  @monochromiosАй бұрын

  I love the Rollei 35 series. Pocketable cameras with great lenses, very sharp and contrasty. I have a very old (and beaten) Rollei 35s black paint with a modified light meter for modern batteries. It is always in my bag. Very nice shots and video. Thank you for sharing.

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  @fotoralfАй бұрын

  What strikes me more is the unsharp section at the left side of the frames. I suspect wrong film loading. I've owned my 202 for some 20 years and I'm still happy with it. As to your rewinding problem, could it be that you haven't pushed the button on the underside of the camera all the way in and held it until the film was completely rewound? I've never had any probs rewinding. Oh, and if the camera jerks when you release it in hand-held shots, you should be using the hand grip supplied with the camera. Makes holding and levelling the 202 a lot easier.

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  @ThePhotographyMinimalistАй бұрын

  Well seen and correct assumption, thanks for the tips!

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  @thIDthIRreenactor2 ай бұрын

  If my shutter dosent cock and release how do I repair that

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  @wilf93562 ай бұрын

  Nice video, more videos in this format please, perfect! (more Nikon as well)

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  @jeronymusv45582 ай бұрын

  This is the very camera that I bought just more than a week before from Hans! I used it last week with a colour film (Kodak Professional 120 ASA 200) and was delighted with the results. Of course I should exercise with it a lot more. Colouring and sharpness were rather good. An the light meter of the camera is spot on. So now I will also go B&W with this camera. :=) Greetings.

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  @jeronymusv45582 ай бұрын

  Great watch! Always fun and educational to follow you guys shooting photos. I cannot wait visiting and photographing this radio station myself. I am especially curious what my 200m Nikkor lens will deliver here. Reasonable sharp that one, with a great bokeh.

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  @ThePhotographyMinimalist2 ай бұрын

  We would really like to see the results!

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  @jeronymusv45582 ай бұрын

  @@ThePhotographyMinimalistHans will let you know, of course. ;=)

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  @noremacbeez2 ай бұрын

  Theres a reason the 125 sec is painted green... you can operate in aperture priority... and full auto (set to A on aperture ring and 125 sec shutter speed)

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  @lex37292 ай бұрын

  I have read that the viewfinders of the original "F", with a minor modification, can be mounted on an "F2" body.

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  @ThePwig2 ай бұрын

  F5 is my favorite camera. I take it with me everywhere. It’s huge and heavy but bulletproof and so many lenses work perfect with it. And it takes regular AA batteries.

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  @monochromebluess2 ай бұрын

  Excellent video. Really enjoyed it.

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  @Pepijn.media042 ай бұрын

  Always great to see you both in the shop as well as now online. I know the pain of a nikon f4 dying in your hands a bit too well😢.

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  @Democratiser2 ай бұрын

  Nice photos. I do think they demonstrate the 3D quality of Zeiss glass and that this camera (and the Contaflex system generally ) can take some excellent images.

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  @heinzhagenbucher47142 ай бұрын

  Great images, and beautiful location. A bit more then 1h from my place. 😊 A friend of mine gave me a Phoenix to try. Did some landscapes with it, but was not sure with the result. But light and shadow as well as lines, will do it nicely. Thanks for sharing.

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  @ThePhotographyMinimalist2 ай бұрын

  Thank's!

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  @fretlessfender2 ай бұрын

  It is a difficult film to say the least... The characteristics of the film dictate the subject... if you stay in that window, nice things may happen!

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  @fretlessfender2 ай бұрын

  Wow! Henk! As Max Verstappen would say:"Absolutly lovely!" That Phoenix film is amazing, I'm going to Friezen a brick of 10 of them... these are too precious to let go! But you really outdid your self, congratulations with the results, outstanding achievement!

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  @ThePhotographyMinimalist2 ай бұрын

  Thanks Hans, your development and scanning was spot on! I did nothing in post, only added a border! Impressive!

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  @randallstewart12242 ай бұрын

  Since by the usual metrics for evaluation of color films, Harmon Phoenix 200 is basically an "up yours" from the king of B&W films, I was initially bemused by his positive, nearly glowing, remarks about the film. Then, looking at the color photos and their subject, I got realized that the neutral monochrome of the architecture masked the film's extreme contrast and unbalanced color saturation. The lack of subject fine details in favor of broad geometric slabs masked its lack of sharpness and its course grain. The focus on shapes rather than natural scenes allowed the flaring around lights for lack of an annihilation dye in the emulsion to work into the abstract design. Finally, a use for Phoenix 200. Nice photos too.

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  @ThePhotographyMinimalist2 ай бұрын

  Thank you for your honest and spot on reply. What a difficult film, but it definitely fills a niche.

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  @fretlessfender2 ай бұрын

  @ThePhotographyMinimalist It is simple.... don't take this film for your everyday holiday pictures, it will never work! But if you think about a subject to match this film, well the results are in the video...

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  @linjicakonikon7666Ай бұрын

  ​@@fretlessfender*well the results...

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  @fretlessfenderАй бұрын

  @@linjicakonikon7666 autocorrect is a bitch sometimes...

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  @gopalpanday49212 ай бұрын

  Wow Amazing 😍

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  @captainbackflash2 ай бұрын

  MOPED, *lol*

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  @ThePhotographyMinimalist2 ай бұрын

  Bromfietsen!

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  @polina167352 ай бұрын

  Thank you really much for your darkroom videos! they inspired me to start printing, especially since I got an enlarger very familiar to yours - meopta opemus II. But I have a problem and hope to find smb to help me :)) My enlarger came with a meopta belar 75 mm lens with it, and I print 120 mm successfully. But there wasn't a lens for 35 mm, so I bought our soviet "Вега 11-у" (doesn't matter), it is 50 mm enlargement lens and fits the thread, but it turned out to be impossible to focus 😢 (only if the projection size is tiny). Can't find manual for Meopta and any information - why can this happen and what kind of lens can fit properly. Also no opportunity to find original meopta lens 50 mm or this luxurious schneider-kreuznach that is shown in the video. In some forum i saw a comment that this enlarger may need some lens board but i dont really understand what it is and what function it has.. and even how it is called in russian 😅

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  @ThePhotographyMinimalist2 ай бұрын

  Good question! I found a link that might help you further... www.reddit.com/r/Darkroom/comments/agj5bx/meopta_opemus_iia_lens_board_question/ Good Luck!

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  @fretlessfender2 ай бұрын

  Video was taken by my youngest Daughter Shira, and I took as much as possible the exact same pictures 1 week later... the video was made during the failing film. Still no clue...

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  @fretlessfender2 ай бұрын

  No worries Hamish, I will process them by hand... have no clue why this went so terribly wrong...

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  @hamish52142 ай бұрын

  I have 5 rolls of ADOX CHS 100 in my fridge right now and I always let Hans process my films so...😅

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  @VictorBezrukov3 ай бұрын

  There is some video about the calibration please?

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  @andreacosta84923 ай бұрын

  Thank you, it’s so complete! Thank you so much! But… what’s the range of contrast you switch from a scene of normal contrast and a scene with high contrast? Practically what is the range in stop of a normal contrast scene?

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  @fretlessfender15 күн бұрын

  Well... if you measure like 10 stops between darkest and lightest you don't have to do anything, just expose zone 5 and you are good to go. Of it is more than 10 stops it gets complicated because you have to drop down the iso of the film. Dropping down and shortening developing time will increase your contrast... up until 15 stops! This will be in upcomming video...

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  @dickvisser83633 ай бұрын

  Vierde rol Rolleiflex 1954 graag...

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  @joerg_koeln3 ай бұрын

  The F4 can do 4 fps with the standard battery grip, 5.7 fps with the larger ones 😉

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  @bondgabebond49073 ай бұрын

  Reducing the ISO to 250 improved the grain in the photos. Looks better than when you shot a ISO400.

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  @Narsuitus3 ай бұрын

  Thanks for the video. I have owned and used Nikon F, F2, F3, and F4. All are great cameras. I have never owned or used the F5 or F6.