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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

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 RUclips, 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.

Congratulations 👏

Très bon reportage. Bravo!

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 !

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. 😊

Stunningly beautiful results 🏆👍

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.

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.

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

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

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.

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)

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

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.

Excellent video. Really enjoyed it.