Camera and film reviews, and behind the scenes of working at a film lab. Learn how we develop, scan and process C41 color film, Black and White, and E6 slide film, for the modern film photographer. We want to help you shoot more film, more often by sharing our knowledge one roll at a time. thefindlab.com/
Loved your video. I also feel the same line of thought as you do. I'm the last of my family. Thoughts alone are not enough,. Pictures help a lot. Thank you for your video and know that they are always in our hearts. God Bless. Roger
I have bought a C35FD (the Japanese edition of the Auto S3) and I am waiting for it to arrive. I got a very good price because it is supposed to not work well, the shutter is unstable because the power unit is unstable, according to the seller's description. I have the impression that it is a question of the battery, because they used an LR44 and perhaps it was not at 100 percent of its capacity or who knows. I think that an SR44 will be better for you, I will try it when it arrives. And if not, I hope it's easy to fix. You are aware that it has a manual 100 x 100 mode, right? Thank you
can you tell me what the lever is around the shutter release? I have a 2.8 E3 and cant even find it in instructions. Doesnt seem to make any difference if its up or down
I have had at least a dozen Rolleiflexes. Two or three 2.8As, a 2.8B, a 2.8C, and a 2.8E. The rest were 3.5s, ranging from the Old Standard to the 3.5E, along with four or five Rolleicords. I prefer the 3.5. There are few shots you need a 2.8 on that cannot be taken with a 3.5. It's only about half a stop. The 2.8 is larger and heavier. And get one without a meter, as that also increases the size. I got rid of my metered 2.8E with the express intention of getting a 3.5E without a meter.
I just bought my first film roll and to my surprise I recieved a portra800 instead of the portra400 I thought I ordered. Turns out when I search the website for portra400 the first result is actually 800 and i didnt even notice. But from this video it seems they're pretty similar.
Great video. Very funny. I've been tempted to use a Holga for a long time. Why I'll probably never do it though: 1) The camera is cheap, but film and processing are expensive. 2) I don't want to wait until a film is full and until it comes back from the lab. 3) I own an MFT digital camera and with the right lens the results look quite similar to a Holga. But I'm still tempted ...
I found this from Analog Insights to help you pronounce the German brands better. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iW_iBmUC_Xc.htmlsi=xZj6G5tq9eymJGAe
To everyone saying portra 800 and lomo 800, it is not. You can literally go to google and look up comparisons of these stocks. You will see that both portra and lomo have MUCH MORE contrast and color saturation, or you can keep lying to yourself and looking like an idiot.
Also this stock is lowkey bad anyways and not worth the effort or waste of a dispocam. Much better off buying lomo, or even that new aurora stock if you aren’t into paying $$$ for portra. Another option is to push a 400 or even 200 speed film.
Hi ! Good job ! I just want to add my little note about parallax error and correction. I bought my fist 6x6 camera in ‘51 first Rollei in ‘53…..Parallax correction corrects the angle of view of your set of lenses so you do not end up with a slightly but annoying head cut off especially at close range. However, what you see in your finder still is not what you get ! You should test that carefully so that you will remain concious of it for a long time. In the majority of your shots it will not matter and will swear you got what you saw !! What is my point ? Well. there will be a time when something in front or in back of your subject will be important to you, this apply mostly to relatively close shots. Behind your subject you may have a variety of backgrounds that you may want to see in your photo as you see them in relation to your subject or that you may not want, at least fully. This goes from WC to the Eiffel Tower or graffity. The solution is easy once you have identified that there could be this problem. So, I bend my knees and look to see what my taking lens will see when I press the trigger ! That is it ! I get back to my normal shooting position and shoot. When using the sportsfinder the difference is bigger, of course, but just use the same technic. As I am typing this on my tablet I can see my landline phone showing two rows of numbers on top of my tablet, if you see what I mean, and lowering my head to where my taking lens woul be, I only see what’s above !! It works the same with objects that are between you and your subject. It would be so much easier in person but I hope you try to see the point, I have always used this technique. Good luck !
Thanks for your helpful video. I'm retired and decided to add photography to my hobbies. Based on your video and comments below I bought a Nikon F100, but no lens yet.
Hey- If you think you may be interested in macro work, you should buy some of my gear. I believe I have a 60mm, 105mm Nikkor as well as an R1 macro twin flash. Very, very trick flash set up.
I completely overlooked the fact that I left my comment two month ago in German. So here it is again in English, before you need a translator like me 😁: So I can recommend the Praktica LLC, the Praktica PLC, PLC2 and PLC3. From bulb to one second to 1/1000 second. TTL metering at open aperture, if you use the Pentacon, Prakticar or Carl Zeiss Jena lenses that have electric on them. TTL metering at working aperture with any other lens with an M42 screw thread, including the Helios 44 lenses etc. The only other thing to consider is the batteries. In terms of size, AA batteries would fit, but instead of 1.5 volts, the Praktica requires three times as much, i.e. 4.5 volts. However, as the mercury batteries used at the time are no longer permitted and, as far as I know, are no longer manufactured, it is possible to get an adapter at a reasonable price. You can also find one quite cheaply if you enter Praktica battery adapter on the major sales platforms. These are supplied with a pack of 10 LR44 button cell batteries, three of which are needed for the adapter. Works perfectly. For those who want something a little more professional, for example with interchangeable viewfinders, as with the Nikon F2, Nikon F3 etc., the Praktica VLC, VLC2 or VLC3 would be a good and inexpensive alternative. Greetings from Germany
I just saw this video in my feed. Interesting results between all the photographers. I have yet to schoot this film. You mention anamolies. The latest version of Lomochrome purple has these dots on them. I have not schott any of the lomo purple yet but bought 3 rolls of the Turquoise.
The video mentions one of two major issues causing light strikes on 120 roll film. He discusses keeping the roll tightly wound after exposure. The omitted issue is keeping the roll tightly wound onto the take-up spool when loading and advancing the paper leader to the "start" index mark. If you pull out excess leader to help get the end-tab into the take-up spool, then start advancing the leader and film to the first frame on the roll, that first length of paper leader can wind loosely on the spool, billowing out and increasing the diameter of the exposed film roll on its spool. This situation, often referred to as "fat roll", can cause two issues: (1) when fully exposed, the last couple of wraps of film and end paper can expand to stick out beyond the spool flange and get exposed to light, and (2) the "fat roll" can get large enough in the camera to jam in the film take-up chamber before you fully expose the roll. I shot 120 film for 35 years before I experienced this second problem in a Pentax 67. It turns out that Pentax devoted a full page in the camera manual to the issue and its avoidance, but then with YT, who reads manuals.
Thanks for sharing! How does it work with light damage to your film roll when you enroll it, for example to scan and develop by yourself at home? Is it damaging to your film when you hold it like you did at 6:47?
That roll had already been developed so it's fine to have it out in the light. If the film was not yet developed and it was out in the light like that it would be ruined.
I agree. I have owned as many as 8 gold lenses. I am down to 3 gold lenses. They are amazing sharp and as you have said, the subject separation is amazing. I shoot many vintage lenses and mainly for the wild bokeh I get. The gold lenses do have bokeh, but not the same. I have found 65mm gold lenses is about the smallest you can go without some serious vignetting. I shoot mirrorless and I use helicoids and RAF camera collars to mount any of my gold lenses. Of course I shoot wide open without an aperture control. Works well enough for me.
The Canon AE1 is a camera to AVOID. 70s electronics was junk. In fact, only get mechanical cameras, not the battery dependent cameras this guy is suggesting.
I was told something similar. Said the reason why was because the electronic components were just awful and if they damage now, it’s basically un-fixable
You can actually fix the electronics pretty easily they're well documented and if you're comfortable with a soldering iron easy to fix, key word there comfortable with a soldering iron which beginners are probably not. I'd also suggest fully mechanical or one that only uses it for the light meter.
@@lucaslucas2933had one passed down to me and nothing is wrong with it. Still shoots great. Just depends on how it’s kept. But I think this applies to all vintage items.
It def turns heads even if you're going super mellow waistlevel. People always have something to say to me on the street. Its a shame because that is why I bought it. To feel less confrontational on the street pointing a camera. Yo I just posted a new vid featuring my yashica. Check it out if you get a chance man. I subbed cuz we're yashica bros! lol
Thanks for a nice presentation of this little camera. I bought one at an online auction last year for $20 but haven't used it yet. Will immediately test with black and white film
Personally, I think the 645 1000s is far sexier than any of those "modern" Mayiyas. Not a fan of a plasticky looking camera that may as well just be a run of the mill DSLR aesthetic. Also, I could care less about interchangeable backs. I guess if you're using a 30 year old medium format camera for professional work in 2024, it could be an issue, lol. I've had 2 Hasselblads and never once cared about the interchangeable back. I'll shoot the film I have in my camera and then move on.
