I thought I had already used all of Kodak’s color negative films still in production, but I somehow managed to miss out on the Pro Image 100. How does it compare to the readily available Gold 200 and the Portra 160? Let’s try to find out.
Processing (C-41) and scanning was done at urbanfilmlab in Germany, the pictures in this article are from one roll of film.
Continue reading Analogue Adventures – Part 34: Kodak Pro Image 100
With the release of Sony’s first A7 series camera we saw a renaissance of many legacy lenses from “dead” mounts like Canon FD, Olympus OM, Minolta SR and several more. Because of flange focal distance issues these lenses often couldn’t be attached to modern DSLRs. And even if it was possible, it was a pain to use them on DSLRs, thanks to their matte screens being unsuitable for manual focus lenses.
Let’s have a look at the history of focusing aids in fullframe mirrorless cameras and who does it best.
Continue reading The best fullframe mirrorless camera for adapting manual focus lenses
This Harman Phoenix 200 is said to be a newly designed colour negative analogue film that hit the market in early 2024. Many people did not expect anyone except for Kodak and Fuji even being able to produce a (new) color negative film, so it created quite the buzz. I am all for more competition, but I am not really sure this is the film we were hoping for, let me tell you why.
Processing (C.41) and scanning was done at urbanfilmlab in Germany. The pictures in this article are from two rolls of film.
Continue reading Analogue Adventures – Part 33: Harman Phoenix 200
When Sony released the first affordable fullframe camera with the A7 in 2013 almost none of the enthusiast photographers were aware of issues related to filter stack differences. Filter stack describes what is in front of the sensor and different manufacturers decided to go for different thicknesses here that can influence how our lenses perform. If you stay within just one system this is usually not something to care about, but when adapting lenses it is very helpful to be aware of this topic.
In this article I try to tell you about these differences and for what lenses they matter, so you can find out if it is something that might affect you.
Speedboosters are still somewhat popular among videographers, but since these days used fullframe cameras are very affordable, this is not really the case for still photographers anymore. They can be used for some creative shallow depth of field photography on fullframe cameras though, and that is what we will have a look at here.
