Can World’s Smallest 35mm Film Camera Actually Deliver Quality Photos? 56 Y/O Rollei B35...SHOCKING скачать в хорошем качестве

Can World’s Smallest 35mm Film Camera Actually Deliver Quality Photos? 56 Y/O Rollei B35...SHOCKING

Just an amateur photo hobbyist learning to capture light on 35mm film and sharing my journey along the way in analog photography. 0:00 Rollei B35 Intro 0:53 First Shot with Fujifilm 200 4:06 Missing Focus then Correcting 05:54 Amazing J Street Art 09:14 Harsh Lighting 10:57 User Error 3 Shots Wasted 13:03 Heading to Folsom California's Historic District 17:17 Frustrated with Road Noise 22:39 Reality Check 23:34 Last 3 Shots 25:50 Rollei B35 Likes and Dislikes ***YOU are responsible for your own safety and the well-being and the safety of those around you while shooting and capturing photography images. By watching these videos, YOU understand ONLY YOU are in control of your own safety and DO NOT ATTEMPT anything seen in this video without properly CLOSED roadways, safety monitors, and official permits/permission. Rollei B 35 manufactured in Germany and Singapore from 1969 until 1978 Type: 35mm compact leaf-shutter camera. • Lens: Carl Zeiss Triotar 40mm f/3.5 (3 elements in 3 groups), • Aperture: f/3.5 to f/22, set via ring on lens barrel. • Shutter: Rollei Prontar leaf shutter(1/30, 1/60, 1/125, 1/250, 1/500, & B). • Focusing: Manual distance estimation (0.9m to infinity). • Exposure Meter: Uncoupled, Selenium cell meter on top plate • Film Speed: ISO 25–1600. • Flash: Hot shoe located on the bottom of the camera. • Viewfinder: Reversed Galilean finder (0.7x magnification). • Weight: Approximately 270g to 370g. • Film Advance/Rewind: Top-mounted lever; bottom-mounted rewind • Body Materials: Metal with leatherette finish (black or chrome)  The 20-gram difference (250g vs. 270g) in the Rollei B35 (or 35B) is primarily due to variations in materials used during its production, specifically the top and bottom plates, which were available in either aluminum or heavier brass/steel, depending on the production batch and year.  • 270 grams: Generally refers to earlier models or those with brass/metal top and bottom plates. • 250 grams: Refers to later production models that utilized aluminum covers to reduce weight.  Fujifilm 200, often labeled as “Made in the USA,” has become one of the most talked-about 35mm color negative films in recent years due to widespread speculation about its true origins. While Fujifilm is a legendary Japanese brand with a long history of producing its own emulsions, many photographers believe that the current U.S.-made Fujifilm 200 is actually manufactured by Kodak and is closely related—if not identical—to Kodak Gold 200. This theory gained traction after Fujifilm scaled back its film production facilities outside of Japan and began sourcing some consumer films from third-party manufacturers in the United States. In practical use, Fujifilm 200 delivers the familiar look that photographers associate with Kodak Gold 200: warm color tones, pleasing skin tones, and a classic, slightly nostalgic rendering that works well in bright daylight. The film is rated at ISO 200, making it ideal for sunny outdoor shooting, travel photography, and casual everyday use. Grain is fine and unobtrusive, especially in well-exposed frames, and the film handles highlights gracefully while maintaining decent shadow detail. Photographing Old Town Placerville, California on a roll of 20-year-expired Kodak Max 400 Versatility film feels like stepping into a time capsule with another time capsule loaded in the camera. The historic stretch of Main Street, with its Gold Rush–era brick buildings, weathered wooden facades, and uneven sidewalks, already carries a sense of age and memory, and expired film only deepens that mood. Kodak Max 400 was originally designed as a flexible, everyday color negative film with good latitude and forgiving exposure, which makes it a solid candidate for shooting well past its expiration date. Still, after two decades, the film’s sensitivity has inevitably faded, so adding two extra stops of exposure is essential to pull usable detail out of the shadows and keep colors from collapsing into muddy tones. Rating the film at ISO 100 instead of 400 allows the emulsion to gather more light, helping preserve the textures of Placerville’s storefronts, old signage, and iron details that line the street. Grain becomes more pronounced, especially in the shadows, but it complements the rough character of the town rather than distracting from it. Shooting expired Kodak Max 400 in Old Town Placerville is less about technical perfection and more about embracing unpredictability, letting the film’s age, color shifts, and grain echo the long history of the place itself, and accepting that every frame will carry a little bit of surprise, just like walking through a town that has reinvented itself many times over more than a century. ‪@Kodak‬ ‪@LeicaCameraGlobal‬ ‪@FUJIFILMKorea_official‬ ‪@FUJIFILMglobal‬ ‪@SacramentoHistoryMuseum‬ ‪@GrainJunkie‬