Jump to content

Simon Wyss

Basic Member
  • Content Count

    1940
  • Joined

  • Last visited

Everything posted by Simon Wyss

  1. If I had the camera with me, I’d adjust that for free. It’s too difficult to explain. Maybe you’d like to have the camera serviced anyway.
  2. No, the two-blades shutter mechanism opens until 135 degrees. You count with 133 degrees as compensation for the shutter not throwing a sharp shadow on the film but that’s rather a swiss pedantry. For 180 degrees you would have to exchange the shutter group (plus more). There is actually no two-blades variable shutter design that goes to 180 degrees. The blades must still overlap in the widest open position. Three-blades variable shutters exist, for example with the Mitchell 16 Professional, going to 235 degrees, from serial number 227 on. A beautiful camera by the way Paillard-Bolex
  3. Possibly the set screws in the shutter helical gear are not tightened. Could be something worse such as the shutter group missing. How much did you pay?
  4. Yes, it has a variable shutter.
  5. The H 16 was made from 1935 to 2016, the latest examples assembled from spare parts with Bolex International, Yverdon, Switzerland. If it means anything to you, I can assure you that there are a number of trained technicians around the globe who know the Paillard-Bolex products very well, have replacement parts, and will service lenses as well as a camera. With a Krasnogorsk you get a mirror reflex camera with a few inherent flaws and no particular service. What concerns lenses I should say that there are way more C-mount optics in reach than M-42 ones, literally hundreds, made since
  6. It’s not the most important thing. A seal can’t prevent dust entering, be it the original rubber foam striping, be it something else. One would need to seal the duct airtight, for instance if one is going to shoot in the sand. The annoying part is the eyepiece in your case. I think it takes a little too much knowledge to service all that correctly but I’d never deny anyone the ability to find out. What I shall not do is to walk somebody through the job, which is the trend experiment today. Have you already exposed some film with that camera?
  7. You may end up having disassembled half the camera in an attempt to remove all dirt. If you can imagine the 55 years old mechanism could well do with a service, let me know. Just of late an other person from Scotland was inquiring.
  8. There are two planes of focus in the finder system, one is the frosted double-prism upper surface, the other lies close to the front element of the ocular. If the specks don’t change position upon a lens swap, they’re in the finder and therefore won’t affect the exposed image.
  9. With the early reflex model the eyecup needs to be unscrewed. Use a rubber grip pad and, if necessary, pipe tongs.
  10. A practical knack, only stop down immediately prior to exposure. Have the diaphragm fully open at f/1.4 for instance, frame and focus. Then read value from lightmeter, memorize, prepare finally for shooting and close iris as the last move. If finder image is too dark to follow an object, switch to side finder (on camera lid). Have a rubber eyecup on there. If still unpractical, use a mirror reflex camera. Or a non-reflex Bolex with a reflex finder zoom lens. Or the Elgeet Cine-Flex. Or less sensitive film or an ND filter eventually in order to bring diaphragm openings to f/5.6 or f/4.
  11. If I were in your place, I’d remove all lenses from the turret and have a close look at the mirror shutter while revolving it slowly by the motor knob. Are its edges intact or is there anything chipped off? Does light reflected from it wobble? Then I’d turn the turret to get a feel of whether there’s dirt around and that the click stops work nicely. Second, a look through the finder should give a sharp view of the ground glass (eyepiece adjusted to eye). Next you insert a lens, preferably of longer focal length, open the diaphragm, and try to focus for infinity on something quite distant.
  12. I see the technical focus issues, breathing, but here the lens is set wrongly. The characters (FR F) in the right hand top corner are sharp, the foreground isn’t:
  13. I have a couple. Overhauled and with a warranty, please contact me via PM.
  14. . . . that the 100-ft. mag. CKS film path is unorthodox. The 200’s is straight.
  15. Of course one has to acknowledge that the CKS film path is unorthodox, if not adverse. The Eumig C 16 has great mechanics and, yes, the missing lens interchangeability puts it back. It has a usable base attachment.
  16. It’s not the claw’s fault. The CKS has a lateral guidance that functions only with film perforated both edges. https://www.filmvorfuehrer.de/topic/14799-darf-ich-vorstellen-cin/
  17. The 134 T has lens mount threads a little wider than the D-mount one, also different in pitch and flank angle. Adapters can be found, they look like this: I do repair and service of Bell & Howell equipment, give a three years warranty for my work. Let me express that a thorough overhaul can’t harm. Different to a Filmo 70 a little oil won’t do, the old grease should be removed on a complete disassembly. The turret disc, by the way, can be replaced by a new one with D or C or CS threads. In case of interest I’d quote such an upgrade. Greetings
  18. I know the finder optics exactly. The word Scope is just not on my mind for an optical device, have worked with anamorphoseurs. The Möller system may be of interest: https://www.filmkorn.org/faszination-cinemascope/?lang=en. You overload the H camera. We live many years after the camera got conceived. It was designed in 1930-31 as a take-along camera, not wider than the Movikon 16 for example with a turret. The Movikon 16 is from the same time, 1931-32. Originally the H came with a winding key or a crank. Compact lenses have been a goal with many lens manufacturers then. You will find sho
  19. Fabrice, what do you mean by scopes? CinemaScope anamorphot?
  20. Your are right about the Pathé having a very low optical axis, a low center of gravity, and a big base surface. It is also one of few spring driven cameras that run up to 80 fps. Competitors on that ground are the Bell & Howell Filmo 70-B, -DB, -G, and -S or the ETM P-16 which go up to 128 and 120 fps respectively. A younger Victor 3/4/5 reaches 80 fps, too. If you need such speeds For the other features in combination we have the Ciné-Kodak Special, the Paillard-Bolex H-16 RX-2 to -5, the Pentacon AK 16. CKS’s reflex system is usable until you press the release
  21. The German Wikipedia lists four classes 0, 1, 2, and 3. Class 0 comprises everything where the film runs continuously in coordination with an optical compensation, class 1 collects simple advancement movements, class 2 those with additional means for locating the stock such as moving register pins, and class 3 is for fixed pilot pins. Basically equal, only projector mechanisms fit in, too.
  22. Pathé WEBO M, M for membrane. The pellicle or membrane is a microscope cover glass of 0.004" thickness, made non-reflecting on one side. I have such glasses but never got to have them bloomed due to the costs. The volume of WEBO M repairs is too small to justify the investment, at least for me. If someone pays the expense, I will do it. Another pellicle camera is the 8mm Christen DB, also French. Same size of membrane glass
  23. You don’t use spools in the mags, dou you? There are plastic film spools circulating that are not conform with the standard, too wide. Cores can be bad as well. A correct core is slightly narrower than the film and has nothing that protrudes to the sides. Next, the film should not make any jaunt, must be wound evenly from core to head. From the descriptions I can imagine non flat film rolls. Else, a technician should go over the system.
  24. Eastman 7302 is the print film. Besides it you have ORWO PF 2 from FilmoTec which is made in two versions. One is plain, the other, V3, has an anti-halo substrate between the colourless base and the photographic layer. That subbing discolours during development. You can also print onto sound recording film, first of all ORWO TF 12 which has a colourless base. Very harsh contrast and more density. Kodak sound recording films are on a grey base. 16mm sound films are made with one perforation row only.
×
×
  • Create New...