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Simon Wyss

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Everything posted by Simon Wyss

  1. 200 feet. https://www.pacificrimcamera.com/rl/01725/01725.pdf
  2. The Pathé WEBO M is a horrible construction, at least for the one who attempts to service it. Arriflex DS-8 unobtainable Meopta are service friendly, cheaply available, can be upped in optics, D-trajectory claw leaves film in same position as projector. Lateral film guidance ought to be improved, a technician should be able to do that. Large finder view. An article in German language on the Admira 8 G is downloadable from my website. The little Avrora deserves a little more attention. You have only little horizontal parallax between finder and lens. What I dislike about the Canon is the arrangement of the spools at the bottom.
  3. It was the engineer F. W. Planert who converted Pentaflex to DS-8 from around 1970 on. https://zeissikonveb.de/start/kameras/pentaflex-8.html. I have no idea how many of these exist.
  4. Just found a site with more information about the DS-8 Arriflex. https://mimundoensuper-8.blogspot.com/2020/08/arriflex-ds8-holy-grail-of-manfred-jahn.html
  5. A chronologic overview of the known DS-8 cameras 1. Pathé WEBO M, France; 100-ft spools and 400' mag., spring drive, 1 and 8–80 fps, film rewind, mech. counter, membrane reflex finder with central ground area, turret with three C threads; 1965–1986 2. LOMO Avrora Super 2 × 8, USSR; 25-ft spools, electric motor on 4.5-V batt., 1 and 18 fps, meter feeler in lid, lens T 51 M 10 mm, f/2.8, Newton finder, CdS cell; 1966–1974 3. Arriflex DS-8, Germany; 100-ft spools, 400‘ mag., eleven examples; mirror reflex finder; 1967 4. ELMO C-300, Japan; mags. for Double-Eight 25-ft spools, 100 ft DS-8, Super-8 and Single-8 cartridges, mech. counter frames and feet, PZ 9~36, f/1.8, prism reflex finder; DS-8 mag. in 1967 5. Zenit Quarz M, USSR; 25-ft spools, spring drive, 1-12-18-24-36-48 fps, models with retractable claw, Jupiter 24-1, 12.5 mm, f/1.9, Newton finder, selenium cell, hammer varnish dark grey and fawn; 1968 through 1977 6. Meopta Admira 8 G 1 Supra, CSSR; 25-ft spools, spring drive, 1-18 fps, fixfocus Mirar 12,5-2.8 (triplet), Newton finder; 1968 through 1971 7. Meopta Admira 8 G 2 Supra, CSSR; 25-ft spools, spring drive, 1-18 B./s, fixfocus Mirar 12,5-2.8, Newton finder, ext. CdS light measuring, 12 through 27 DIN; 1968–1971 8. Canon Zoom, Japan; 100-ft spools, electric motor on 8 AA cells, VS 165°, 1-12-18-24-36-54 fps, film rewind, prism reflex finder, zoom 7.5‒60 mm, f/1.4, CdS cell; March 1970 9. Meopta Admira 8 L 1 Supra, CSSR; 25-ft spools, electric motor, 18 fps, fixfocus Mirar 13-2.8, Newton finder, ext. light measuring; 1971 10. Meopta Admira 8 L 2 Supra, CSSR; 25-ft spools, electric motor, 1-12-18-24 fps, fixfocus Mirar 13-2.8, Newton finder, ext. light measuring; 1971 11. Zenit Quarz 3/5, USSR; 25-ft spools, spring drive, 1-12-18-24-32-48 fps, retractable claw, film rewind, Meteor 2-3 9~36 mm, f/2.4, reflex finder with micro prisms, selenium cell; 1973 12. Ikonoskop A-Cam DS-8, Sweden; 100-ft spools, crystal controlled electric motor, sprocket drums, C mount, Newton finder; February 2007 € 5200, not released
  6. The driving members are sturdy enough to withstand such mishaps. What may become bent are loop formers or the claws of the younger models from serial number 100401 on or the lateral guide frame. Else the film can just stall the mechanism but that’s no reason to be worried. To check a spool let it roll alone over a table and observe it.
  7. Mesmerising how Goerz had foreseen an early 21st century hype, albeit the Hypar is just a triplet after the 1896 Cooke portrait lens.
  8. If lens names confuse you, stick to Angénieux. There you have bone-dry designations. S 21, Y 1, Y 2, R 3, J 11, and so on American lens names are pure frolic. Wollensak renamed everything Velostigmat as Raptar. Bausch & Lomb has given Animar to non-anastigmats as well as anastigmats. Eastman-Kodak has cast the veil of Ciné-Ektar over Schneider and Angénieux systems. Bell & Howell had made their name put on lenses from England and France or fantasy designations on German glass. Most Eyemo lenses were made by Wollensak. In Europe you find a Biotar, a Kino-Biotar, a Plasmat, a Kino-Plasmat (different), even a Baltar that has nothing to do with Bausch & Lomb. Care for more exotic names? How about Britar, Nelor, Claror, Atear, Victor (lens, not camera), Victar, Télinor, Maikar, Sytar, Xeen (haha), Stylor, Cine-Prominar (yes), Saphir, Oplenon, Athenar, Votar, Ultra (hahaha), Mirar, Tégéa (très grand angle), Opic, Astrar, Solar, Bolar, Xenagon, Xenogon, Seminat, Tachyplast, Moviar, Polyxentar, Radar, Dygon, Thalia (yeah), Super Six? It’s a funny world.
  9. Yeah, a LEICA thread mounted lens can be fitted, Leitz and Paillard and others have made adapters. LEICA-M bayonet doesn’t work. Although I understand the lust for experiments I want to point out that the Paillard-Bolex H are 1) amateur cameras and 2) made for one, two or three compact and lightweight lenses. To take the quality of a Leitz photo lens to the 16mm screen is almost impossible with the common film stocks. I dare saying that purpose-made C-mount optics are more satisfying in use. At times I get the impression that the motto of today goes Keep it complicated!
  10. Colour temperature matching wasn’t a subject when Angénieux designed lenses. At the time the R 2 was computed still about half of the production was black and white. If you have the 18,5 mm in ARRI mount, you’d perhaps want to add an S 41, 25 mm, and an S 5, quite rare. Do you have a Kodak Reflex Special?
  11. The Xenoplan 6,5 mm is a machine vision lens, isn’t it?
  12. Right you are. I was exaggerating from a couple of Schneider of which I’m not certain whether they were still in original state or not. Two Wollensak Cine Raptar 25-1.5 I also had to free from oily mist on the glass and sticky grease on the iris.
  13. Traditionally it is reckoned with five grams of silver per square metre. That corresponds to oz. 0.17637 per 10.764 sq. ft.
  14. From experience with Schneider lenses I tend to assume grease or oil parts of grease have crept down an element. It only takes a well warm summer day. A quote based on photos is no serious offer.
  15. I wish everybody a happy new year! 🌦️
  16. Very good idea! Lab stocks aren’t manufactured to a reproducable exposure index, they’re just made, so the batches vary somewhat in speed. Labs then bracket in on a given batch. You can assume ISO 8 to 10. Trial and error will tell.
  17. Yes, image negative (internegative) and sound negative are brought into contact with print film raw stock, light shone through. On a sound or combined printer which has the corresponding heads that happens in one pass. The exposed film gets afterwards developed and there is your married print.
  18. Björn seems to be right, for a data acquisiton camera by Maurer.
  19. For £ 708 you can have a reliable 16-mm. camera fully serviced. USSR products are cheap and full of pitfalls. In case of interest, contact me. I shall make an offer for a standard Paillard-Bolex H-16 that gives you a lot of freedom and possibilities.
  20. Kind of 1930-1940s look― Angénieux founded his enterprise in 1935 and had no zoom lens until 1956. Doesn’t fit. Kinetal was a lens line for 16-mm. film with ARRI mount in 1959, doesn’t fit either. Things changed drastically from the thirties to the fourties, colour came in, reflex finder systems were introduced, magnetic sound recording began to be used, glass coating was being applied, the retrofocal lens concept got introduced (for Technicolor), the drama took hold rather than the lighter-hearted pre-war script. You mix up history without knowing. If you want to have a, say, 1940 image, just technically spoken, you work at ISO 50 or 20, a panchromatic stock. Kodachrome had 10 ASA, Kodachrome A(rtificial Light) 16. Non-bloomed lenses, for 16-mm. Taylor-Hobson, Dallmeyer, Meyer, Zeiss, Goerz, Ilex, Kodak, Wollensak, Berthiot. Lesser known makes were Leitz, Graf, Ross, Gundlach, Laack. Cameras would be Bell & Howell Filmo 70, Facine, RCA, Victor, Paillard-Bolex, Ciné-Kodak Special. What was available in 1940 but is no more today: step contact printing with labs, a well established duplication practice, titlers, hot splicers, carbon-arc projection (Strong Junior for example), variable density sound tracks, film clubs. What is it you meant with vintage???
  21. The hand crank doesn’t wind the spring (motor). The long screwed-on and folding wind crank does. I have the impression that the clutch is not engaged, its lever being turned between 0 and MOT.
  22. The run length is constant, given by a gear mechanism. Without that the spring could be wound completely on itself with the danger of tearing it off the hook inside the barrel and unwound until laying on itself outwards. I have used an H-16 the stops removed, the spring pulls just shy of the double frame number, i. e. around 54 seconds at speed 24. Please acknowledge that the speed numbers on that black dial aren’t very precise references, one is best advised to set speed by running full lengths with film while observing a stop watch. First you determine the number of frames pulled through on the counter. It varies a little among examples but remains the same with one camera.
  23. I have seen an ebayer asking $2,700 for a ruined Bolex H 16 Reflex.
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