Simon Wyss

The vertical lines you see in the finder are thin sheet baffles that sit in front of the ground glass. They’re there to prevent light reflected from the ground glass to reach the film.

https://www.ebay.ch/itm/167296741830?_skw=c+mount+leitz&itmmeta=01JQ20S24887XN551YVEZZY06J&hash=item26f3a9b1c6:g:BLIAAOSwjFFno8SW&itmprp=enc%3AAQAKAAAA0FkggFvd1GGDu0w3yXCmi1cNnPhYCZW%2F25%2BcsrrCMUdK%2BI6CbxSWQtb%2ButPFNoYCDmBzQicdpOhR4pYCWcpVwdZXFc%2B4YXE9C17GslxvcReeYVkUAhm7ueq5hNlbMFULDd1iOrVvoIBDRkl4%2FWguu%2FvD5kRAZbLi4szzTNJFfh3PO4pquQXxfmPXy1Iuu7BXfx8fImIGvW2aDnnq8X8f8MC9rvJ%2F4ztr%2FFxKvrSwS2e%2BIIeGIH6I2iJO5B3D6qWX4g%2FaqfSw5MwFLcBjj%2FezPPM%3D|tkp%3ABk9SR6qi5MC4ZQ

Automatism is one thing man has had enough of, at least me.

I’d wish you wrote the name Richter correctly for a beginning.

What is it that makes you not want C-mount lenses? This camera was made for them and you can find C-mount optics that will satisfy every wish there is.

For action shooting, OP writes ski films, the following aspects ought to be considered. frame rates; is acceleration wanted, is slow motion desired shutter opening per cycle; is smooth movement rendering important or less blur in favour of a more staccato movement acceptable how much film shall be loadable; 50 to 400 feet volume, weight, ruggedness, serviceability; from a GIC 16 (loads 50 feet, runs at 16 fps only, has 140 degrees shutter opening angle, has fixed register tongue, C-mount thread, can take lightweight lenses) to the Eumig C 16 (runs up to 64 fps, has 160 degrees shutter opening, built-in Eumigar 25-1.9, an Ernostar variant, semi-automatic iris) to a brand new Y16 (planned to appear this year or next). In the cold (skiing) you will be better off with a spring drive. No worry about batteries A 50-foot magazine loading Bell & Howell Filmo Auto Load can do the trick because it takes C-mount lenses, speeds up from 16 to 64, weighs little. Certainly, for longer during takes you want an electric drive or a Victor 3/4/5 that runs over 55 seconds at speed 24. The Victor is lighter in weight than a Filmo 70, takes 100 feet of film, younger models go up to 72 fps. Quite reliable is an ETM-P 16 from France, all steel mechanism, ground glass, high-speed model runs 120 fps top. Only a Filmo 70 Super-Speed goes faster, 128 fps.

They are according to this site. https://industrycamera.net/equipment/35-mm-vintage-lenses/kowa-cine-prominar-lenses/

Eumig C 16

From my understanding of Cosmicar branded Pentax, Pentacon, Meyer lenses you have a Petzval four-glass system. The Schneider Tele-Xenar is a five-glass design having the Sonnar front group. Quite different but both will give sharp images, the Cosmicar going soft in the corners at f/3.4 to about f/5.6.

These cameras, if serviced correctly, can be run for years with a little oil every 5,000 feet of film. 100,000 feet in two years would mean 125 magazine loads of 400 ft. a year. That’s two and a half magazines a week, television consumption of the time. After ten years a service is indicated anyways.

When I participated in the projectionists world we had the saying: everything in use is running on spools, everything in storage sleeps in bed, the canister. Tightwinds are very practical. A flat disc and a smooth hardwood block work also.

It does and you can do it the wrong way by either method. Canister vertically gravity distorts the mass unless the film is wound tight on a core. That films need air is overlooked. For short term entreposage and sorting the better method, see an editing room. Can horizontally the support must be well flat, else entire rolls are distorted and or may have kinked edges. It’s easy to ensure that the convolutions have air between them and the core doesn’t play a role. This is for long-time archiving.

Just one entry: https://www.jwwinco.com/en-us/products/1.3-Adjusting-with-handwheels-and-cranks/Spoked-handwheels/GN-950.1-Cast-Iron-Spoked-Handwheels-with-Large-Hub-with-or-without-Revolving-Handle

Var så god.

It’s always possible but you won’t see an image because the subcoating remains substantially opaque, a thin layer that contains manganese dioxide. This acts as a countermeasure to stray light reflected by the base plastic or antihalation agent. It must be bleached and thus made soluble. The clearing bath dissolves it out the film like the fixing bath dissolves the remaining silver compounds.

Indeed. A high-contrast recipe isn’t necessary. A HQ rich developer will do fine. Dichromate bleach, though, a clearing bath, then under water for second exposure with incandescent light. Same developer again, rinse, and fixing bath

Svema OC 50 probably

Sometimes I wonder . . . As stated a Paillard-Bolex H reflex finder camera bears the word REFLEX. There is one model of which a reflex version never existed, the H 9.

22 degrees The Eyemo could be had with various shutters.

Attention, side finders are frequently found with Reflex models. They are a useful accessory for situations when the reflex view is dim.

A Paillard-Bolex H reflex finder camera (1956 to 1969) is lettered Reflex. A Bolex H reflex finder camera (from after January 1st, 1970) bears the designation Reflex or SB or SBM or EBM or EL. The Bolex 16 Pro have a reflex finder, too. This one reads H 16 M. No Reflex

Also disassembled parts. Finder must be complete. PM

Joking aside, the lenses look worse than they probably are. Wrap each in a plastic bag, and put them in protective boxes. A pro can work them up. The camera body may need to be replaced. Decisive is the state of things inside, how much rust there is and where, quality of mainspring, wear on gear train. The rest can be groomed. It’s a REX 1 from between 1956 and 1960.

Wonderful, I’m awaiting an order in order that I can note six grand on the bill.

https://www.filmvorfuehrer.de/topic/24892-darf-ich-vorstellen-kiew-16-alpha-die-leichteste-und-lauteste-federwerk-reflexsucherkamera/#comment-278877 Pretty straightforward, screws in film chamber. Why don’t you first remove the handgrip?