Simon Wyss

Why should it not be possible anymore to do what the pioneers did? http://www.ebay.com/itm/Antique-wooden-camera-hand-crank-Ernemann-C-II-c-1914-Ernemann-Dresden-/121158311881?pt=US_Vintage_Cameras&hash=item1c35991fc9

Gregg is so right. The R 16 as one of the lightest reflex cameras was designed to be equipped with three little lenses like those from Angénieux with aluminum fittings. You preset them, you might be on the run, you only change focal length and expose. A reportage cam The same happened to the Paillard-Bolex H. Made as a luxury carry-along, one torpedoes its concept with a zoom lens. There are or were strict tripod cameras for heavy objectives. Vive la différence!

Agree with everybody. One thing must be considered, though, in spite of all remarks, namely that the Beaulieu R 16 claw leaves the film in the +4 perforation position, counted from the optical axis on. Most projectors and all equipment designed according to the recommendation in ISO DIN 69 move the film to the +3 perforation place. This is the also the case with most cameras and step contact printers but not with all. So pitch variation cancellation does not take place here. Some projectors effect to +1. From what I know about 16-mm. film perforators groups of three holes or hole pairs are punched generally. It is definitely the case with Bell & Howell perforating equipment. The advance error after each .9" (.8982") is almost double the error of one within a hole group. Punches and dies are made from one piece each. Sometimes it’s the film. Seldom. Mechanical play with the advance mechanism need not introduce poor steadiness because it stays in one direction. Once the claw touches the hole edge (wich is by the way the noisiest part) all play disappears. What else can be in the game? Insufficient lateral guidance. Keep your camera meticulously clean. And, yes, have the loops large enough!

Your first contact with macrophotography Towards 1:1 magnification, that is the object is pictured its own size on the film, the lens extension becomes as long as the object distance. You have to move camera and lens. Of course you focus with the iris open in order to see best through the reflex finder. Light measurement, stop down, and expose.

Why superficial when it’s about something emotional? I should choose an opposite way with one extended shot portraying the two characters. I’d try to show them on the peak of their relation just introducing the pain that will sever. Set the camera on sticks, pour light over the two, and catch the fugitive moment, if you can.

There were are back to the old panorama stuff.

There were more small cameras like this one for instance: http://cinematographes.free.fr/bourdereau-cinex-notice-1925.html

I hope it won’t be Ferrania that will teach them Germans to start understanding motion-picture film technology. An other issue with FilmoTec, note that Orwo is a product brand, not the enterprise’s, is that they cut, say, a 400-ft. portion at exactly 400 feet. No additional lenghts, no leader

Nealesk, the forum policy is that everybody displays her or his full name. The name of the camera maker in this case is Bell & Howell Co. You don’t have to worry about the camera’s light tightness. As long as you can place the lid on firmly and take it off nicely it also closes hermetically. The only danger for your film are you yourself. Why so anxious? If you need to do wrap your camera in tape but it is absolutely not necessary. Better get yourself a tripod. Shaky pictures are no comfort to anybody. My two beards

It’s fast, cheap, and reliable. A film printer can be used for 100 years. It needs a little oil then and now, cleaning, and adjustment but all in all, digital equipment never stands up to what mechanical devices can put out. While chemical processing costs more than digital data transfer, you get copies that are magnetically insensitive, shock resistant, and don’t get lost easily. But the indisputable point about film is that you can call it film. Everything else is video. Or television

Pick a different camera that is apt for single-frame work. The ACL was not made for it.

Buy the Century. Kern Yvar lenses are triplets. You can only harm their performance with an adapter. And display your real name, if you please. Forum policy

Kinoptik C-Mount apochromats are the tip of the top. Still available from Paris The bigger lenses for 35mm film photo cameras cannot perform like the smaller ones that fit to the 16mm movie frame geometry. The closer you can put the lens to the film the smaller you can build it, identical (diagonal) picture angle presumed. The small lens behaves better in regards of stray light and weight. The best results come from five- to eight elements designs. The Kern Pizar are five-element lenses. I have found that I can produce as crisp pictures with them as with a six-elements Switar. But no Kern is a Kinoptik. These are professional lenses.

Basically, any thin glass is suitable, the original ones are said to have 0,13 mm thickness or five mils (believe it or not, I am one who likes the Imperial measurements system), but one side should be anti-reflex treated. Link to England: http://www.pathefilm.freeserve.co.uk/95ninefive.htm scroll down almost to bottom of page

There’s more to it. First you have to bring claw drive and shutter drive correctly timed to mesh with the governor worms and then it’s about jiggling the front in the two directions left with the mechanism running until you have everything at peak performance. The only thing you have is your feel, above all your acoustic sense, that will allow you to determine when the gears work best. Finally the four screws in the front will be fastened, carefully one by one, and don’t let it slip. Still the front can be knocked off position any time because there is no form fit between it and the main frame. Never a simple screw does positively position anything. Half a tenth of a millimeter may suffice to stall the mechanism, something that happens often with these cameras. If you want to clean the pellicle, you have to disassemble until you can remove it. You best clean it with cotton swabs on a piece of soft rubber. If it’s glued in, better purchase a fresh one and mount it under soft rubber straps or dried rubber cement pads you give to the hold-down piece. The prism and lens combo are another pain. I have decided to glue both down into the aluminum holder, the lens offers two small surfaces for a little rubber cement, and then clamp the whole down into the groove between brass bands one of which I gave a corrugated form and the other a single longitudinal bend. Don’t hope you can mount the innards perfectly at first go. Lens and prism must stand at right angle to the membrane in two directions and must be aligned in all three directions, the one along the optical axis being especially critical since the ground surface must provide for focus with a lens set to infinity. The younger models have a little set screw for that. For coincidence of aperture and finder view you’ll need to clamp the front somehow. The rest is Yippee ki-yay, M . . . There’s still more. The mechanism plate which bears the sprocket wheel isn’t positioned by any means, either. There are only three screws. Again, trial and error until the gears turn best. One of the three shafts that find a guidance with the plate is not accessible after mounting, so put some grease in that bearing. Ce n’est pas tout. Tu dois d’abord chercher synchronisme de la griffe et l’obturateur sur les vis sans fin du régulateur et puis il s’agit de bouger le front dans les deux directions qui restent, le mécanisme marchant, jusqu’à tout fonctionne au meilleur. Tu n’as que tes sens, avant tout l’ouïe, par laquelle tu peux décider si ça marche bien. Finalement, il faut serrer les quatre vis du front, avec circonspection, sans altérer sa position. Mais le front peut toujours glisser parce qu’il n’y a pas de forme finale entre lui et le boîtier. Des vis simples ne mettent jamais rien en position. Un dixième millimètre peut suffir pour bloquer le mécanisme, quelque chose qui arrive souvant à ces caméras. Si tu veux nettoyer la membrane il te faut ouvrir tout afin de la retirer. Je la nettoye sur un morceau de gomme douce à l’aide des bâtonnets ouatés. Si elle est collée tu fairas mieux d’acheter une nouvelle et de la monter sous de la colle élastique que tu donnes au pièce de retenu. La combinaison prisme-lentille, c’est encore une histoire. Moi, j’ai décidé de coller les deux dans leur manteau en aluminium. La lentille offre deux petites surfaces pour un peu de colle. Je pousse l’ensemble dans la rainure entre des bandes de laiton, une ondulé, l’autre courbé en sens longitudinal. Ne crois pas que ça se monte aisément. La lentille et le prisme doivent être alignés perpendiculairement à l’axe optique, sur bonne hauteur et décalés précisement au foyer d’un objectif mis à l’infini. Les modèles plus récents ont une vis sans tête pour cela. Pour mettre en coïncidence le fenêtre d’impression et le champ du viseur on doit fixer le front d’une façon. Le reste est une toute petite peine. Je n’ai pas encore fini. La platine du mécanisme qui porte le tambour denté n’est fixé par aucun moyen non plus. Il n’y a que trois vis. De nouveau, essai et erreur jusque l’engrenage marche bien. Un des trois pivots qui trouvent guidage dans la platine n’est pas accessible après montage. Tu mets donc de la graisse dans ce palier.

I like the passage but other series that had started in 1965 in lack-and-white transitioned to color.

No, don’t.

Yeahs, certainly, do Super-8 everybody! Don’t listen to the old brat. But perhaps some day one or the other will remember our saying, only faintly yet disturbing like a grain of sand in the shell. Remember us, who we talked about cameras still older than the Super-8 gang Only to answer your flowers, Dom: I have written about the Pathé WEBO M. http://www.filmvorfuehrer.de/topic/17051-darf-ich-vorstellen-pathe-webo-m/ I’d like to leave it up to an English grown person to translate.

Why not Techniscope? 2-perf advance and spherical lenses might keep you well within budget. As long as you have enough light, low-speed negative stock will yield a decent quality, grain-wise. My dime

Wow! Aluminium is a heavy metal? There is nothing I can do about fetishism which is most widespread with amateur filmers. The Bolex myth is just the same. All that polished shiny aluminium! Mechanically, the Eumig C 16 is so much better than the Paillard-Bolex H 16. Of course, there are more than 20 years difference between them. The Bell & Howell Filmo is still older than the Bolex but those cameras are heavy metal, best steels in the case of Filmo. The worst of all is the Pathé WEBO. Aluminium plus lousiest manufacture. Silent now, the princess is coming . . .

I don’t like most of the motion-picture production in general, from all over the world.

That’s all plastic. Stay away from Super-8. Would you have repaired a cassette player from 1980? Same drawer

I’m sitting over a Pathé WEBO DS-8 BTL. These products are bottomless pits. Never again! Quite similar with the Beaulieu Super-Eights. I can only advise to leave the crappiest of all formats and switch to Double-8 or 16. The Beaulieu R 16 is a fine camera, I mean the spring driven models.

As much as I know about perforating in general and about perforating with FilmoTec their machines are in order. It’s much more the triacetate base that makes a difference. At Eastman-Kodak one knows well that one needs a good TAC and we all have been spoiled by Kodak’s quality or at least we expect such good film throughout. Foma Bohemia was struggling with getting TAC film base a year or two ago. So he makes a good camera stock who has a low-shrinkage TAC foil.

Its concept is indeed a good one. The Ciné-Kodak Special lives in it, model E also. You have a big housing base and a very low put optical axis. Maximum rigidity for long lenses and close-up possibilities The pellicle mount is a little French, to say it politely. But like the Paillard-Bolex H Reflex where the long prism was simply tucked in with cork pieces these are consumer cameras. Paillard after some time glued that prism to the cover sheet and underlied a piece of foam rubber. There are a few steps between all the throw-away products and pro gear. The Revere 101-103-105, by the way, has a first class film gate, far better than the Pathé WEBO. Its viewfinder, on the other hand, is a joke.