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Frank Wylie

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Everything posted by Frank Wylie

  1. No, its a specialty lens. Here's a few details: http://www.savazzi.net/photography/printing_nikkor_105mm.html
  2. Jacek, I have to suspect that you are correct in that by the time your lens was manufactured, they were probably not designed to be serviced easily; just replaced. Once you get a good replacement, you could perhaps then go at the old lens with a bit more "gusto" and maybe understand how it was assembled for future reference. I sometimes do this just to satisfy my own curiosity if the lens is otherwise useless and headed for the landfill... I hate to toss any lens, but sometimes it cannot be avoided. I've cleaned quite a few primes myself; most aren't bad, but I have run into some assemblies now and then that are either over engineered or just worn-out and irreparable due to non-existent spare parts. Good luck with your quest!
  3. Primes are bad enough, but zooms... very tricky. I see spanner slots in the rear of the lens; you'll need a lens spanner and/or some friction tools at a minimum. Forgive if you know all this stuff, but a good general tutorial site is Richard Haw's site for repairing lenses; https://richardhaw.com/lens-camera-repair-fundamentals/ He covers still camera lenses, but the principals are the same. Wish I could be of more help!
  4. Does anyone know any company or individual who is still servicing Nikon Printing Nikkor's (you know, like for an optical printer)? I have a 95 and 105 I am considering purchasing, but they were stored poorly and have some obvious issues; I need someone who can evaluate and possibly clean the internal elements if they turn out to be worth salvaging. I work on my own Nikkor's for still cameras, but these spook me a bit AND I haven't totally committed to purchasing them yet, so... I wish John Monseaux was still around; miss him. Thanks for any leads.
  5. Improvise! Unless you are just swimming in money and have to throw it away to keep the giant stacks from falling and crushing you; It doesn't have to be an "official tool" (if there ever was such a thing). Any form of sheet rubber with some degree of tackiness and a PVC pipe or olive jar of the right diameter will work just as well. As for deleting; don't know. Sorry!
  6. Up until the late 1990's, Chace Audio required a 3/4 inch U-matic transfer of picture elements with a LTC window burn over the pix for syncing image to audio restorations. We produced them on a special Steenbeck with a Sony 3 chip standard definition camera, a time code generator and a special transfer prism. Boy, if you want lousy images, this is the route to go, wretched indeed, but it got the job done. I even remember a Columbia Executive demanding a U-matic copy of a 3 Stooges short we were working on in 2001 or 2002, so he could screen it in his office. Seems he was unwilling to play it back on his computer as a file and had to have the tape. We still have that Steeenbeck... and it still makes horrible transfers, but luckily it rarely gets used anymore... Say what you will about the format, it was almost bullet proof, except for that darned one rubber belt that broke at the exact wrong moment; former users will know exactly what I am talking about and probably STILL have a box of them laying around somewhere...
  7. (I now see this is a duplicate thread started by the OP. Only ONE is required; multiple only waste bandwidth!) A friction tool is the best bet. A solid rubber stopper, a gum rubber "puck" or or any rubber type item like a jar lid opener can be pressed firmly and evenly down on the face of the ring while turning. Its like opening a stubborn jar of pickles; press down and turn while gripping the lens barrel firmly. If you use sheet rubber, find a similar diameter object with a flat bottom, place the rubber sheet over the ring and align the bottom of the can or bottle or whatever to fit over the center of the ring, touching evenly on the rim of the adapter. Start with light pressure and work your way up; sometimes it comes of fairly easy, other times it can take an amazing amount of force to remove a stuck ring. This video deals with lens disassembly with a specific set of tools, but the same principal applies:
  8. Wow! Thanks! Reminds me of my paper pile in boxes and filing cabinets. Maybe I should get them to scan them...
  9. The first question would be; is it actually in the film gate or is it in the viewfinder? Depending on the camera viewfinder and how easy it is to disassemble, it might just be on the back side of the ground glass. Getting to that ground glass without causing problems might be the issue. If it's in the viewfinder only, well that's certainly an irritation but not a game stopper. Cleaning the viewfinder path could cost considerably and take a while, shipping it to and from a repair technician. The second question is; what camera are you using? If you don't have it, a good book to get and read carefully is "Professional Cameraman's Handbook" by Verne and Sylvia Carlson (revised edition). There are sections in the book on how to do a gate check during a shoot to avoid hairs in the image. If you already have or know of this publication, sorry but it's the best reference I know outside of personal experience with any one type of camera/viewfinder combo...
  10. The slightest bit of decomposition will start the emulsion to lift and can strip it off the base. Sticky/decomposing nitrate is insoluble in perchloethylene or HFE, but even the smallest bit of water in alcohol can affect decomposition, smearing it onto buffers and ... well you can imagine. If you ever have a bit of nitrate where some decomp is bubbling up on a frame, and you are willing to sacrifice that frame to save the reel, then you can wipe the decomp off with a damp cloth, let the film base dry (its usually just the emulsion that has gone bad) and arrest the spread of decomposition in most cases. It is the out-gassing that is contagious to the prior and post wraps of the reel that spreads the decomp. Anyway, don't use water on Nitrate unless you want to destroy it. If you have a totally melted reel, put it in a pail with just enough water to cover it and then transport it to a hazardous waste facility. Don't burn it; that is just asking for trouble...
  11. Look for a used Lipsner Smith 900 to 1100 or so series of alcohol based cleaning machines, as long as you don't feed it deteriorating Nitrate film. You don't want, probably can't afford, a nitrate-capable perc or HFE based cleaner; permits and/or fluid costs would be prohibitive and the fumes are toxic (at least for the Perc), so you'd have to install a vapor recovery system. You will need an outside vent for the LS machine quoted above or you'll stand a chance of fines or an explosion... Cleaning machines are more efficient; give you time to do something else while the film cleans and you can always send a reel back through multiple times
  12. Sell it on Ebay without a warranty. People will buy ANY film stock, regardless of age or storage, for various reasons. Here's the description of the film: https://125px.com/docs/motionpicture/kodak/kodak-rar.html
  13. We all deserve a minute or two of reflection when we exit this wildly imperfect, beautiful World. Geoff deserves even a few more... https://gboyle.nl/cinematography/?p=630
  14. Rusty Scrims? Didn't he work for Russ Meyer? 😃
  15. I have found the secret to using a larger head for a smaller camera is to properly "warm up" the fluid before using it. Back the pan and tilt drags off to minimum and vigorously exercise the head, both pan and tilt, for several minutes prior to use each day to get the fluid uniform and warmed-up. Then tune the drag to suit your camera weight. You should be fine.
  16. The camera needs a CLA - clean, lube and adjustment. The old lube has probably solidified and is gumming-up the works. With that being said, I wish you luck finding someone who can repair it for less than 10 times it's worth. You are probably better off trying to find another one in operating condition. A last ditch effort could be to set it in the sun in a window with the lens caps on for an hour or so. The gentle heat might loosen up the old lube and you can put new batteries in it and see if it will take-off and run at normal speed. If you do get it running, let it run for an extended period out of the sun; give the lube a chance to re-liquify and re-distribute itself around the working parts. Keep the camera upright at all times; don't lay it down on it's side or the softened lube could migrate into areas you don't want it to be. Don't point it down or back; normal, level operating position until you are sure it has cooled down to room temperature. Just be sure to run it no faster than 24 fps; don't run it empty above that speed. Good luck.
  17. Yes, but it will be a very poor image with extremely low contrast (assuming b&w here). It will not be useful for exhibition.
  18. Very interesting camera. Apropos of nothing; I once owned an Art Reeves Reflex from 1944/45. It was a beam-splitter/pellicule 35mm camera that was developed for filming on the B29 Super fortress bomber. Reeves was unable to generate interest in the camera after WWII and only a few survived the scrap heap when the bombers were junked post-conflict. Wish I had never sold that camera...
  19. There are many software plugins that simulate lens flare, so it could be natural to the lens or added artistically with a plugin. Here's an old article about Knoll Light Factory and some of the available effects. https://www.provideocoalition.com/review-red-giant-vfx-suite/
  20. God I hated that "developing fluid", which was basically powdered iron suspended in a Carbon tet, Perchloroethylene or some other nasty, carcinogenic suspension. You had to paint it on the edge of the Quad tape and the iron particles would align with the recorded sine wave of the control track. I that manner, you could make a cut on each tape segment that would (sometimes) not cause a complete image roll when you spliced it back together again, but I was never great at it. The very first job I got in TV involved transferring the entire Hammer Film and API Film libraries from quad to 3/4 U-Matic (what a waste of time; the quad looked better!) for a late night "spook show" at midnight. The General Manager bought the quad for pennies on the dollar because no one else wanted to deal with the quad and the 1 inch C format library was about 5X the cost. Quad could actually give you quite a nice image when everything was lined up proper and nice.
  21. OK, I stand corrected. Sorry about that; I don't deal a lot with that format lately... As Dom suggests, perhaps the projector is at fault. Have you tried another projector?
  22. The projector you show is Super 8mm. The film strip you show is Regular 8mm. You have Double Regular 8mm.
  23. I do not know of any safe way to preview unslit Double Super 8mm film. Paying someone to slit it and put it on spools (maybe even clean it ultrasonically) so you can use a typical Super 8mm editor/viewer is probably the least costly option, but do get a decent viewer like a Goko or an Elmo and CLEAN and TEST it before you run your film through the thing! Don't get a crappy Baia or other plastic monstrosity; you will regret it!
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