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Martin Baumgarten

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Martin Baumgarten last won the day on March 6 2019

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About Martin Baumgarten

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    Plattsburgh, New York U.S.A.
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    Nizo, Beaulieu, Sankyo, Canon, Nikon, Bolex, Leicina, GAF, Chinon, Revue, Porst, Bauer, Yaschica, Argus, Revere, Kodak
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    Photography, Cinematography, Videography, Filmmaking, Laboratory Still & Cine Processing & other services, Camera & AV Repair, Chrysler, Air Cooled VW, Citroen, camera collecting.

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  1. The statement seems misleading. What it means is that when the shutter is not running, closed, that no light can affect the film via the viewfinder. It at first seems to mean that no light can affect the film while filming, but that is not what it means. Virtually all Super 8mm cameras that use a prism beam splitter viewing system have a high probability of stray light from an unshielded viewfinder to affect the film via fogging. Many Super 8mm cameras have a viewfinder shutter, but many do not. If filming by not looking thru the viewfinder, it is always best to shield it. I have even just placed a baseball type cap over it if nothing else was available. It's usually more of an issue if the bright sun is behind the camera since that amount of light over powers anything you're filming. Even the German wording is somewhat misleading, and many camera instruction manuals often have wording making it difficult to comprehend some operations. Sometimes it's a translation issue, other times it's just poorly written text. Anyhow, now that you know, you're better prepared for your next filming venture with your NIZO!
  2. Usually the aperture setting defaults to the full wide open F/1.8 setting, when there isn't any power to move the aperture vanes. However, you can run the camera and just look thru the film gate to see if the aperture is closed or fully open. If you can't see the F-Stop Needle on the scale in the viewfinder display, then it's fully in one direction or the other, most likely fully open. Place a small square mirror or even glass at an angle behind the film gate and you should be able to see the reflection of the light path thru the gate and the lens. Even a square of white card stock will work, just have a bright light source aimed at the lens so you can see the gate image on the paper.
  3. Sadly, the aperture setting is controlled via the Light Meter Batteries....so it needs power to move the aperture vanes, and thus display the needle over the set value in the viewfinder display. Only some Super 8mm cameras have a mechanical linkage to the aperture vanes and display value, which doesn't require any batteries. This is one of the reasons I like the CHINON made GAF ST-xxx cameras, which have a mechanical dial on top of the camera to physically set the aperture, regardless of whether or not there's any battery power. So even if the light meter doesn't work on these cameras, they can still be used in Manual Exposure Mode. Sorry about your NIKON. Perhaps you could run a power supply to the meter somehow via tapping into the wires leading off from the battery chamber, and the might work to allow you to adjust the aperture (galvanometer) manually.
  4. Unless there is a 2nd version of the 6mm - 70mm Schneider lens for the BEAULIEU allowing the same Macro focusing feature at any Focal Length as with the 6mm - 66mm lens, this is all I know. Examine the lens to see where the Macro feature is. On the 6mm - 70mm lens I have, the Macro feature is on the Wide Angle end, and by pressing the Macro button, allows the zoom ring to rotate beyond the 6mm setting into the Yellow Band which is the Macro Range. Thus, the entire Macro Range is at the 6mm Wide Angle end of the zoom range only. Other than that, the above instructions you copied appear to be similar to the that for the 6mm - 66mm lens. If you own the 6mm - 70mm lens, examine the lens. Or if you plan to purchase it, examine the photos of it carefully, unless the seller can tell you specifically how the Macro feature works on that lens.
  5. The flashing light is the film transport indicator. Some Super 8mm cameras have a mechanical indicator lever, or notch or hole at the side, top, or bottom of the viewfinder, with a moving mask......CANON uses the light for this purpose. Some cameras such as the YASHICA LD series use a light to indicate that you're nearing the end of the film cartridge, or that you have reached the end already. But usually, that's a steady light when the film is over.
  6. Both lenses are sharp excellent lenses. The main difference is the faster speed of the F/1.4 lens and perhaps even more so, is that the Macro Close Focusing option can be set at most every focal length on the 6mm to 66mm, were as it's only on the wide angle end for the 6mm to 70mm..........and also that slight extra focal length range of another 4mm on the telephoto end...hardly any difference there. The version of the 6mm to 70mm lens for the BEAULIEU 6008 and up had the #85A Filter built into the lens, as well as a zoom limiter switch for up to 40mm or up to 70mm. So technical specs aside, it's really the practical application of using the 6mm to 66mm Schneider that makes it the more popular lens. Being able to focus very close at any focal length instead of just at the wide angle end, is much better. Especially when you can be a couple feet away or so from what you're filming or even several inches, whereas with the wide angle only, you have to get right within millimeters of the object. Some have stated that the contrast on the 6mm-66mm seems snappier, but in my own tests, both lenses have performed well. I still prefer the 6mm-66mm primarily for the full range macro capability. Hope this helps.
  7. Hi, yes it sounds huge and crazy...it was supposed to be for this film, a prop, in which we also had a guy try to ride the rocket in another scene. Anyhow, I'm 6ft tall and it was higher than I am! Also, due to weight and height, despite a large engine on it...it didn't get much higher than about 200 feet. We had hoped for something in the 300ft to 500ft range originally. However, the film clip worked out fine. The rest of the film is in Anamorphic 2x Super 8mm [2.66:1 aspect ratio] so the rocket view shot is stretched out but no one's the wiser. I think if I were to redo this today, I'd not bother with all the cost and build work of the working rocket, just build a prop one, and pull it up fast via thin rope and pulley attached high up on something, like a crane, bridge, pole etc.....since the camera view is facing downward, those wouldn't be in the scene anyway. It was only for a few seconds in the film what we used. The 1970s ESTES Rockets did sell a rubberband powered Super 8mm camera called the CINEROC, which only exposed 5ft or so of film...if even that much. Most users processed the film themselves since a short length of film could easily be tray or still film tank processed loosely. We had one of these, but were disappointed by it and the quality, thus built our own cutting away at the HALINA Super 8mm [built by Haiking Camera in Hong Kong which made many Super 8mm low end cameras for GAF S and SC models and store brand names, as well as the popular HALINA brand name. The FUJI P-2 is quite lightweight, and with virtually all of its casing dismantled, including viewfinder system, and the fold away handle....it could be lightened. Also, the ease of reloading the cartridge with any film length up to the max of 40ft using Super 8mm film stock can help. The auto exposure system is great, and masked off from stray light, it would still work fine, as long as not damaged by the somewhat destruction of this adorable little camera. [I have a couple of the P-2s and like to take one with me traveling.....despite only having 40ft or so of film to use. I have a couple of other small Super 8mm ones I light, but that P-2 finder is nice and bright]
  8. It should be quite doable. I attached a simple Super 8mm movie camera to a large rocket (about 7ft high) which only went up a couple hundred feet, and allowed us to film the takeoff and landing viewpoint. I used a Halina Super 8mm, very simple basic camera. The door and most of the housing was removed or cut down, and any remaining metal was drilled out many times with holes to lighten the camera even more. To activate via remote control, it would be easy to just activate a small power switch, which you wire into the camera's power. That way the camera is actually in Run Mode, and once the power is fed to it, it films. Later model CHINON Super 8mm cameras were mostly all plastic and very light weight! Comparatively, that Halina was heavy, but stripped of all it's essentials, it didn't even look like a camera. Black gaffer tape to help minimize any light leaks helped also. Anyhow, totally stripped down an already light weight camera can be half it's weight. If you only need a short aerial scene, it's even possible to use a re-loadable Super 8 cartridge and put a shorter load of film in there, say 10ft which would be 1/5th as heavy as a 50ft film etc. Remove the camera handle, battery container etc...and use a simple plastic light weight battery pack (various suppliers on eBay) to power the camera instead. The main housing, viewfinder system etc all can be removed/cut away to make the remaining unit as light as you need it to be yet still work fine. If it's a really simple camera, such as the GAF S-80 or S-90 models, the aperture is set manually via Waterhouse Stop settings, so no worry about a malfunctioning auto exposure system. It sounds very interesting to do! I wish you great success with this project if you go thru with it. I might look into trying this sometime. But I had thought of just using the Drone's Digital Camera for filming, and then refilming that onto Super 8mm filmstock to put into a film. I tend to project my Super 8mm films, and I think doing it this way would be much easier and have some unique advantages over trying to fit a Super 8mm camera to a drone. Just some food for thought.
  9. Regarding the auto exposure, yes, in Auto Mode, the aperture ring will move via the iris drive motor relative to the exposure meter's input to that drive motor. Sadly, the power zoom is linked to this setting also, so when setting the camera to Manual, you don't have power zoom. This can be doctored by a competent technician since it only requires soldering a feeder wire from one terminal to feed the power zoom drive when set in Manual mode. The Manual Zoom still has the zoom drive motor gearing drag on it....so if you zoom manually very slowly, it will be smooth, otherwise it won't be. That is why many BEAULIEU owners have removed the entire Reglomatic unit. Although, I have found that it's quite useful to have the variable speed power zoom, yet be able to use manual exposure. BEAULIEU for whatever reason uncoupled the power zoom when in Manual mode. This slight change really makes the camera much more fun to use. Another option is to just disconnect the Reglomatic iris drive power and then you can still see the exposure setting via the large needle in the viewfinder, yet have power zoom as well. I know there are times Auto exposure is convenient, so the minor operation to keep the zoom system powered is the better one. As for charging the Eneloop batteries, plenty has been stated already. The original BEAULIEU charging system was designed to charge the original Nicad battery packs. Although, it would take longer, it should be possible to charge them up with the original chargers since the batteries own 'memory' will bring them to the correct voltage when full. I would check with the seller of those replacement batteries first though. To charge via the camera's rear charging port (upper port) have the hand grip switch in either Position A (as it normally is when released) or Position B (with the switch pulled out just enough to depress the Safety Button, which is designed to prevent powering the camera when carrying it).....thus....the Power Switch is in the OFF position in either setting. DO NOT USE the fully pulled out setting as that is the constant power ON position (this is Position C according to the Instruction Manual and a small Red Dot will show if pulled out too far. Lastly, IF you don't have the owner's manual, I highly suggest getting one. Read carefully, it is a translation from the original French, and can be difficult to understand in some functions, although most all information necessary is in there.
  10. Hi, there's a couple issues here with PLUS-X [PXR] in that first, it's Reversal film, so exposure treatment, IF to be processed as B&W Reversal is different than as if processing to B&W Negative...which you can do also. This film has been known to keep well, and the 7265 is last version of it. This 7265 came out when KODAK altered the original B&W Reversal formula to be more environmentally friendly: mainly changing the First Developer and the Bleach. Since the formulation change was factored in to continue use of existing motion picture film processing machines for Black & White Reversal, KODAK also made some changes to their B&W Reversal Stock, namely PXR and TXR. The Plus-X film speed was increased to ISO 100 from the previous ISO 50. HOWEVER....that is what KODAK stated to rate the film at IF processed in the newer chemistry via machine processing. IF anyone exposed the previous PLUS-X 7276 at ISO 50, it would be too light in the process, so it ALSO had to be exposed at ISO 100. TRI-X films remained unchanged in their respective filmspeed rating at ISO 200. This tells you in reality that the main change in processing was the First Developer, which has a different strength from the previous formulation and the machine times were adjusted also to compensate for the new Permanganate Bleach...which needs more bleaching time. The slow down actually affects PLUS-X films so their rating is doubled. For various reasons, the new TRI-X formulation wasn't affected, nor was the previous one. Anyhow, I mention all this in case you wish to process the film yourself, or anyone else reading this posting. Via manual processing, you can use the original formulation and times...or the new formulation and adjust the First Developer time, and still rate PLUS-X at ISO 50, both versions, and get finer grain. Since PLUS-X ages well, and if both have been cold stored, even in the fridge they should still be pretty good. If stored frozen, they will still be excellent. You didn't state how much film you have, but I'm sure you don't want to just waste it. So, if your desire is for Reversal Processing, then I suggest just shooting it normally. If you are worried, then you could bracket your shots: for example shoot one scene normally, and then the same scene again with an exposure adjustment via slight underexposure. Reversal films as they age, if processed normally, will get lighter in density, If they weren't stored well, so under exposure is the adjustment, or cutting First Development time instead. The amount is relative to how old the film is, how it was stored (if at room temp, or anywhere other than cold storage in a fridge or freezer). You won't know the amount without conducting a test. IF you are having the film processed commercially, then you'll have to rate both PLUS-X film types at ISO 100 as your starting point, since it's not worth paying the extra money to have them pull process your film, which they will only do in a 1-Stop increment anyway........and the actual needed adjustment could be much less, so better done via an exposure adjustment. IF all you have is two cartridges, then of course you can't afford to waste, and I wouldn't want to waste any film, not considering what film costs now as well as processing. Figure that IF you were to bracket your exposures at least once, 25ft of the film will be either lighter or darker than normal, and the other 25ft will be normal. This way, the roll is not a total loss, and you might also still have some usable footage from the rest since exposure is relative to the actual subject. Lastly, IF you prefer to expose it and have it processed as B&W Negative, then you can rate it at either ISO 50 or ISO 100, ISO 50 for a denser negative. Actually, PLUS-X was never finicky and was quite forgiving in exposure. KODAK allowed it to be run in Super 8mm cameras being rated at ISO 25 if using the Daylight Filter, or ISO 40 without the Daylight Filter, even though the technical film speed of the film was ISO 50 without Filter and ISO 32 with Filter, and it usually looked fine. You can also break off a small piece of the cartridge front lower wall where the Filter Notch should be IF it's not present, and then you'll be able to use the builtin Daylight Conversion Filter, which is Orange, and it will act like an Orange Filter and thus prevent blown out skies, provide cloud and water detail etc for those shots where you'd like a nice full range of tones in Daylight exposures. I hope this helps.
  11. If the meter unit is getting power and reacts to the Battery Check Button being pressed in, then the needle should deflect to the F/8 position on the aperture scale indicating the batteries are good. If it does that but won't move past F/2.8 when in Manual Mode, then it could be due to light tarnish on the adjustment metallics since it's essentially a potentiameter like a volume control to adjust the current flow of power to the aperture needle. This would require removing the control side panel cover of the camera and cleaning the Manual Potentiometer gently with a cotton swap tip moistened with electric contact cleaner for electronics. If this doesn't work, the issue is more involved. IF the needle doesn't move past F/2.8 when in Battery Check mode, then I suspect the needle is getting stuck and won't go further for some reason, or, there just isn't enough power. Assuming the batteries are good, the problem is insufficient current flow to the potentiometer, and that would require checking the wiring path with a fine circuit meter to check and see where the power loss is in the wiring harness/circuit board. It could just be losing power as it flows through the Auto/Manual Control, so once that is cleaned, it might improve. If just wiping the metallic ring that the control uses to adjust current flow doesn't work, you can try spraying the entire unit with the cleaner. Make sure you are using a fine electronic circuit spray cleaner intended for delicate electronics! There are some for electrical circuits that are stronger since they aren't made for delicate electronics. Be careful to avoid any serious over spray into the camera, and allow several minutes or more for the solution to evaporate prior to testing it again.
  12. They all are about on par with each other. The auto focus systems were primitive to anything today. Most used a contrast comparative system using a split rangefinder type setup. These usually worked well in bright light, but struggled in low light. Bell & Howell, Chinon, Elmo and Canon had the best ones, but perhaps Canon's and Elmo's were the better ones, slightly. The other issue is, these systems were on late model versions in which the cameras have other nonfunctional issues, with either the drive or exposure systems.......since by lightening the camera's weight with plastics, they were made quite cheap. Of course, there are a variety of opinions from those that actually owned and used some of these cameras. As with anything, if you purchased one and it worked well, and you were happy with it, despite it's limitations, that was all that mattered. If you can find a working camera today with auto-focus, it's a bit on the rare side.
  13. Hi, the aperture control is the knob on the left side of the camera which is marked AUTO and MANUAL to the right of the knob. As you rotate this knob from the AUTO position to clockwise, the exposure/aperture needle in the viewfinder will move to the setting you set it at. Of course...this camera requires separate batteries for the Light Meter to work in either Auto or Manual mode. This camera was built for Braun by Cosina [virtually same as Argus-Cosina, which had Chinon in Japan built them] . Hopefully the meter's movement will work otherwise you'll be very limited in using the camera. There isn't a shutter speed setting other than the running speeds of 18fps, 24fps and Slow Motion via the push button (about 40fps). The knob for adjustment is on the right side of the camera and is marked clearly with 18 and 24 settings. lt also has the built in daylight #85 conversion filter for shooting Tungsten film in daylight, cable release sockets for Single Frame and Continuous Run etc. You might be able to find more information and/or an instruction manual online somewhere.
  14. Well, you actually have FOUR models of the CANON 814: 1. Canon 814 Auto Zoom: this is the original model, very well built, lots of metal, but low on features aside from manual and auto exposure, 3 filming speeds [12, 18 & 24fps], manual and power zoom lens F/1.4 with No Macro but 1.2 meters closest range from film plane mark], single frame etc. 2. Canon 814 Auto Zoom Electronic: this model which replaced it, is also well built and is the lower specification version of the top end 1014 Auto Zoom Electronic, but with the shorter 8:1 zoom [Macro close filming added to lens at 16.5cm from film plane mark] and lack of lap dissolve feature. Most other features are the same but some changes, 3 filming speeds [18, 24 & 40fps] single frame, frame and footage counters, flash sync, variable shutter etc. 3. Canon 814XL Auto Zoom Electronic: this version offered the XL 220 degree shutter opening but still basically the same F/1.4 lens with 8:1 zoom [Macro close filming at 16.5cm from film plane mark] 4. Canon 814XLS Auto Zoom Electronic [Super 8mm sound camera], which is just as good a silent film camera as it is a sound camera, with same type lens with Macro focusing 16.5cm from film plane mark, different running speeds of 9, 18, 24 & 36fps, single frame, interval timer with 1, 5, 20 & 60 sec. intervals, flash sync etc. There are other features, but it would take up more space to list them all and information is on the internet. Only you can decide which model will fit your needs. The earlier two models have 150 Degree shutter openings and are heavier with more metal construction. The first model is built like a tank. The more complex they get later makes them difficult and costly to get repaired IF you can find a place to repair them. The only real weakness on the first model is that of the Viewfinder Aperture Display Light Diffuser on the front of the camera coming loose from dried up adhesive and interfering with the moving Needle, and the achilles heal of these cameras, the folding grip which over time causes some cameras to develop a break in the power supply, or worse, a short. To be fair, this is an issue with all folding handle type Super 8mm cameras, with a few exceptions (those that use a circuit glider strip versus a wiring harness to minimize wire breakage).
  15. Just to double check here, did you test the meter batteries via the Meter Battery Test Button in the middle of the Auto/Manual control knob? Turn on camera power, test to see if the needle deflects to about middle scale. If so, then the power from the meter batteries is reaching the metering aperture drive system. If not, then there isn't any power getting to it, thus you won't have Auto or Manual control. This could be due to an electrical short from mild corrosion either in the battery compartment, or if it existed before and was cleaned....the corrosion could be just inside beyond the battery chamber on one of the wires. If not there, then it could be where the wires run to the circuit board, if not there, then where the wires run the Galvonometer and Control Knob regions. This can be involved work to find the problem and is best left to someone that knows how to do this type of work. However, check whatever you're able to check. Usually the metering system just doesn't die. Even if the photo sensor which reads the light incoming fails, that only runs the Auto system, the Manual control system should still work since it's just a rheostat type design to move the aperture needle. Also, it could be possible that the needle is jammed.......you'd have to remove the right side silver body shell cover carefully, and then with a toothpick or thin coffee stirrer or something similar, ever so gently touch and see if the needle can be moved physically. Very gentle here....if so, then power it up again and see if it can be moved via the Control Knob....if not....and it's not jammed now, then there is definitely a power short somewhere in the power supply system, anywhere from the battery chamber, the wires leading to the circuit board etc as I mentioned earlier. Good luck, I'm hoping maybe you get lucky and it comes back to life for you.
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