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Martin Baumgarten

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About Martin Baumgarten

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  • Occupation
    Industry Rep
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    Plattsburgh, New York U.S.A.
  • My Gear
    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. Early methods to rewind a portion of Super 8mm cartridge film was basically to stop the film core from rotating by taping it over......filming up to 300 frames and then via cartridge removal, use a specially made device such as the EWA Film Rewinder or Craven Film Rewinder. Going the full maximum of 300 frames though could sometimes cause marks on the film due to the bunching up inside. The Super 8mm cartridge is a coaxial design, in which film runs from one side of the cartridge through a somewhat torturous path, to the take up core side of the cartridge. There isn't any feasibl
  2. The article link is helpful for those desiring to shoot their unexposed good condition film at ISO 20 and manually process it themselves. However, the original person posting the question is looking for a place to process old film exposed many years ago. [Er hatte nichts gesagt uber selbstenwickelung, nur das er einen Labor finden mochte ihmseine Filme entwickeln zulassen. Aber, dankbar fuer denn Link trotzdem]
  3. Odds are against it due to the higher heat and humidity despite being sealed in the can. The oldest film I have processed was made in the late 1940s, and while something came out, it's so terrible that it's impossible to tell what you're looking at, due to the mass infusion of fungus damage in the film emulsion. I wouldn't give up, and at least with such film length, small pieces can be experimented with to derive the best way to process. However, if this film is nitrate based, it would be dangerous. Also, there will be a high probability of the film having developed vinegar syndrome, whi
  4. I process these films all the time here in my custom lab service at Plattsburgh Photographic Services. I'm a tiny one man operation these days. Anyhow, results depend a lot on the age of the films, how they were stored and what amount of heat and humidity they have been exposed to over the many years since exposed in the camera. KODACHROME KA-II films were manufactured prior to Sept 1974 thus are very old, and these can and should only be processed as a B&W Negative using a high contrast developer and compensated for age fog. The same holds for very old KODACHROME 40A films. All KODA
  5. Ah yes.....there is a flaw with the LOMO tank...a few actually. However, the one possibly causing your light flashes is the bowel of the spindle. There's a small tiny hole drilled in it for liquid to drain. Light passes thru this and fogs film closest to the center of the spiral reel. Just tape it over with a piece of black electrical vinyl tape and that will cure the issue.
  6. That's great, as JOBO has made fine equipment for film processing. I just think that tank is way too expensive for something made out of plastic, but the design is elegant....and much easier to load for most than the spiral reel design. For film drying, many folks just loop the film emulsion side out around vinyl rope or hooks hung up in a relatively dust free room [bathrooms work great]. I prefer to use wooden film drying racks that I build myself. Mine are 2ft long wooden half round dowels affixed crossed wood slats creating four dowel surfaces. With care, each rack will hold up to
  7. The 1/96th of a second shutter speed is considered "normal" on the BEAULIEU 6008S due to the design of the oscillating guillotine shutter....which moves up and down, rather than of a circular design as are most movie camera shutters. In the circular shutter design, the shutter speed per frame is determined by the 'pie' slice wedge opening angle as well as the rotation speed (frames per second)......on the BEAULIEU, the math just works out in their design to be 1/96th per second, as that is their standard setting. In the LL setting, the did a modification on their shutter to allow a bit more
  8. Hopefully someone else will provide some useful information. However, the last time I had such a NIZO serviced it was by LEITZ in the UK, and even after that it still wasn't correct. Most of the best service centers for repair on NIZO have been in Germany, but that has dried up. The main issue with these higher end NIZO cameras is that they rely heavily for most functions via a CMOS chip on their motherboard. This was early sophisticated electronics, and when something went wrong, it was replaced....often via Warranty long ago, and afterward, it was a costly proposition. Any existing CMOS
  9. These GK Super 8 pressure plates are rare as not that many were made. After reviewing all the initial testing done on them, as well as my own tests, I find that it's not really worth it. IF you wipe the film gate prior to each cartridge load with some soft cotton flannel that has been moistened with either Movie Film Cleaner with lubricant, or a good quality Silicone spray (one that doesn't harm plastic, and wait several minutes until the propellant has evaporated prior to wiping the gate. I keep one in a small zip lock bag in my camera bag so that I can always do this)....then the film wil
  10. Hopefully your project worked out in the end. I only just caught this thread today. Everything Robert said is on the money. Even in my former Air Force laboratory days, all film was rapidly inspected in the darkroom to ensure there weren't any machine breaks. Film does slant sideways a bit from top to bottom rollers in the tank racks, so there is a sideways stress on the film, and there's torque on the film being pulled thru (lessoned via the soft touch rollers on top, but still there nonetheless).....so any edge cut or fold will weaken the film especially on the side which has the main sla
  11. 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
  12. 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,
  13. 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, the
  14. 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
  15. 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.
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