Martin Baumgarten

That is just insane and reminds of me a scorched earth type philosophy. No one else can have it so we will destroy it. Some auto scrapyards have acted this way as well, even when they knew full well how rare the vehicles they had on hand were. No one can dictate to someone else what to do. But sadly, if true, it is not only very discouraging, but might make quite a few Super 8mm users not do any further business with them, even those that do not use Beaulieu cameras. I still can't believe that I actually read that on their website. Super 8mm despite some serious professional inroads, is still primarily a realm for artists, storytellers, and those that desire to capture family memories on celluloid, as well as for students of cinematography......those in courses or those just learning on their own. Not to cheapen its value, but those that usually work in this medium do so for a variety of reasons, and one is to do filmmaking at a more affordable DIY type approach. Anyhow, let's hope there's a change to this. Not everyone can afford to buy a Beaulieu and pay to have it fully refurbished. If space is such a commodity at Wittner, then park the parts somewhere affordable, or sell them if they no longer desire to support these cameras. Telling us that they wish to just dispose of them, is just so, well, childish on a certain level.

All good points presented here. I like to have a few different cameras to use, and since many Super 8mm cameras can be purchased in decent condition at cheap or reasonable prices, why not. First, a small carry all camera to use for travel or on the go. Second, a camera for most home movie stuff or similar, Third, a high end camera for more advanced options and filmmaking endeavors, Fourth, and this can be either of the previous two cameras, one which has an XL 220 degree shutter and fast lens for low available light filming, Fifth, a camera for bright light filming (many of the older Super 8mm cameras only have F/1.8 lenses and typical 180 degree shutters so not really for low light levels. And Sixth, a few beater cameras for risky shots, such as taped to the side of a car or bike or whatever so that IF it gets damaged, it's not a big loss, but still yields what you need.

As for GAF, they did make some good cameras, the triple digit series are built like tanks, and also the light meters (if still working) can read cartridges notches from ASA 16 to 500! GAF had their cheaper cameras built in Hong Kong by Haiking, and there were some good fixed focus manual exposure metal bodied models [s-80, SC-90] and then cheap junk plastic ones [s-70]. Avoid the zoom versions or auto exposure only, since they used Selenium meters which are usually dead by now. The made in Japan models are pretty good, with the triple digit number series built by CHINON being very well made. Due to age, the glue for name panels, plastic cover and lens rings have dried up (as on many other Super 8 cameras) and might fall off or have fallen off, so be prepared to glue them back in place. The ST-100 and up series are the best, all the way up to the ST-1002 (they're all built like tanks, and the ST-111 is one of my favorites, easy to use and lots of features. It has a manual fader which works great even if the meter is dead. The ST-111E is also good, but if the meter is dead, you have to use the manual exposure wheel to do fades, and this applies to the later models. If you want to shoot at 24fps, then the ST-601 and ST-801 as well as the ST-1000, ST-1001 and ST-1002 will work fine). CHINON released these under their own name with different nomenclature and some different functions, usually with a pistol grip design, compared to GAF's handle grip. CHINON also made variations of these cameras and others under store brand names, REVUE, PORST, NORIS, BOOTS, SEARS, Montgomery Ward, and FOCAL, as well as making some of the last cameras for BOLEX, EUMIG, BAUER and some others. BELL & HOWELL also made a couple of cameras for GAF, a couple low end ones as well as two XL types. The GAF Sound cameras are also built like tanks, but they only film at 18fps and single frame (or at 20fps if no sound cartridge thus kinda ideal for telecine transfer at that speed). The big issue on most GAF cameras is the eyecup, which by now has turned to a tarry goo and has to be removed and cleaned up. The eyecups made for the BOLEX H-8/H-16 Reflex cameras is a good replacement. Lastly, the capstan belt in the sound cameras will most likely be broken due to the quality of the rubber used. However, it's fair to say, that this is a possible issue on many aging Super 8mm Sound cameras, so beware. The belts are near impossible to replace except for the most adventurous. This only applies to those that have some sound film saved up or buy some stock off eBay and want to experiment. Even old film not stored cold can yield images, albeit mostly green now, or if processed in B&W Negative, in which you could use most any old filmstock out there then.

I suggest to anyone wanting to experiment, buy some cheaper Super 8mm cameras, and then use one cartridge to test several, just 'slate' the film so you'll know which camera the following shots were filmed on. Five feet exposed in several cameras would give you an idea how 10 different cameras fair, or shoot 10ft in 5 different cameras. That way, you're only out one cartridge of film and processing. No need to spend a small fortune. The higher end NIZOs were great cameras, but most of the sound ones have dead metering systems and dead or dying special functions due to the type of CMOS chip of early technology that these cameras employed. Even so, many will still work in manual mode....but make sure they're usable like that. I, like so many others, probably have nice looking paperweights lying around. Despite having cheaper construction, I still like the SANKYO XL620. A couple have died and aren't worth repairing since the two layered circuit boards are a royal pain to desolder and then reassemble. Always check to see if a camera works if the price is higher than what you might find at a yard sale. Speaking of yard sales, always bring fresh batteries with you so you can try out any cameras IF there are any for sale.

Lastly, don't be discouraged by the higher ISO films, you can use these in bright light if you use Neutral Density Filters. I always shot with Tri-X and Ektachrome 160 films in bright light, and filtered down they work great. This applies also to the 'new' but somewhat grainy though nice AGFA 200 Daylight film that is available. It's still nice to have a color reversal film, and it's also available in Double 8mm, and is coming out in Double Super 8mm also, as well as 16mm.

Thanks for letting me share my two cents worth here.

Well, with practice and following correct procedures, you will NOT, "....get subpar results....". Cost savings.....you can process a roll of B&W Super 8mm film for under $5 per roll. Color Reversal will cost you under $8 per roll. Depending on your procedures, equipment, waste amount, chemical use and storage, replenishment and/or exhaustion rates, figure 25% less or higher in costs on those estimates. This does not factor in projection reels, splices, or film leader, but those costs are low, and most filmmakers will have a supply on hand once they get going. ALL motion picture film in the early days of cinema and through the silent era up to the early 1930s when sound was already around, was done MANUALLY. Even when machines became available in the 1930s, some labs were still doing manual film processing and/or offering it as an option since they still had the setup. The bonus with manual processing is, that with care, and proper processing and washing, your film will be more archival than most done thru machines (with their albeit shorter wash cycles which rinse more than thoroughly flush out fixatives in the end stages.

As for rewind processing, while not the cat's meow and not my preference, it works well if done correctly. Another reason this method was a backup and also a standard for field processing of lots of combat footage in the military. The cranking rate is NOT the agitation rate....the film only picks up fresh chemistry for that moment between the reels, as it then is in a 'rest' state once wound upon itself. Faster or slower winding/cranking is only to accommodate the film winds per "pass" within each minute, based on the film's length, to work with the established times for each chemical stage and washes. IF you attach some film leader to either end as well, then you will end up completely evenly processed film end-to-end. But for reversal, rewind processing is lengthy, and best results and shorter workable times are achieved using a full immersion method such as Rack & Tray, Spiral Reel, or Drum and Tank. The Drum and Trough method works fine too, but only for B&W, since there is a temperature loss when the film comes out of solution which can affect results. In practice though, it's still doable. But the point is moot since so much of the original odd types of manual processing equipment are long gone, and would have to be privately fabricated. With the proliferation of a decent amount of those LOMO tanks, those are a good option for the most part. You do have to be careful, as the manufacturing tolerances were off on some of the ones I've owned. This was mainly on the lower hub, where the top was uneven, causing the flange reel above it to have excessive width on one side and not enough on the other. I adjusted this with a file on about three of the many LOMO tanks that I own. So, it something to look out for BEFORE you process. But then, anyone getting one of these will have plenty of practice time with leader or scrap film to get the technique bugs worked out first.

Best regards, MWB in Plattsburgh, NY, USA.

Did you notice what setting the viewfinder needle was at? The needle display is physically connected to the aperture vanes of the lens, which are driven by the light meter mechanism. So if you can recall, whatever it was set at in the viewfinder is where the lens setting would be. Without power, the mechanism defaults normally back to full open. However, if something went wrong, it could sit at a given setting. Another way would've been to look thru the film gate and run the camera after removing the film as you could see if the aperture vanes were partially closed or fully open. But you remove the batteries and all is working now, so you won't know. Usually, the aperture will open if power failed it, but, the battery would have to be dead...even some slight power could cause it to remain in a given position. If you can't remember, I would guess that it may have gone back to full open, so would just go ahead and have the film processed normally. If you can remember the setting, factor that into what the exposure should be for the shoot, and have the film processing adjusted if possible. Otherwise, and more realistically, you're stuck with what you got. Good luck!

Just a reminder here, motion picture film was all processed manually before the advent of machines. I have seen the huge manual processing racks, and the huge film drying racks that DeLuxe used in California in the 1930s. Manual film processing has many advantages over machine processing. Small amounts can be done, and can be done very well, as high in quality if not higher than that of machine processing. I have been manually processing film, since I was 14 years old, and also have used many film processing machines in my long photographic career. Color Reversal and B&W Neg or Reversal are very easily doable. Color Negative also works well with a bit more care required. The spiral reel method is one of the best, it's just that you have to ignore any of the original instructions for the any of those tanks and use a better variation. Film must be downloaded from the Super 8mm cartridge onto a 50ft projection reel, then wound back onto another, so that when you load the spiral reel [Lomo Tank, Powell Tank, Superior Bulk Film Tank, Jobo Reel etc] the sprocket hole side of the film is in the spiral groove. Once you have practiced with leader or scrap film and get the loading technique down, and all the other tasks involved it works quite well. Manually processed film will often last longer (due to complete adequate washes), has better contrast and tonal range (snappier image, and you can also modify the amount of contrast if needed), and finer crisper grain (which if doing B&W as Negative can be adjusted depending on which developer is used). I have color reversal film that I shot years ago, of an important family event and sent one out and processed the other one myself......mine is superior. Other color reversal films that I shot in the 1970s have various chemical byproducts from insufficient washing, as well as dye deterioration (most likely to insufficient or lack of Stabilizer Solution in the end stage). I have 35 year old Ektachrome film that has not lost any color and is as vibrant today as it was after I processed it, compared to shifted color on films done elsewhere, even by the great yellow father. If you want to invest a little bit in materials and supplies, you can process your own film, at the very least Black & White, either easily as Negative, or with more work, as Reversal (or even cooler, in a rich deep brown Sepia tone). Anyone that has ever processed a roll of still film, was able to load the spiral reel, and do it all successfully, can do movie film. The hard part here to remember is that a roll of movie film is logistically more difficult due to the film length. I have processed film in bathrooms, wiped down with sponges and vacuumed well before using them. I didn't have any dust or dirt issues when care was used, and had to wait until the entire family had long gone to bed......when I was a teen. So, yeah, if you want to try it, go ahead, just do all your homework first. I have a couple machines but still prefer manual processing here in my custom lab, as it yields high quality and allows me to offer processing of many long discontinued film types that otherwise would not get done by most people. Thanks for letting me add my thoughts.

Interesting topic using the D-mount lenses on a digital camera. I say, whatever works to create images in either still or movie formats is fine. However, film is film, and until the day comes if ever that film doesn't exist, I will continue to shoot film when I want film, and digital for digital or experimental etc. I agree, things have gotten much more expensive as the film using world has shrunk down. But then, so many other hobbies and passions that require specialty items and support can also be expensive. I would never suggest saying that crayons are a substitute for water color, or house paint for oil. So many of us use digital capture these days, whether in still or video, and yes, it can be great, but it is not film. Both media can coexist in our artistic world, and both offer their own esthetics to imaging. If I had several million dollars to play with, I would see that we would have all kinds of film types and support, but that is just a pipe dream, not even feasible. Let's hope that Ferrania are successful with their Color Reversal film venture, and in the meantime, we still have some various film emulsions to continue to use in our aging cameras; so many that still work perfectly too. Just my thoughts here.

At 24fps setting, the shutter speed would be 1/43rd second using a 200 degree shutter opening. These electronic cameras have an electromagnetic shutter cycle. Unless posted in the instruction manual, I would use the closest setting to that, however, before entering into any dedicated project, I suggest doing a few experiments first. Using the same subject matter, try the different running speeds shooting a few seconds and then blocking the lens with your hand, and then shooting the same subject via single frames. Do this at the beginning or near the end of a film you're using for whatever, make notes, and then compare the exposures. If the image density is the same at run speed as it is at single frame, then you'll know for sure. A cruder option would be to put a mirror in the film gate at an angle and shoot a single frame and observe the shutter visually. The human eye is pretty good at noting exposure variations. You could also use a maglite or similar and place an external light meter in front of the lens and note the reading and compared that to how it appears when the camera is running. Tricky, but it would let you know if there is much of a difference between the running camera and the single frame shutter speed via the reading you would get. NOTE: The meter would be in front of the lens and the maglite behind the film gate. This won't let you know the correct exposure setting, just a comparison of the single frame and running speed rates. Since BAUER didn't post the single frame speed in the instruction manual, I would assume that their reason is that it's the same.....BUT.....I still suggest a test to rule out this variable. Ideally, a shutter speed tester would let you know, but without one, this method will get you in the ballpark.

As for adjusting the exposure manually to compensate for light loss in the viewfinder exposure prism light-loss, yes. Usually this should be printed in the instruction manual also. On earlier cameras it was as much as 1 Stop, on later cameras such as this one, it was less, 1/3 to 1/2 stop. Keep in mind that the F-Stop reading shown in the camera is the physical F-Stop/Aperture opening, which is used for Depth-of-Field sharpness, as well as exposure settings and variations....BUT is not indicative of the actual amount of light reaching the film. To compare the two readings using an external light meter, set the meter at the shutter speed, or closest to it, 1/43rd of second (so 1/50th would work). Set the film speed, and read a gray card, or a white card, or something neutral, both with the camera and the external meter and then compare the two. Since the F-Stop in the viewfinder is the physical F-Stop and not the true indicator of the actual light reaching the film, note the variation and write it down for future use. It might be slight, not enough to worry about, since so many of these later cameras really have great prisms. Anyhow, one you have all the parameters and have made your notes, you'll be ready for shooting. Lastly, although it means shooting a test roll, I still suggest it to rule out any other unforeseen variable. Good luck!

Sadly, the KODAK Instamatic M6 suffers from the same problem as most of their Super 8mm cameras (with the exception of the M2 and M4 models) and Carousel slide projectors do, the darn neoprene drive gear.....it just crumbles to crud after a couple decades or more. So even if the camera will run, it generally won't transport a complete cartridge before the gear falls apart now with it being more than 40 years old. The meter batteries only run the built in light meter, and aren't needed to run the main camera. There is an on switch, and then the trigger. Also, common is light corrosion on the electrical contacts due to severe age on these also preventing them from running. I had considered getting custom gears made for the better model KODAK cameras, and now with 3D printers it might be lower cost and easier. However, there is still the labor issue of tearing a camera down and building it back together and servicing anything else needed while in there. The cost is too high, and better spent on the nice variety of higher end Super 8mm cameras that are more usable.

Hi, the following information seems close to fully cover the facts regarding your camera. Since the it's only a 3:1 zoom, the viewfinder is aerial view, so clear focusing is not really possible, easily that is. Use the distance scale on the lens. To set up the viewfinder for your eyesight, zoom all the way in, and aim the camera at an object like a telephone pole which is more than 500ft away, and set the lens to Infinity, then rotate the viewfinder diopter adjustment until the image is sharp.

If the builtin light meter is working, you should be able to use the Vision 50 film, Tri-X B&W, Vision 200T, Agfa 200 Daylight, and a few others. It's a basic camera, but does have that nifty slower 9fps setting, which will really allow some shooting in low light, albeit the slow frame rate and thus sped up motion of anything moving (which could be adjusted later in software upon digitizing). Some of these early 1970s camera also require a small button battery of 1.35volts(or two) to power the light meter, so make sure your light meter works off the Double A batteries BEFORE you try using any film. There's also the MANUAL EXPOSURE knob, which if it works okay, you can set the aperature to any setting and use a separate hand held light meter. Using this, you can use ANY Super 8mm film in a silent cartridge in this camera. It has some other nice features such as single frame and the viewfinder information to what aperture you're using etc. IF it needs the button battery, the battery check lamp won't light unless those are in there as well. Anyhow, still a nice small compact camera to take anywhere and have fun with. Good luck!

Best regards, Martin Baumgarten

Argus/Cosina 755 XL [big brother to the XL735]

marketed in fall of 1973

Silent Super 8 cartridge

lens: Cosinon f: 1.2 \ F: 9-27 mm

zooming ratio: 3x [3:1 ratio]

focusing: manual, 4 ft to infinity

zooming: auto and manual

filter size: ?(possibly 49mm or 52mm)

viewfinder: single-lens reflex with adjustable eyepiece

viewfinder information: aperture scale, under-exposure warning signal, film-end light

exposure: auto and manual exposure control; TTL EE, CdS photocell

film speed: ASA 25 with daylight filter (ASA 40 without), ASA 100 with daylight filter(ASA 160 without)

ASA notching: default tungsten ratings of ASA 40 and ASA 160

backlight control button: yes

CCA filter: built-in 85A filter; coupled with movie light socket

filming speed: 9, 18 fps, single frame

shutter opening angle: >180 degrees, eXisting Light filming

sound: no

remote control socket: yes

cable release socket: single frame

movie light socket: screw type

synchro flash socket: ?

accessory shoe: yes

film counter: 1-15 m

handle: detachable pistol grip

film drive motor: DC micromotor

battery check button: yes

power source: 4 x AAA batteries only

weight: 2 lb., 2 ounce

dimensions: 2" x 3" 3/4 x 5" 1/4

tripod socket: 1/4"

One last simple reminder here.....have to ask is sorry. Did you try to operate the camera making sure there's a cartridge inside? The LEICINA will not run without a cartridge inside as there's a small switch it pushes inward when a cartridge is inserted. You can defeat this using a small piece of wood, some plastic and tape, or an old junker cartridge. Many that aren't familiar with these cameras do not know about this, since the majority of Super 8mm cameras will run without a cartridge in them.

Hi Simon, a few last things to try: try all camera release switches, the top one, the cable release, try moving the power switch to off and on a few times (all assuming that the power supply is correctly hooked up of course), and while even holding the main run switch to on, try thumping the camera on the side a few times, use a towel around your thumping hand. Sometimes it's just something so minor that if you can get the camera to make a connection and run, and then run it for a few minutes and switch it on and off after she comes back to life, that is all it might take. Good luck either way.

So very often the weak link in the LEICINA Super is the power supply. I know you said you cleaned it and checked the contacts...however....the design of it is poor in some ways, and even when all seems fine, it still is not supplying power to the camera once you install it on the back. Make sure the camera is in the off position prior to installing the power supply block. Double and triple check the metal finger blades to make sure they are clean without any tarnish on them, as well as the recepter nibs on the camera body. Then try it again and if still not running after turning the power switch on, try moving the power supply block about a little bit to see if that gets the camera running. If so, the stupid block is the culprit as it so often is on these fine cameras. Why Leica went with this design, who knows, but it's a common problem. Good luck, hope you can get your camera up and running again!

A normal C-mount lens, be it a prime or a zoom, is designed to focus to the film plane. They won't work on the QUARZ since it already has a BUILT-IN 15mm prime lens. If you put such a C-mount lens onto the camera, you'll never be able to focus it, albeit maybe a few inches from the camera with some lenses. So, any lens you want to use on it will have to an add-on lens, one that is made to add to a camera lens. Examples of such lenses would be long telephoto lenses made to attach to some video cameras or other cameras, fisheye attachment lenses, other wideangle or telephoto type lenses. Any lens you can hold up to your eye and see thru fine with a sharp image, is usually an add-on type lens. Remember, that built-in 15mm lens is looking thru it! If you want full true lens interchangability, then consider a BEAULIEU, plenty of them out there. You would only need to buy a working body as you can use many standard C-mount lenses on it, or still camera lenses via a C-mount adapter. That same C-mount adapter would work on the QUARZ, but again, you still can only use an add-on lens on it. Either way, doing something like this on the QUARZ means some experimentation and use of step-up rings to get things to fit it, starting with a C-mount to whatever step-up ring initially. Or, to just see what might work, via taping or holding some lens to the camera with your hand or a quick and dirty setup to hold it there, and figure it out as you go. Good luck, and have fun!

Who's left that can process B&W regular 8mm film? Maybe Spectra?

 

Just finished a reel and realized I don't know where to send it. Dwayne's for E6 of course, but not clear on B&W regular 8mm...

Plattsburgh Photographic Services still processes Double 8mm format film as well. I love the B&W and it can also be Sepia tone processed as well. I'm a tiny lab, so try to support the machine using labs as if they don't get enough work, they will have to close and too many are gone already.

This has been an interesting thread. However, keep in mind that one person's idea and concept and passion is not the same as another's. To tell anyone who loves small gauge film, be it 8mm, Super 8mm, 9.5mm or 16mm, that they should shoot something else (film or digital) to get a better image when they already love their chosen format (chosen for their project or passion or whatever), is rude and wrong. It would be like watching a water color painter on location and telling him/her that they should use oil, or worse in a way, use an Ipad and work it with your fingers and create lasting high quality digital image of your work. It's not film versus digital here, nor one format against another, it's how each of us feels when working in whatever format we choose at the time. If this were not so, there wouldn't be any art supplies available, nor Super 8mm (or Double 8mm film for that matter0 stilfl available for us to use. All the HD scanning resolution and other technical support and artifacts discussed are all nice and relevant for when and if any of us decide to go one route or another, in digital conversion of film......but the bottom line is, do you like using Super 8mm for what it is and for how it works for you?! My answer is yes, it works fine for what I want when I'm using it. And since the film manufacturers are still producing film for this market, so it must be for the many out there currently using film, those who have just discovered film, and for those yet to discover analog filmmaking. Try throwing high tech this or that at those shooting still film formats, and also even more so, to those in the Lomography world! This forum is for Super 8mm supporters, shooters, users, as such, we need comments that support this world of ours, not to diminish or tear it apart. Just my two cents here folks. Kind regards to all on this forum, and let's keep our Super 8mm film world alive and fun as long as we can!

Hi, yes the QUARZ is a nice little camera. Since it's a clockwork drive all metal camera, it weighs a bit more than most other Super 8mm cameras near its size. However, the Meteor manual zoom lens is quite sharp, the camera focues easily via the crisp microprism focusing center circle in the viewfinder, and the built in light meter is pretty accurate for most purposes. The camera has several running speeds as well as single frame (via cable release socket only). The camera often sells under $100 on eBay and is a great bargain, as long as it works. Some have been known to jam, but this is rare. Similar in its internal robust construction to the K-3, i that if it should jam, any repair tech could put it right again, or gentle or firm nudge will usually coax it back to running. I personally haven't had any troubles with mine in the years I've owned it. However, since I do have many cameras, I haven't put tons of film thru mine either.

The removable zoom lens leaves a 15mm fixed focus prime lens in the camera body. While the screw mount is a C-mount, you can't put just any lens onto this camera, as you have to factor in the prime lens. So any addon type lens that requires a prime lens behind it will work, via any necessary adapters. Some examples: an anamorphic lens(works great as I have done this many times), an addon type fisheye or ultra wideangle lens, macro type closeup lenses, and other similar type lenses that do not have builtin aperture adjustment(otherwise you'll have to leave it full open, and continue to use the builtin aperture in the camera body). I suppose theorectically that if the interior prime optics were removed, it would be possible to collimate a C-mount standard lens or zoom to the body, but this would all be quite a bit involved costing many times more than the camera alone. If that is what you need, lens interchangeability, then pick up a working Beaulieu. Oftentimes the sound models [3008S or 5008S] will sell for far less than their silent counterparts. Back to the QUARZ, the only real hassle with this camera is the handwind mechanism which will tire your hand out even after just a cartridge or two. If they had made an easy to use winder similar to that of a BOLEX H series camera it would've been better. I have seen a crank winder made by someone in Australia to retro fit to the K-3 and figure something similar could be done to the QUARZ Super 8mm camera as well, but I haven't gotten around to that project.

With the zoom lens removed and the handle grip, the camera body has a very compact profile. I have used it also with very small wide angle addon lenses which were made for various other cameras such as still film cameras. These have converted the builtin 15mm to anywhere from a 4mm to 8mm range effective focal length lens, and yet still maintaining a very compact type package for filming on the go. Even just using some good grade electrical tape to hold such a lens onto the body for short term use works great in a pinch. I have also filmed thru binoculars and so a monocular telephoto lens would probably work great too. I have never met an owner that didn't like the camera. Most Super 8mm filmmakers own several cameras for several different uses; travel, family, artistic work, animation, title making, experimentation, and for more complex filmmaking. This camera can serve several purposes. Again, keep in mind that the winding it up each time might get old. I have always used clockwork cameras from my childhood beginning with Double 8mm (aka Regular 8mm) and don't really mind winding them up. However, on a tripod, doing a film project, I can see how it would bother some folks quickly. Lastly, it's worth the low price you can get these for, and you can have a lot of fun with them. Just don't use it as your everything camera, as there are others out there that run on batteries and would be easier to use for other filming. Good luck!

Dwaynesphoto dot com in Parsons, Kansas sell the Wittner AGFA 200D in Super 8mm. Freestyle Film Sales in California sell various films, Adox, Fomapan(only in Double 8mm, DS8mm, & 16mm) etc. They list ADOX Super 8mm at $30.99. John Schwind of International Film Brokers in Dixon, California also sells various hard to get filmstocks. He lists AGFA 200D for Super 8mm, also the KODAK stocks. There are others, but these three come to mind in addition to your mentioning of B&H Photo. Dwaynes Photo processes it for only $12, can't beat that anywhere! Good luck and have fun.

Oftentimes, over the years, some of the lubricant on the gears gets hard, thick, or tackier, and it will offer just enough mechanical resistance to prevent the motor driveshaft from rotating, since it too hasn't moved in ages. A good old school thump to the side of the camera with the open palm of your hand (or wrapped with a towell) while depressing the trigger, will sometimes persuade the camera to begin running. Make sure no film cartridge is loaded, batteries are fresh; and don't beat the camera, just a gentle thump, maybe a few times, maybe a bit harder to get it to run. If it begins to run, let it run for a couple minutes to help move the lubricant around inside. Then see if it will run on and off in shorter bursts afterward. If so, it should be fine. Just make sure to run the camera a bit prior to loading any film into it. Also, wiping the film gate with a soft cotton cloth or flannel moistened with silicone will help allow the film to glide smoothly thru the gate. Good luck, I hope your camera comes back to life!

At least we still have motion picture film to use in the smaller gauges, 16mm, Double 8mm, Double Super 8mm, Super 8mm, and Single-8(via custom reloaded carts), and even 9.5mm from France(albeit extremely limited). We can't bemoan the loss of what is gone (unless some wealthy hobbyist out there wants to fund having KODAK make up new EKTACHROME reversal film, which they said earlier this year they would do if the highly expensive minimum amount were ordered, of any stock). Use what we have, and continue to support those places that support us, the filmmakers, the hobbyists, the artists, and home moviemakers.

Back to the main topic, processing KODACHROME as Black & White. It works fine, and can be done via fine grain results if the film is rated at ISO 10, or grainer (due to push processing) if rated normally via the cartridge notching system in most cameras. It looks great also as a continous tone B&W Negative, and terrific is a different way via Sepia Reversal processing. This all applies to "good" filmstock, that which is not too old, and/or regardless of age, has been kept in deep freeze since new or nearly new. There's still lots of KODACHROME Sound film out there that hasn't been exposed, and it's a great way to make use of any functioning magnetic sound camera! Nicely done, that single-system sound can be just wonderful, and surprisingly clear audio, even with filming at 18fps. I'm often still amazed at my earlier sound films, great audio, great picture, and super image (especially some of that CinemaScope stuff shot with my KOWA 16H lens). So, have some film to shoot? Go out and have fun, document the family, your trip, your friends, afterall, it's summer now in the northern hemisphere. Best regards, Martin Baumgarten

There were many good answers to this question. I thought I'd pop in as well. Very early Super 8mm cameras, those basic models such as the KODAK M2 and M4 which didn't have the later neoprene drive gear, and many other simple basic Super 8s such as the Hong Kong made GAF S-80, can easily be serviced and should last for many more years. The issue is with more complex motor zoom and electronic cameras. Those that didn't offer a mechanical manual override on the meter, are rendered useless if the meter dies. Another reason I'm a fan of the Chinon made GAF ST-111 (and others) where even if the meter dies, manual aperture settings and even fades can still be accomplished (and the other name badged versions of these also made by Chinon such as Porst, Revue, Chinon etc). These cameras aren't the top end of course and have their own drawbacks....but every one of these in my collection that I have used, still run today so I can continue to use them from time to time. Some of the electronic cameras from the early 70s might surprise you, as many YASHICA LD6 etc are still functioning fine.

The big trouble comes with the era of mid-1970s camera onward, as many were using early Cmos chips to control a host of functions. This is a major issue with the Sound NIZO cameras. Often, you'll find one that runs, but the autoexposure is gone, and sometimes so is the manual exposure driven by the same servo motor. Also, when the chip fails, the fancy double-exposure, fades, and lap dissolve functions cease working. The lap dissolve in the YASHICA LD4/6/8 cameras is mechanical/electrical, not electronic....as is this same function in the NIZO S-xxx series. Having repaired and worked on more Super 8mm cameras than I wish I had over the past few decades, I speak from experience. Another reason many Super 8mm Filmmakers default to cameras such as the BEAULIEU silent series since they still have lots of repair support. Even one of my favorite cameras, the SANKYO XL620 dies from a variety of issues: trigger release breaking internally, speed control failing, and the foam noise reduction padding in the film chamber turning to goo....if you don't contain it or remove it, it can seep inside the camera due to flaking off and gum things up. While I love this camera, it's a nightmare to repair, with dual layer circuirt boards where both must be desoldered to get deep inside, say to fix that trigger, or replace the capstan drive belt.

That is another frustrating issue, the capstan drive belt, as they have failed from age in the majority of cameras I own. And they can be a royal mess to try and replace, often not worth it. However, now, since I still want to shoot single-system sound film (since there still is tons of it out there that's never been shot, and can always be processed to something usable, even if as a B&W Negative), I have no choice but to repair these belts on the ones I want to use. Buying one off eBay or elsewhere usually results in the majority of them also having failed from age, or will before I ever make it thru a cartridge of film. There was a real glut of consumer cameras, and as nice as those small sound ELMO cameras are, they seem to fail, not only due to lack of use, but for various age related issues. They, like most of our consumer electronic products, were built for the short term use period, not forever. Many or most could be repaired, but even if you only paid $10 per hour for repairs, the amount of hours to disassemble, repair, clean, check, adjust and reassemble a camera, making a new part somehow notwithstanding, will still get very costly.

What is the answer? Buy those cameras that have earned a reputation for longevity. While a pain to have to wind up each time, the russian QUARZ Super 8 camera has various speeds, manual exposure control, a variety of functions and for the most part seems to keep going. The cost is very reasonable. Other cameras such as the silent NIZOs also seem to do well long term. Sometimes the meters die, and sometimes there's an issue on the circuit board, often just corrosion that affects running speeds and these can still be fixed. If I just had a nice bright viewfinder on the trusty GAF ST-111, it would be so much better for lower light, oh well. Someone else mentioned using Double 8mm (aka Regular 8mm), and this is a fun gauge to use, as there is still film available. Don't discount the smaller image size, as a decent camera such as any of the fine BOLEX 8mm cameras and even my REVERE ones, will shoot great images. And Super 8mm frame size is NOT 50% larger, that was all sales hype, based on projector frame cropping standards applied to Regular 8mm originally based on the 16mm format from which it's based.

Anyhow, a lot of which cameras or format to use, is based on what film type you want to shoot. If you prefer Color Neg and thus just want transfers and do everything else on digital video and show it that way, it's Super 8mm or 16mm. If you want to shoot reversal film and use it both ways, transfer to digital AND project film, you could use either. Both Color Reversal via AGFA 200D and whatever remains still of the EK100D, and B&W is available. In fact, there are several Black & White film choices such as TRI-X, FOMAPAN R100, ORWO and AGFA to name the main players. All except Fomapan R100, can also be Negative processed. And ALL of these fine B&W Reversal films can be Sepia tone processed yielding another alternative for projection viewing (versus those that digitize all and thus could manipulate the look however they want for their DVD or Blu-Ray viewing etc).

Sorry to be so long winded here, but the facts are the facts, and despite the bleakness of so many filmstocks having been discontinued and labs that have closed, we that love analog film can rejoice for what we still have available for our use; to film our families, our memories, our artistic creations, or for work and business. Hope this helps put another aspect on this issue. Best wishes, Martin Baumgarten, Plattsburgh Photographic Services, NY

Sadly, the camera is junk and should now only be a shelf-sitter. KODAK used neoprene type drive gears on the motor driveshaft of all their movie cameras (and some slide projectors) except for the very first early 1965+ M2 and M4 cameras. Since no parts are available, these can not be repaired. Even if parts were available, the cost to repair is cost-prohibitive. These are very basic cameras without any true exposure control on the film. My recommendation is to just buy a decent working Super 8mm camera off eBay or elsewhere and be able to shoot your film reliably. It doesn't have to be expensive, there are many available. Sorry to be the bearer of bad news here. Good luck!

Hi Will. I've been processing film since 8th age 14. Years ago there were several sources for all the home processing gear needed to process movie film. You can still find most of what you need, or whip some of it up yourself. Chemistry aside, the most difficult part is dealing with the narrow film width in the total dark and loading it onto your processing reel setup. All the chemistry you need is available quite easily. The Bleach can either be the older formula using Potassium Dichromate, Sulfic Acid 5N and water, or the newer Permaganate Bleach (which just requires longer bleaching time to get the same results, double the standard time and you're fine).

To keep things on the cheap, you can make your Film Processing Rack, using a large or several darkroom print trays (16 x 20 inches), and building the rack out of plexiglass. There are instructions I wrote up years ago out on the net somewhere, but email me directly at Super8mm at aol dot com otherwise. The film processing rack, after processing also acts as your film drying rack. With care in loading, chemical mixing, processing (time & temp), and care in dealing with the film while wet and afterward, you can achieve professional results just using a home bathroom. I used to process film using the family bathroom after everyone went to sleep late at night, just wiped down the bathroom with damp towels to make sure there wasn't any dust around.

I've processed film in closets, at hotel bathrooms and storage rooms and just about anywhere you can imagine, especially in my Air Force years as a photographer. A very easy to use tank setup is the Morse/Arkay/Doran G-3 Rewind Tank, but it can be tedious to use as it will take nearly 3 hours to process 2 rolls of film, or a bit less for just one roll. The advantage with it is that once loaded, all work is done in the light, and you can take breaks at certain stages, and even process while watching TV or listening to music. Full immersion processing via a Spiral Reel type setup tank or via a Film Processing Rack setup is the best though, as all film is processed evenly at the same time. I've had kids process film here in the lab to teach them how it's done, as young as 11. So I'm sure you can process your own movie film also. I knew a guy when I was in 10th grade that not only processed his own Regular 8mm films, but also shot movies while Caving (spelunking), using motorcycle batteries for power to his lighting setup, and used ammo cans as drag boxes while we tunneled our way through various caves.

You will need some time to set things up, teach yourself what you need to know and get the hang of dealing with the longer film length. However, with care, and using scrap film to practice loading, unloading etc, BEFORE you commit to using a good roll of film, you can get great results with the good roll of film the first time you process it once you're ready. Good luck with your project!

I process this all the time here at Plattsburgh Photographic Services. Such old film fairs best done as a B&W Negative and then transferred to digital for a reversed positive image. Some insist on a reversal image, which due to age, even compensated, sometimes comes out okay amidst clouding/age fog in the film's image and greatly reduced contrast. There are some samples from others that have reversal processed such old film, up on YouTube. Anyhow, good luck with your film, a time capsule for your family for sure.

There are still some supplies of PXR 7276 and the later 7265 out there. Both can be processed as a B&W Negative using a good continous tone developer such as D-76, Microdol, and many others. Tonal range seems quite fine from my experiments over the past few decades, and used and processed as a negative stock, it will be more forgiving of exposure errors (on the over-exposure end of course). Even so, a nice clean rich B&W Reversal image projected is still awesome! I'm so glad we still have TRI-X, despite the higher pricing now.

Even later made FUJI Single-8 cartridges can be reused. The less preferred method is to cut the original film upon removal leaving several inches to which Super 8mm can be spliced to, then spool it up (all in the dark of course). They can also be opened, via a similar method to opening the KODAK Super 8 cartridges, via scoring of the welded/glued seams with a single edge razor blade, then carefully prying them open along the seam with a putty knife or flat screwdrivers, taking care to move along so the stress isn't all at one spot. I have been able to salvage 80% or better of either Super 8mm or Single-8 cartridges over the years, for reuse. Amazing thing about such a cheap plastic unit, is that I still have the original cartridges I opened back in 1981 and they still work fine. Tells you how long something that was intended to be thrown out can last.