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Philip Forrest

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About Philip Forrest

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  • Occupation
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  • Location
    Philadelphia, PA, USA
  • My Gear
    Filmos

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  1. The 70-KRM arrived today and is in better condition than I thought it would be in. It pulls a full 22 feet per wind, runs about 55 seconds at 16 frames/sec. It is either a modified 70-H with the shutter and geared turret assembly from a HR/KRM added or it is the latter camera with sprockets for 2R film. The shutter and gate are HR/KRM as they only have one pulldown claw. I bought it knowing that it was modifiied at some point but a few of these modifications are baffling to me. I'm including links to photos of the inside of the camera, the mod to the door inside as well as the 5-pin connector and the plate which reads "Triad Model 619B..." There are two rollers inside which prevent use of a 100ft reel. The camera came with a 50ft reel inside as well as a weird special purpose lens adapter which ads a crosshair reticle between a C mount lens and the camera itself. All of the speeds below 32 frames/sec have been run through and seem really close. The film counter works well and can be reset correctly. I didn't receive any magazines with this camera but I'll be shopping for them later. I do have a question of how the magazine spring belt is looped around the drive wheel on the camera though. http://gallery.leica-users.org/d/475807-2/20190816_160622.jpg http://gallery.leica-users.org/d/475811-2/20190816_160505.jpg http://gallery.leica-users.org/d/475815-2/IMG_20190816_151043479.jpg http://gallery.leica-users.org/d/475819-2/IMG_20190816_151124246.jpg Any insight or tips are always appreciated. Thanks all, Phil Forrest
  2. I just scored yet another Filmo, this time a 70KRM. Camera is complete with the cover plate for the magazine port and the correct door. I have pleny of lenses and viewfinder objectives, but I will be searching for 400ft magazines and all the bits that allow shooting this camera with this much film. I can't find a manual or a list of parts which I'll need to use the bigger magazines. I've read here that the spring motor has enough power to drive the 400ft takeup but I'll be needing a few other parts to make this happen. I'm also hoping to rig up an adjustable speed cordless screwdriver to the motor port so I'm not limited to shooting tethered to a wall by a cord. Any tips for collecting all the pieces of this kit or for using would be awesome. Thanks all, Phil Forrest
  3. I've asked Magna Tech through their eBay page. Haven't gotten a response yet. I can't find International Cinema probably because I don't know their full business name and searching for "International Cinema" gives me way too many results. Thanks! Phil Forrest
  4. I'm looking for Bell and Howell 70D+ parts. Specifically, a pulldown claw shuttle for a 1R camera. One of my Filmos had a slightly bent loop which was binding up the shutter a bit. Other parts I'm looking for are the front plate from a late production 70DR, the plate with the filter cutout in front of the gate. I'll take a whole non working 70DR as well. Thanks all, Phil Forrest
  5. I don't want to step on anyone's toes since I'm the new guy but I take everything I own apart and rebuild just as a hobby (and as what we call self-care in my profession of mental health worker.) So here are my personal tips and observtions regarding these amazing cameras, much of which I'm repeating from other places on this forum. If you have old grease that has dried into a hard mass, it will have to be removed. I'd stay out of the main spring and clockwork because you may slice your body up when that spring unloads.The deepest maintenance you shoud get into is as folows: Let the camera completely wind down. Remove the turret plate and make sure to catch the two or three small pawls that are located around the edge of the chassis and give the turret its notches for lens/lock position. Save the tiny washer that should be under the turret. Unscrew the 4 screws holding the front plate in. Gently remove it while keeping your finger over the shutter release. Here is where it may get difficult because the front plate is steel and the chassis is aluminum, so some galvanic corrosion may have occurred and welded them together over the last 60 years. Once you get that free, you can dunk it in the solvent of your choice if it needs it. Over th last two years, I have restored 5 of these cameras an only one needed the shutter mechanism really cleaned, that was a 70DA. My DR and DL were and are immaculate inside although the outsides show a bit of wear. If you use a solvent on the shutter, make sure it is completely dry then begin dabbing lubeon the moving parts. If you see the lube, you've added too much. Stick the shutter mechanism back in the chassis while negotiating that shutter button and spring that you madure sure didn't fly out when you took it apart. Getting it back in can be a pain but it can be done. Put the little spring loaded pawls be in the chassis then stick the turret plate back on gently and work the awls in one at a time. Screw on the center nut, take out the little cap, add a drop of really high quality oil (I like to use a synthetic oil used for watch repair because it will not polymerize). There is a tiny weep hole near the hole for the manual crank/motor. Add a drop or two there to soak the pad that is inside that housing. Wind it up and go. Phil Forrest
  6. My apologies if this has been covered previously on the forum, I did a bit of searching and couldn't find an answer to my question: is there any guideline regarding development of reversal stock as negative? What should I expect from developing fresh black and white reversal as far as contrast? I know using only a reversal developer and skipping the fashing and bleaching will yield very high contrast. Specifically, I have a bunch of 7266 that I want to process as negative. I've been a still photographer for about 30 years and I'm very comfortable using standard black and white chemistry. I prefer using HC-110 which is a pretty high energy developer that was developed for newsprint, so it's pretty high contrast and predictable with dilution. Further down the line, if I expose reversal with the intention of using it as negative, is there a recommendation for what ISO I rate the film at? Thanks all, Phil Forrest
  7. John, I'm in Philadelphia and would love to talk old Kodak optics with you. I have a bit of a collection going and have had all of them apart for cleaning and lubrication. Phil Forrest
  8. Those filters are snap-in. If your lens was gummed up, the little wire tension ring in between the filter and lens barrel may also be sticky. The filter hood has a key in it that fits into a notch in the lens barrel. This is because the hood has a rectangular cut out and the key is to keep it properly oriented with the axis of the gate. Only the Ektar lenses offered thread-in filters prior to the 1950s if I recall correctly. Be careful, you could wind up going down the road of collecting all these great old lenses, especially the Ektars, most of which are top notch performers and happen to have quite a bit of rare-earth glass in them. All of my Ektars are yellowed from the thorium content. Phil Forrest
  9. Did you ever get this c mount nut removed? If not, take it to a really good bike shop, tell them it's valuable and not to mess up any of the parts. You could also try heating the turret plate with a torch and applying ice to the brass ring. Just a little heat, enough to burn you if you touched the plate bare handed. The colder you can get that brass ring, the better. Phil Forrest
  10. Yes, I know there are no curtains, I'm just using the terminology of still cameras which I've used for thirty years. I've had all my Filmos completely apart and overhauled them. I need to find a shutter blade shaft from a wrinkled or jammed shutter then use that as the base for my mod. I love using the Kodak stocks mostly because my student discount makes film almost affordable but also because I love the look of 5222/7222. I've been using it in Nikons and a Leica for maybe fifteen years. Aside from Tri X 35mm still film, the bulk loaded 5222 is all I shoot. And it's cheap! I could just buy a Bolex too... but I don't want to open that can of worms. Thanks! Phil Forrest
  11. Hello, it's my first post here but I've lurked for about a year now. I love the Filmo 70 series and because of a few generous friends, and a charity shop, I now have four of them. A 70A, E, DL and DR. I only shoot silent so I'm limited to a relatively slow shutter speed. I currently have a 2 stop green gel behind the lens in my DL and a 2 stop ND gel in my DR. I would really love to not have to use filtration though but since Eastman 7222 and 7266 are both high speed, I am still limited to f/11-f/22 here in the summer sun. So, has anyone ever changed the shutter angle of the Filmo to effectively cut the exposure? To do this, the angle would probably have to be equally decreased at both curtain open and close, instead of just one side, which would be easier but lead to uneven exposure. I would love to take on this project and I'm hoping someone out there has either successfully made it happen or got far in their attempt. If we could only get Kodak to produce a 50 ISO stock! Thanks all, Phil Forrest
  12. Which Filmo VF? 16mm or 8mm? If you're speaking of the 16mm 70 series, does it have the turret type with objectives (70DR, 70DL), the fixed viewfinder with drum-switchable diopters (70DA) or the fixed viewfinder with no diopter nor adjustment? I modified the turret in my 70DL to match the focal length of my 2.5" Kodak Anastigmat by notching the thin brass foil that forms the mask. You could either widen the mask with a keyhole file (there is plenty of room) or make the vertical axis shorter using some amazing flat, black tape then switching out the objective itself to match the lens FL. Phil Forrest
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