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Philip Forrest

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  • Occupation
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  • Location
    Mid-Atlantic region, USA
  • My Gear
    Filmos, Bolex RX5

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  1. Cerium oxide paste is what I use to refurbish lenses. It'll take all haze off, with the exception of etched glass that looks like it's been sandblasted. Get the kind used to polish, not cut, telescope optics. Phil Forrest
  2. I just acquired a Schneider Variogon 17 - 170 T/2.2 from what I believe was a Philips LDH1 camera. It came with mechanical coaxial cables for control of focus and zoom, as well as a few teleconverters. Anyone ever use or heard of this lens? The Philips camera looks like one of the cameras we used to have in Navy news studios. I wasn't involved in the gear at that time, as I was primarily a still photographer and writer, so the broadcast side I have little experience with. Thanks for any information you can offer. Phil Forrest
  3. There is a long-running thread at Rangefinderforum.com showing results from 5222 shot as still film stock. https://www.rangefinderforum.com/forum/cameras-gear-photography/rangefinder-forum/image-processing-darkroom-lightroom-film/film-developing-chemistry/53844-shooting-eastman-double-x-5222-in-the-leica There's a lot of different developers used and quite a few folks have pushed and pulled the film. It's not motion, but it may help with finding out the look of the tonal curve when pushed. Phil Forrest
  4. Just get the camera CLA'd and shoot with the H16 as-is. It will teach you more about distance, taking your time to properly compose, focus, and expose your shots than a reflex will. I started with a Filmo 70DR, eventually collected a bunch of them, got a Bolex REX4 and then realized that I just wanted to use my parallax finder Filmos more. Aside from that, I can completely overhaul a Filmo with confidence, but not a Bolex. If you have to have a reflex camera, and not a lens with a dogleg viewfinder, just sell the H16 and save up for what you want. All that said, your H16 is certainly not useless. Phil Forrest
  5. The Filmo 70E is a C mount camera without a turret. It is rather like the 70 (first version) but with the later 8-64f/s speed governor. The shutter plate is a very stout piece of aluminum but is not interchangeable with any Filmos with a turret, due to a slight change in where the four mounting screws sit. The turret locks ONLY work on specific cameras, namely the 70HR and 70KRM, due to those being the only models with the threaded hole for the turret lock. If you wanted, you could find a HR/KRM shutter plate with the threaded hole (make sure to get the dampener as well) and transfer the whole shutter to a camera like a 70DE or 70DR, but there may be differences in the thickness of the HR/KRM shutter plate due to the presence of the dampener. The Pan-Cinor mentioned is not a very heavy lens like the Angenieux 12-120. The only real problem with putting a heavy lens on is that it can physically turn the turret while shooting and you can't see the image decentering while it's wandering south. Either machining, stamping or 3D printing (even carving from wood) a cradle to hold the whole camera steady with the provision to add support rods (like a dovetail attachment), would be the best way to make this happen without modifying the camera. There is a very rare cradle for a HR/KRM out there somewhere. Bell & Howell made at least one and I've seen a photo of it under a KRM with a 400ft magazine on the back. It's meant to hold a motor though, so it's big, but it's the right piece of unobtanium for the job. Phil Forrest
  6. Nikon made an MR3 mechanical/electrical 3-pin switch to add a mechanical button to the electrical release port on many of its cameras and motor drives. This could be used as the first part of the interface for an electrical plunger. Phil Forrest
  7. The Cine-Ektar 152mm f/4 is a good, sharp lens but I've found that even after cleaning, it is still prone to flare and lower contrast. Use the hood and keep the sun out of the frame when it's not absolutely intended. It's one of the better built and very light lenses of its focal length out there. Phil Forrest
  8. There should be a little cap in the shutter plate that covers a hole. This should get some oil. Use a decent synthetic sewing machine or watch oil, not WD40 or 3 in 1, both of those will eventually turn thick. Use a needle dripper or a fine watercolor brush to apply oil in small amounts. You don't want it splashing all around in the shutter and governor. It's not hard to take the shutter out of the camera and give it a really good cleaning. That doesn't involve anything to do with the main spring. It can possibly quiet it down and you can ensure all the cam surfaces are perfectly smooth. If your camera is very early and has the felt governor in the shutter plate, you may need to replace the felt and do a real timing test with a measured length of leader to get an accurate frame speed. Dom has a great Eyemo (and Filmo) writeup at his cinetinker.blogspot.com blog. Phil Forrest
  9. I've removed Remjet on Kodachrome after soaking in a bath of Borax. It's gross and messy, but the weak base effectively loosens it allowing mechanical removal. Make sure to do at least one wash after that. Aside from that, I'm not sure why anyone uses color motion picture stock for shooting stills (unless you have a short end left over you got for free) due to the pain of different development and the Remjet issue. It's certainly not cheaper than still film, of which there are plenty of great emulsions out there. Phil Forrest
  10. It sounds like you don't have a camera yet, correct? If so, your options are very open. In a nutshell, you can use an FD to C mount adapter on most C mount cameras, all turret Bolexes, and you should be able to hang whatever lens you like with the exception of mirror lockup lenses, like the 19mm. That said, those adapters along with the lenses themselves, are much larger than native C mount lenses, she adapter + lens can become a little heavy hanging off the front of the camera. You're going to be looking for a "normal" for the 16mm camera, so a lens with a focal length close to 25mm. You're also going to want this lens to be fast, which is going to limit you to the 24mm f/1.4 (which you probably don't already have) or the 24mm f/2 (which is easier to find.) Both of those lenses aren't cheap and the f/1.4 version is extraordinarily expensive these days. You could go with a slower lens but you're also going to be limited in how you shoot because focusing an f/2.8 lens through a reflex gets difficult once the sun goes down, if you don't have supplementary light. The real "cheap" FD mount lenses are 50mm and up, but for those focal lengths, you can get native C mount lenses for about the same cost. You don't need to shoot Kern lenses, there are many fantastic optics out there in C mount. The only issue is if you are shooting a reflex Bolex and your C mount lens is shorter than 50mm, it needs to be one made for the reflex camera, due to the prism. You can stick a normal C mount on the reflex, you just can't get the sharpest image out of it at wide apertures. You can find lenses specifically made for Bolex reflex cameras made by Kern, SOM Berthiot, SOPELEM, Angenieux, Schneider, and maybe a few other marques. These are really for the focal lengths below 50mm (where you're hard pressed to find fast FD lenses which are affordable.) After shooting a Bolex REX 4 for a year, I went back to my Bell and Howell Filmos, which I like better for a few reasons, one of which is the parallax viewfinder which is very bright and not affected by the shooting aperture of the lens. I found myself returning to the parallax Octameter when shooting towards or after dusk, so there was no benefit to the reflex viewing system for me, other than during the daytime. Granted, it's not TTL viewing, but I can also walk around with my camera with my Angenieux 25mm f/.95 hanging off the front and not have to be concerned with focus issues that would otherwise affect the reflex camera. I'm good at estimating distance, my shoes happen to be exactly 12" long, and I carry a measuring tape when I'm serious and using a tripod. All this is my personal opinion along with some issues I've experienced, though. Phil Forrest
  11. The reason that medium and large format lenses show lesser performance when compared with miniature format lenses, besides age and individual lens condition, is that the viewing distance of the final print is assumed to be greater, which negates the issues we see these days of "pixel peeping." These lenses are designed with this in mind, allowing some compromises. Phil Forrest
  12. I was meaning rectilinear when I mentioned the 38mm SWC lens, since fisheyes are quite limited in their utility. Most fisheyes are more expensive anyway, and the theme of the thread is kind of using other optics on the cheap. If you want to talk expensive fisheyes, there's the 6mm, 8mm, 13mm and 15mm Nikkors alone. Unfortunately, the rear elements are too deep with all but the 15mm. Same goes for the Pentax 19mm, 2.1cm Nikkor, Yashica 19mm, and the Minolta 19. The aforementioned Nikkor shouldn't be in the same group as those fisheyes though, because it's a rectilinear superwide, just like the 38mm Biogon. There is a superwide medium format lens, the Schneider Apo-Digitar but it's quite slow and very expensive. Back to the original topic though, Spiratone marketed a 28mm f/2 in many different mounts. Phil Forrest
  13. It doesn't make sense to adapt any medium format lenses to most motion picture film or digital cameras. The widest lens you'll get for medium format is the 38mm Zeiss Biogon for the Hasselblad SWC. It's pretty slow at f/4.5, but a stellar lens. After that, the most affordable is the Schneider 47mm Super Angulon from the old Brooks Veriwide 100 and later Veriwide offerings. Again, not a fast lens but very wide for a camera that can shoot 6x11. There is no fast, cheap, and wide offering that you can easily stick on an EF camera. The widest and fastest you'll get would probably be the 24mm f/2 Nikkor. Phil Forrest
  14. The flange focal distance of the Signet lenses is far too short to be adapted to anything other than M4/3. Lumenized is Kodak's trade name for it's magnesium flouride coating. Phil Forrest
  15. No need to get an insanely expensive 3.5cm Zeiss Biogon in S mount when you could get a perfectly fine Jupiter 12 (sometimes made from old Zeiss glass but with a different beauty ring) in M39 for peanuts. My M39 (LTM) J-12 is a very early production with coating, and pristine glass. The cool thing about the pure symmetrical formulations like that Biogon is that they have essentially zero distortion. No barrel, no pincushion. Phil Forrest
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