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Philip Forrest

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About Philip Forrest

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  • Location
    Philadelphia, PA, USA
  • My Gear
    Filmos

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  1. I don't want to pick a fiight but do some research into how accurate weather predictions are for ON STATION. I used to be a meteorologist in the US Navy and the lowest 48 hour prediction acccuracy we ever had in my 5 years as a "weather guesser", was 96%. Doing the weather on a ship, moving across a dynamic surface that affects weather itself is extremely difficult, and many ships do it every single hour of every day. Do you know how we know? The ships aren't missing. As for you thinking that weather can't be forecast, after 48 hours, accuracy goes down logarithmically. Past 96 hours is 50% prediction rate. This is for on station, not 2 miles or 10 miles away. If you live right where a weather station is and you have access to the data (and you do because it's all public) then you don't have cause to complain. Weather is science; dynamic, difficult science but still predictable. Disease transmisssion is also science, within given margins of error. The stock market is pure human nature which is completely erratic. Phil Forrest
  2. 50mm is a bit of an intermediate focal length between the standard 25/75 kit. They are out there and certainly not all as expensive as you've seen. Look for Schneider Xenon, Cine-Nikkor, Cine-Velostigmat, Cine-Raptar, Cine-Anastigmat. Those manufacturers are Schneider, Nikon, Wollensak, and Kodak. Zeiss, Fujinon, Canon, Taylor Hobson, Cooke, Kowa, Bausch & Lomb, Pentax (Cosmicar), Elgeet (Navitar), Yashica and others. Lots of good FSU leses as you know from using a K3. Phil Forrest
  3. How long of a focal length are you looking to shoot? Inexpensive and good quality lenses are available up to 152mm or 6". Phil Forrest
  4. Bubonic Plague, AKA black death is a bacterial infection spread by fleas. It can't and shouldn't be confused with any virus. There are still cases every year in the southwest USA. Phil Forrest
  5. C mount Cooke lenses are really good but climbing in price. The Combat line from Bell and Howell was made by Taylor Hobson so there is Cooke lineage there. Angenieux lenses are superb and came stock with the later DR/HR/KRM. Wollensak Raptars are really good. From my still photo work (I've been a still photographer for over 25 years) I love the look of Schneider lenses. The Xenon and Xenar lenses are awesome. I would trade my set of Angenieux (10/1.8, 25/.95, R17-68/2.2) and Cine-Ektars for a fast set of 10/25/50mm Schneider in C mount. One other limitation of SLR lenses is click stop aperture that can be really variable due to the auto-diaphragm linkage. Those lenses may not be able to replicate a stop from shot to shot even though they may get close. Just another thing to think about. If you can't find a Filmo locally, hit me up when this pandemic winds down. Phil Forrest
  6. People will do ANYTHING to make sure their children are fed. Really. There is no limit to what a person will do in order to provide for their family. Phil Forrest
  7. One thing to remember, since there is only 3 months of epidemiology on this novel virus, is that there is NO GUARANTEE of resilient immunity. Yes, there is an immediate immune response, but that may be short lived. We can only hope there is immunity, but as it stands, you can still catch the same cold twice in a year. Phil Forrest
  8. The shuttle in the E is also for 2R. It needs to be either replaced with one from a later camera or modified. I like the 70E, don't get me wrong, but why not try a later Filmo with a turret and the ability to hand crank / rewind? The only reason I have my 70E is because I got it from goodwill for $14. I really bought it because it had a Cooke Kinic on the front. The camera was all gummed up from years of non-use and had to be overhauled. By the time you find a 70E (which are way less common than the later DE/DL/DR), have it overhauled and modified for 1R, you're looking close to the price of an older reflex Bolex, but you still have the most basic of Filmos besides the 70A (the 70A is just pure fun by the way). C mount lenses aren't very expensive and you don't have to worry about your SLR/C adapter being off at infinity so you'll get better focus since SLR lens scales are not printed for fine focus but for DOF calculation. They usually don't have the finer gradation of distances that cine lenses do. Plus, you can get much wider if you want, easily down to 10mm. You may like your 24mm Canon, but unless it is the f/1.4L, it won't be any better than many of the very commonly available 1" and 25mm C-mount lenses out there. My slowest 1" lens (not counting the lens of the 70A) is f/1.9 and my fastest is f/.95. A Filmo with an SLR lens hanging off the front is a somewhat ungainly beast, whereas with 3 different focal lengths, they are very portable and pretty easy to use once you get the hang of it. Phil Forrest
  9. You could possibly switch the film door from a 70DE/DL to work on the 70E to give you the different finders but you're looking at more expense and the possibility of the door not fitting. Each door was fit to each body as they all should have matching #s. I doubt putting a heavy lens on a Bolex would be good either. Another problem is that with the really fat adapters, you can't fit more than one lens on the turret often. I had this problem and gave up wanting to fit any SLR lenses to a Filmo. I have a Kodak Cine-Anastigmat 50mm f/1.6 which is amazing but even that is too wide to fit on the turret with any other lenses beside a tiny 1" TTH Cooke Kinic I have. And that 50mm lens is a motion picture lens, so it's slightly smaller and still won't fit (made for Cine-Kodaks like the K, K100, and the Special which had no or larger turrets with angled flanges to fit their lens line.) I only mentioned the E because it is probably the only one that you could confidently hang a larger reflex zoom off of. Another thing is that the E is a 2R camera that needs to be converted to run 1R film. If you were here in the states, I'd say borrow one of my Filmos to really try it out before you jump in. I'm just a hobbyist who likes to shoot and repair any broken camera I can get my hands on, so I don't have any professional film MP experience. Phil Forrest
  10. You pull the lock out with your fingernail. It's a tiny little button that seems like an afterthought on B&H's part. Don't worry about vibrating the Filmo from depressing the shutter button with your finger, it has enough mass that it won't matter as long as your camera is in good condition and everything is properly lubed. For 1R cameras, the DE was first, then DL, then DR. The HL came out shortly after the DL and has the ability to mount a 400ft magazine. It has a motor fitting as well. The HR was concurrent with the DR. The difference between the DL and DR is largely in the turret. The DR has a geared turret to automatically select the correct viewfinder objective matching the taking lens. DE and DL both have to be selected by the user. The HR was also made for the military, called the KRM. Both of these models have a little shutter stabilizer. The door of the HR and KRM are special doors as well, as they have a spacer between the door and the viewfinder to allow for composition with the magazine on. The film alignment gauge is used for precision focusing and composition. The tiny 15x focusing aid can be used only on a tripod and the alignment gauge accounts for errors of parallax between the gauge, the taking lens and the viewfinder. It's really very necessary if you want to do some close-up work. A while back I asked Simon about hanging a reflex 12-120 Angenieux off the front of a Filmo and he recommended against it. I already have a reflex 17-68 and found only through my own experience that he was right, in that the Filmo is a much better camera for shooting small fixed focal lengths off of, not big zooms. That also goes for hanging an SLR lens off the turret. One thing you'll find is that only some adapters for 35mm-C mount will fit on the Filmo due to the turret retaining nut. Many of the adapters won't mount flush and you won't get the lens to seat to infinity or even sit still. The only Filmo I would put a zoom lens or adapted 35mm still lens on would be a 70E as it has no turret and the front plate is very strong in comparison. The 70E doesn't have a port for rewind as the later models do. I haven't used my 400ft mag yet and don't really feel like I want to either. It's just a piece I've collected and will keep in case I have the desire to shoot that much. I really like using the 70DL or 70 DR on a good monopod. It's a really portable way to have a nice kit to walk around with and get some good stable shots. Phil Forrest
  11. I can't, for the life of me, figure out how to remove the main drive spring from a 70 Filmo without it expanding and coming to rest? I've read about a tool to enable this but how would that tool get around the spring to be able to secure it? If the spring is pulled out with the drive mechanism fully wound as per the manual, then it will violently expand once it clears the well where it sits in the chassis. If the drive is removed and the spring unhooked from the center drive shaft then part of it is already at rest and safe but it can't be really cleaned and relubed with graphite that way. I'm looking for the actual tool or part that makes the factory method of servicing the camera possible and safe. Thanks all, Phil Forrest
  12. I'm thinning my herd of photography gear and the first to go is my Eyemo. It's a pre-war 71-A with a 1" Eyemax Anastigmat f/4.5 fixed focus lens. I got this camera hoping to shoot a few minutes of nice silent footage here and there but feeding the beast is just too expensive right now. The lens and it's yellow filter are in excellent condition. The camera is a bit rougher cosmetically but the inside is clean, it's light-tight and it runs great. It has a black chrome key which I think was added recently. I have a nickel plated key from my 70-A I can swap out if someone wanted the period-correct kit. Unfortunately I don't have the grip for the camera. I can send photos of the camera upon request. Asking $200 for the camera and lens. Thanks all, Phil Forrest
  13. With regard to lenses that have a stated T stop but also are fitted with a reflex viewfinder, what should be a corrective factor to account for the prism that is sitting within the optical path? I've seen lenses of the same type, one with, one without a reflex finder and haven't seen any mention of a T stop correction, ie Angenieux12-120. Thanks for answering this curiosity of mine. Phil Forrest
  14. I want to find a Filmo cradle. The thing that the camera could sit on to strengthen the rigidity of the whole unit and make it all more stable on the tripod. I have only seen ad photos of the thing for the most part, but last week I saw one in an eBay ad sitting under a 70-KRM. I don't know what Bell and Howell called this thing nor how many were ever produced. They seem rare as hen's teeth though. So I'm just looking for the name of it so I can do some proper searching online. Thanks all, Phil Forrest
  15. Simon, Thanks for that info. This camera still has 8-64 frames/sec available. I'm still not sure what those rollers are for. The parts in the door are little light housings which project a bit of light through a slit right at the level of the "upper" sprocket holes (the side which is not perforated on 1R film.) I got the magazine takeup sorted out. I needed to stretch the spring since the mag doesn't have a clutch. A fellow member here helped me out with that. Phil Forrest
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