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Philip Forrest

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Everything posted by Philip Forrest

  1. A clamp, monopod, shotgun mic, good audio recorder, plenty of storage with a way to back it up, a portable power supply (solar panel, rechargeable UPS, something like that). Don't bother with lights, just get a fold-up reflector. Sunscreen, good sunglasses, a camera bag or two with good weather shielding available. Have a good local interpreter available. Pack what just you can carry, so if you need to, you can. Phil Forrest
  2. Maybe use a VOIP if cost is concern? That's how I talk to my brother in Melbourne a few times a month. Phil Forrest
  3. Eric - One of our PHs (Photographer's Mate) got the nickname "Tumbleweed" because of a Prowler... 😁 You can't see that jet blast travel along the deck when they are turning to set up on the cat. It maybe took 1/250 second of him not paying attention to the aircraft turning and being blown starboard aft. He didn't fall off, just got banged up a bit. We stenciled TUMBLEWEED on his float coat and the name stuck for the rest of the time he was aboard. I can't imagine being on a flight deck when an F-4 went to full military for takeoff. The Tomcats and Prowlers always rattled my teeth, I'm sure a Phantom would have just made them fall out. I was in from 1997 - 2005 during the last of the Cold War era mission-specific airframes: F-14D, FA-18, E-2C, S-3, EA-6B (A-6 Intruders had gone to the reserve force by the beginning of my service). All our portable motion work was done on Hi8 but all the stills were film, mostly Kodak VPS or Tri-X. Intel was all black and white from TARPS as well as airborne observers. I know that the military was still teaching film basics as of 2006 but I lost touch with most folks and I'm sure they have gone completely digital since then. Phil Forrest
  4. In my opinion, I think the Filmo 70DL is probably the best of the lot. It's got all the latest refinements of the DR but there is no risk of getting your viewfinder cog out of alignment when you load the camera. The later production DRs DO have slip-in filter slots behind the turret, so that is one thing which may draw one to the camera. As for the 240, it's not user serviceable like the 70 series. It certainly does have a very long-running motor but mine is in good condition and sounds like an EA-6B Prowler spooling up to take off from an aircraft carrier. All of my 70s (70A, 70DL, 70DR, 70KRM) sound fantastic, and while not quiet enough to synch sound and not hear the camera, it's not terribly distracting. I love the sound of my 70DL, and further love its reliability. Phil Forrest
  5. You may try CRR Luton for the physical work. I'm willing to bet you could get the lenses polished, cleaned and lubed and that will bring them up to as good as they are going to get. Firms that coat lenses are growing more and more scarce these days. Those formulations aren't going to have biting contrast even in new condition anyway, but they should have excellent sharpness. Phil Forrest
  6. 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
  7. 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
  8. 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
  9. 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
  10. 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
  11. 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
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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
  17. 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
  18. 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
  19. 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
  20. 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
  21. Yes, but only the optical modules from the IIIC and early Retina Reflex. They designed the convertible IIIC and early Retina Reflex (pre Deckel) where the lens formulations in front of the aperture were the only part of the system that changed (since most double-gauss are very similar on the film plane side.) It was a smart, unique design but they changed to the full unit focusing, single optical module because there were too many limitations in the design and also some compatibility problems. I don't know if anyone has ever taken the rear cell of a Retina IIIC out and made a whole lens with the front. Goodness knows there are enough broken Retinas of this era to supply a ton of beautiful glass for experimentation. Phil Forrest
  22. Regarding Deckel mount lenses, these must be the full lens, not just the front optical cell which was used in the Retina IIIC and early Retina Reflex. Both of them came packed in nearly identical plastic bubble containers. The 80mm Retina-Longar may look tempting but it is only half of the lens, as the other half is in the Retina body. There's also Isco-Gottingen (Schneider,) who made lenses in many mounts, primarily M42 and Exakta. Mamiya made an 85mm f/1.7 in M42 and a medium format 85mm f/1.9 for the 645. There is not much in the way of wide lenses which are faster than f/2. Pentax made the 31mm FA limited in K mount. The fastest lenses available are always those close to the "normal" for that particular format, so those which are ~50mm will have the fastest offerings. The Noct-Nikkor is a 58mm f/1.2 but please don't permanently modify this lens. In my opinion, I think there should be a group of skilled "enhanced interrogators" who hunt down those who permanently modify lenses which were produced in very limited quantities. I can think of one party in particular, who bought up a lot of the market in uncommon motion picture lenses, then hacked the mounts and stuffed them into donor mounts (from other ruined lenses, mostly FSU) so a few folks could try them on their Leica M cameras as a curiosity, then stick them on a shelf because they preferred the utility of their 50mm Summicron instead. Now that digital mirrorless offerings are everywhere, this enables adaptation instead of modification, thank goodness. Granted, I love my 63mm f/2 Cine-Ektar and I wish I could stick it on a 35mm camera (the circle of coverage isn't big enough,) but using it on my M4/3 camera and on a Filmo has to suffice. I suppose I'll have to find a 65mm ELCAN if I want a rare optic in that focal length... Phil Forrest
  23. Most of the Deckel mount lenses for the Kodak Retina Reflex S are made by Schneider and are very good. Nothing wider than 35mm, if I recall correctly but some of the longer lenses are very unique. Not much is fast aside from the 50mm f/1.9. Konica lenses are usually outstanding and if someone were to be willing to spend the money to permanently convert something like a Zeiss Contax lens, then there is certainly a reason to do so for a Konica. The flange to focal distance is 4mm less than EF mount but if it were rehoused, there would be no problem. Konica lenses are insanely inexpensive. I've built up most of a collection of some of the best Konica AR glass just by hunting thrift stores. The 135mm f/3.2 isn't "fast" but it is an amazing shooter. The build quality and image quality are every bit as good as Leica or Contax, and it's a great thing no one cares about this system because they can be had for peanuts. Komura was another manufacturer that made some very nice optics in just about every mount out there. There are a lot of other brands out there that can be tried easily. Phil Forrest
  24. A 110 deg. shutter would be amazing in a Filmo. I've even thought about having a new foil shutter custom made to decrease exposure. Phil Forrest
  25. Are there any letters with the number? They would tell you the month and year according to the CAMEROSITY production codes. Phil Forrest
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