Jump to content

Philip Forrest

Basic Member
  • Posts

    137
  • Joined

  • Last visited

Everything posted by Philip Forrest

  1. I have seen this on a bunch of my lenses. 1" Super Comat, Angenieux 10mm, a few others. On all these lenses, there is no provision to adjust the rotation of the lens in relation to the turret, so I thought it may have been a feature. It hasn't affected the use of the lenses, but it also means that every time I change a lens, I have to realign the threads to ensure I can see the focus/aperture index marks. That said, I also think that over 40-60 years, the metal may have just changed. Threads may be applied using an adhesive and/or heat to allow the thread to shrink as it cools onto a lens flange assembly. It's a lot cheaper to make a bare tube then add the thread to it later, than it is to cut the threads to locate the focus/aperture index marks for every lens. Phil Forrest
  2. I had this problem as well with my RX4. Someone had jammed the eyepiece in too far, which made it stick AND cracked the adjuster ring with the screw in it. I had to completely dismantle the eyepiece assembly and clean it (as well as the reflex finder) to get the ground glass into focus. I'll be getting that piece replaced when it goes in for service soon. Good luck. Phil Forrest
  3. Jon, For telecentric lenses, such as the 17-35, you shouldn't have to stop it down. The difference between RX lenses and those which are not is in the exit pupil of the lens. All 35mm SLR lenses will have an exit pupil far enough away from the prism so as to not be affected. The reason for this all is that the light rays are hitting the prism and film almost exactly perpendicular. This is the reason that lenses over 50mm were never corrected for this, as Bolex must have surmised that with long focus lenses, the light rays hitting the prism and film would be straight on. With shorter focal length lenses, the exit pupil is closer and the light rays hit at varying degrees, like a shallow cone. Digital rangefinders like the Leica M8 and M9 are plagued with this problem which causes a dramatic color shift around the edges with some wide angles. This is the reason Leica has moved to larger, longer telecentric lenses since the introduction of the generation of lenses after the M9. The exit pupil of any Nikon SLR lens on an adapter will be very far from the prism and so won't be a problem. You could use any Nikkor and it will work perfectly, with no softening of the image, regardless of the maximum aperture. To answer your recent wide angle question, the Switar 10mm RX, Cinegon 10mm, and Cine Navitar 12.5 are good lenses wider than 16mm. Phil Forrest
  4. Jon, What kind of range are you looking for in a Nikkor zoom? The problem you're going to encounter is that all the 35mm camera constant aperture zooms (by any brand) are going to be heavy. The 17-35 f/2.8 is excellent and very large. Pretty dark for a reflex. The old AF-D 18-35 is very light but has a variable aperture f/3.5-5.6. The 20-35mm f/2.8 is one of the very best and the older brother of the 17-35, also heavy. The uncommon 25-50 is a little heavy but a constant f/4. Too dark for a reflex. You can't put G lenses on a C mount camera because you can't control the aperture, so you need older AF-D, AiS or Ai lenses. The 70-200 f/2.8 and 80-200 f/2.8 are very heavy, put a lot of torque on the lightweight mount and they are really dark for that focal length and weight. You should have any of these lenses I mentioned well supported. In a nutshell, you can have lightweight or constant aperture zooms in the NIkkor range, but not both. The fastest zoom you'll find that you have control over the aperture will be f/2.8. Once you decide on your lens, you're going to find that every one of them exhibits focus breathing. It doesn't bother still photographers. you may want to have your aperture rings serviced to take out the hard clicks. Just a few things to think about. Phil Forrest
  5. I'm wondering if there is a fix for the eye relief of the reflex viewfinder. I wear glasses to correct astigmatism, I'm heavily left eye dominant (right eye is much worse) and I'm finding that I have to really mash my glasses up to the eyepiece of the 10x viewfinder on my REX 4. I'm sending it out soon for overhaul and if there is a fix for this to add eye relief to the exit pupil of the viewfinder, I'm wanting to get this done. I've been a still photographer for 20+ years and I've always just moved my eye around the viewfinder. Some cameras are better than others as well. These last few years I've been shooting with a couple Filmos and I don't worry about eye relief as much since the viewfinder is only used for composition (and the eye relief is pretty decent.) The reflex viewfinder of the Bolex is a completely different animal though, but since I'm used to using a reverse Galilean VF as on the Filmo, I may just use the reflex as a quick focus confirmation than close it up and shoot through the octameter (isn't this what Bolex had in mind anyway?) If anyone has any recommendations, I'd be grateful. I scoured the forum and there aren't any posts specifically addressing this issue. Thanks all, Phil Forrest
  6. Simon, Thanks, I had not thought to contact them directly. I've been completely stonewalled by still camera manufacturers like Nikon, when doing work on those cameras, so going directly to Bolex wasn't on my mind. Again, many thanks! Phil Forrest
  7. I just got a REX 4 from a friend and it needs the washer/s and screw which fix the turret to the shutter plate of the camera. If anyone has a set they can sell me, I'd be very grateful. Thanks all, Phil Forrest
  8. Some lenses say RX on them. Some have "For Bolex" or "For Bolex RX" on them (flange area sometimes.) Angenieux lenses for RX say "Special P" on them. I think Som Berthiots say "H16 RX" or "RX". That said, it's not as simple as a label either. I'm going through this same issue, as I just got a REX 4. It comes down to the exit pupil and the nodal point of the lens itself. There's a few good threads here on the forum describing this and they link to a few pages which go into the lens design specifics even better. Your 10mm is a retrofocal design, so it will put the exit pupil farther away from the film plane than a true 10mm (which would nearly touch the shutter since the registration of C-mount is 17.526mm.) I say go give it a try. It's one of the lenses that I've been searching for because I love Schneiders, and even if there is some astigmatism wide open, I'd still happily use it, personally. Phil Forrest
  9. 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
  10. 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
  11. 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
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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
  17. 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
  18. 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
  19. 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
  20. 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
  21. 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
  22. 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
  23. 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
  24. Belay my last. The drive pulley moves correctly. So do these mags wind emulsion out on takeup? Thanks all, Phil Forrest
  25. I received a spring belt for my 70-KRM, hooked it up to my 400ft magzine and much to my surprise, the camera is driving the magazine the wrong way. So, the takeup side winds emulsion out. Add to that, the fact that it feels like it is pulling too much as well. This camera works perfectly using the internal takeup but when a magazine is attached, it always loses the lower loop after about 20 feet. I'm using some 2R white leader for this testing, by the way. Both of the valves in the magazine open fine using the little loading plunger as well as when the camera door keys them open. The velvet is just a tiny bit wrinked but it doesn't drag the film as far as I can tell though a tiny bit of drag over a few hundred frames might affect this I suppose. So I have two issues to take care of: fix the drive pulley to get it turning the correct way, and if the loop problem continues, figure out why. Phil Forrest
×
×
  • Create New...