Mike Rizos

That lens is T1.9 (f1.6) up to 12mm. From 12mm it is reduced gradually to T 2.5 at about 45-57mm. I'm basically quoting from the 16mm Motion Picture Camera Help Book by Douglas Underdahl (1989).

http://us.leica-camera.com/photography/m_system/m_monochrom/

It's called Arri body brace http://htmlimg3.scribdassets.com/4row9nlz281fe5kt/images/26-baf482360a.jpg

The 28 and 35 certainly cover, the 16 was made for 16mm, but it probably covers.

Will this be a manual on how to rebuild the camera, or a book on the history of the camera? If the latter, I would like to see a section on specialized uses like extreme cold weather set up, very long focus optics, astrophotography, etc.

There are a couple versions of the Nikon adapter out there and they should be relatively easy to find. Visual Products probably has them and also Whitehouse. There are also Arri to CP adapters you can put on the individual lenses.

I'm not sure if you have the 6-66 or 6-70 Schneider zoom. Both of these have 62mm threads but they weren't designed to take filters directly. The problem is vignetting at wide focal lengths and apertures. On the 6-70 this is very obvious, less so on the 6-66, which may be ok. Instead, they were meant to accept drop in series 8.5 filters in the lens hood. This weird size is very difficult to find. One other possible solution might be to get a 62-67 adapter ring and use 67mm filters. The downside to this is you can't use the lens hood.

The Angenieux c mount lenses(including the primes), allow for positioning the threads so the focus/zoom/aperture scales can be oriented in any position. I think some Switars do this too. The c mount threads actually turn when pushed in towards the lens. Once they start threading, it may not be possible to turn them, so the lens must be off the camera. 1. Mount the lens on the camera and tighten snug. 2. Note how much rotation the lens will need for optimal positioning. 3. Remove the lens and place it front end down on a table. Leave the rear cap off. 4. Now simply push down and turn the c mount threads with your fingers the amount you estimated in step 2. 5. Remount the lens and see if satisfactory. It may take 2-3 tries to get it perfect. Note: Since you're using the lens on a Bolex Rex, it should be designated RX to work properly.

Hey Luke You obviously have an early non reflex H16. Depending on how early it is it may not even accept the critical focus viewer(the part you're missing). If the camera doesn't have a round window on top, above the highest lens port when the turret is in the normal position, it can not accept a critical focuser. If it does, you should be able to view through it with a lens on the highest port, by putting your eye right up to it. Another way to tell is removing the lens on the highest port, and look if there is any optics behind it. If not the camera won't accept the critical focuser of which where at least two versions. For framing, the camera should have what Bolex called the octameter that mounts on the side. Unless it's a very early model which used the Trifocal viewfinder which mounts on the same space the critical focuser would. Sorry if the above sounds confusing, but the Bolex H16 was made for so many years, with so many models and improvements, and they all look alike at first glance, so you should take some time and learn about them. There is very little visible difference to a Bolex costing less $100 to one close to $2000. This is a very informative page: http://www.bolexcollector.com/cameras.html Clive Tobin has a good one too explaining the difference of the reflex models: http://www.tobincinemasystems.com/TCS_Publ...DF/IDBolexR.pdf Here's a general grouping. I'm noting the basic improvements with each model but there were other improvements like variable shutter, turret lock, filtering etc., that were made, so you should become familiar with them. - H16 non reflex- anything before serial 104000 has a different claw mechanism and should be avoided. Later H16 non reflex have an improved claw mechanism up to serial 158000. This the most common non reflex Bolex camera and should have the critical focuser and Octometer. The following are reflex and came with the octometer. - H16 rex O and rex 1 up to serial 208000. Through the lens reflex via beamsplitter, magnification 6x. Difficult to focus with. - H16 rex 2 up to serial 208000, 10x magnification, a real improvement. - H16 rex 3 up to serial 210000, flat base. - H16 rex 4 most up to serial 224000, 1:1, drive shaft, accepts later motors. - H16 rex 5 most up to serial 253000, accepts 400ft magazine. There is also models with names like M3, M4, M5, H16s etc. And there's more later models like SBN, EBM, EL you should become familiar with. The viewfinder was further improved too, to 13x magnification. The non reflex focusing is done as you descibed. And to answer your questions: 1. Reasonable if you know it will work with your camera. But for that price you're close to the value of a early non reflex Bolex. 2. Yes 3. Yes So to sum it up, in my opinion, you sell what you have and get at least rex 2, and preferably a rex 4, which will give you reflex viewing and a workable camera. But beware. Just because someone calls it a rex 2 don't assume that it is. Check the serial # and the features it has. Also all the rex cameras require lenses below 50mm to be labeled RX.

Also the marks on still lenses may not be relied upon for total accuracy. There is some which are a little better than others but no by much. There is also no witness marks. Almost all still lenses have gotten worse on this over the years. In the 50's almost all lenses had witness marks whether made for cine or still. Even the cheapest D mount for 8mm had them. Rangefinder lenses had them. There were called "tick marks" in the still world. In order to get all these numbers on the barrel the lens was made to focus with a longer throw. When the SLR came into mass production some manufacturers including Nikon produced lenses with these tick marks. The original 50/2 for the Nikon F had these. The aperture was also marked like this without the click stops. However this was quickly abandoned within a year or two. Leica held on a few years for their rangefinder lenses but even they stoped doing this by the 70's. Through the years as each lens was redesigned the focus throw generally shorter. AF made this even worse. For example some Nikon AI lenses have a little more focus throw than the same AIS lenses. I've seen an aparently similar pair of 50/1.8 where one was marked differently. This is not much and I doubt if it's worth searching out these. In the end I don't think there any good solution to this problem. Try to use the longest lens possible.

I thought the 15-150 f2.8 had 77mm threads. It's possible your lens was modified somehow but you may have some kind of adapter already on the lens. It may be on with set screws, or threaded in. Those are the two basic ways the adapter ataches to the lens. For example, a screw-in adapter for the 12-120 Ang for series 9 filters is called 72m9 by Tiffen. The first number is the tread size, the second the series size, and the m indicates screw-in. The other way to attach an adapter is to clamp it on the ouside of the lens. An example would be 80ss9. Now 80mm is the measurement of the outside diameter lens, and ss indicates some kind of set screw to keep the adapter on. I've seen them with one or three set screws. There is also an sslr designation which is similar. So if your lens has no threads, you need to measure the exterior diameter, and if it's 82mm(series 9 filters are about 82mm) you need to look for 82ss9 or 82sslr9 adapter. I'm not sure if such adapter was made, but I know an 83sslr was. Hope that makes sense.

Ok, everything has been claimed.

Hey David I have two I was going to discard, send me your address you can have them. For anybody else who is interested, I also have some 200ft daylight spools, a few 100 foot, two 400 foot old reversal newsreel film, one 200 foot Ektachrome 7242, and two Fuji 8651 E.I.250 that's been in my fridge for a few years.

There are two Angenieux 15-150. One is f2.8 and the other f1.9. The first is smaller than the 12-120 with the same front diameter. The latter is a huge lens, more like the 25-250 for 35mm.

Take up on the ACL and NPR is emulsion out.