Mark Eastman

Given that the production and printing of full color branded labels can be quite costly, it's understood if labeling may appear crude. It's the film quality that counts though, no matter how it's packaged. I look forward to trying this new film. Mark Mark Eastman Palo Alto, CA (Completely unrelated to Eastman Kodak)

I recently had a late 1970s Pathe PR-16 AT/BTL 16mm camera serviced by Valcarenghi Damaores in Italy and I highly recommend him for service on Pathe 16mm cameras. He replaced a broken pellicule glass in the reflex viewfinder, collimated the camera to the lens I included, cleaned and lubed the camera mechanism and did an excellent job. As others have mentioned, he is not fluent in English and uses a translate app, but communication went well. The shipping to Italy to/from the US was somewhat expensive ($80 / $108) but worth it, as very few technicians seem to be working on these obscure Pathe 16mm cameras in the US. Obviously, it would be good to email him first and when sending make sure you indicate on forms "For temporary export, camera repair service" in documentation, otherwise Damores will have to pay VAT to receive your package, that he will charge back. (Thanks again to those who have given tips on shipping to Europe) Here is his info: ------------------------- VALCARENGHI DAMORES Viale Santuario, 34 26012 CASTELLEONE (CR) Italia Email: v.damores@alice.it ------------------------- Mark Mark Eastman Palo Alto, CA USA

Thank you! Mark Mark Eastman Design & Photography Palo Alto, CA USA http://www.medesignphoto.com

I have a late 1970s Pathe AT/BTL in working condition (photo attached) but the pellicule glass had cracked and a piece then broke off making the right quarter of the viewfinder black. I sent this to Valcarenghi Damores in Italy and he repaired the viewfinder and collimated the SOM Berthiot Lytar 25mm lens I sent him with the camera. In his charges, he mentioned that he was charged 60 Euros VAT to receive the camera when I sent this to him. He said it was the same for Switzerland. He is now charging this back to me with his repair charge. I had marked on the documentation when I sent "Camara for Repair" so disappointed to get hit with this. These are really obscure cameras that I could not find anyone to work on here in the US so appreciate that Damores still does this work. But has anyone else experienced VAT back charges sending repairs to Europe from the US? Thanks, Mark Eastman Palo Alto, CA USA

I'm not sure of the exact Pathé 16mm camera model lineage, but the first Pathé camera launched in the mid/late 1940s was known as the "WEBO". This is an acronym of the two original designers Jean Weissbrodt and Jean-Jacques Broïdo. The cameras were branded "WEBO", later "WEBO M" and some as "Super 16" however this has nothing to do with the Super 16 format invented later and this camera was standard 16mm format. Detailed info on Pathé camera models in 9.5mm and 16mm formats can be found on Grahame Newnham's Pathe site: http://www.pathefilm.uk/95gear/95gearpathe1webom.htm Mark E. Palo Alto, CA USA

Thank you, Mark

I recently watched a video of the 1958 film "Jazz on a Summer's Afternoon" Directed by Bert Stern and Aram Avakian, a documentary of the Newport Jazz festival of that year. I'm assuming they were shooting with Arriflex 16mm cameras, but not sure. Before crystal sync, how was sound sync done with the cameras of this era? Thanks, Mark Mark Eastman Palo Alto, CA USA

Thank you Simon for both the technical and historical details on this lens! Kindest regards, Mark Mark Eastman Designer / Photographer Palo Alto, CA USA

It's not 38mm either (somewhere between 37.5mm and 38mm) Thanks Mark Mark Eastman Designer / Photographer Palo Alto, CA USA

[ old obscure French lens department ] I have a vintage SOM Berthiot 25mm c mount lens and am having trouble identifying the front thread for a filter. It's not 38mm or 37.5mm does anyone know SOM Berthiot's front threading on these lenses? Photo below. Thank you, Mark Mark Eastman Designer/Photographer Palo Alto, CA USA

Thanks for confirming —Mark Mark EastmanPalo Alto, California USA

I've noticed in a still photo of filmmaker William Klein made of him while at the May 1968 protests in Paris, (while he was shooting for his film "May Days - Grands soirs et petits matins") it looks like he's using an Eclair ACL with the 200ft magazine (photo attached). Most of the documentation on the ACL I've found online seems to indicate this camera was first produced in 1972. Were examples of the ACL made available before 1972? Or is this an NPR with a 200ft magazine? Thanks, Mark Palo Alto, California USA

I recently watched for the first time Louis Malle's 1958 film "Ascenseur pour L'echafaud" (Elevator to the Gallows) shot by Henry Decaë and was blow away by the cinematography, especially the street scene sequences in the beginning. In the book "Malle on Malle" he mentions this was filmed on Tri-X and I'm assuming this was the negative stock. I've exposed a lot of Tri-X in 35mm still and more recently I've been shooting Tri-X reversal stock in 16mm and was wondering when Tri-X was first introduced as a reversal stock for 16mm and 35mm? I know you have to be more exact with exposure for reversal stocks, so I was wondering what the advantage of this is. Thanks Mark

This camera has sold. Mark Eastman Palo Alto, CA

Correction, the built-in light meter in this camera works with a Duracell 28L 6v battery and seems to be reasonably accurate. (Though I would always use a handheld meter). Mark Eastman Palo Alto, CA