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

I have one of these (arcane) French Pathé 16mm cameras for sale in good working condition (if you need a spare.) Asking $425 +shipping More photos in the eBay listing here: http://ebay.us/Bp0LXz?cmpnId=5338273189 Mid 1960s Pathé “Professional PR-16 AT/BTL” 16mm spring drive camera in mechanically good working order with some visible cosmetic wear in the paint finish. Tested with film and results look good. Includes a Taylor-Hobson 1 inch 25mm f1.9 lens with shade/filter holder, both in very good condition. Uses current single perf 100ft daylight spools of 16mm film (AKA: B wind or camera wind). This Pathé AT/BTL is the later M60 style aluminum-magnesium alloy body in a light grayish green paint finish. It has many advanced features for its time including: • Reflex viewing with no exposure compensation needed • Shutter speeds from 8fps to 80fps, single frame, bulb exposure • Variable shutter (fader) • Backwind lever for in-camera dissolves or double exposures, • Accepts external 200ft or 400ft Pathé film magazines (not included.) • Built-in 1:1 drive coupler for an external electric motor (not included.) The interior film chamber and film gate have recently been cleaned and the camera tested with a fresh roll of Kodak Tri-X 7266 reversal film. A scratch test was done with the first 10ft of the film stock to check where scratches may be occurring in the mechanism. Besides the auto threading at the front of the film, scratching on the base side is very minimal and no scratches present on the emulsion side of the film. The processed film results look good with a clean gate and the film mechanism appears to be functioning properly. No apparent light leaks in the film compartment. The camera runs good at speeds between 8FPS and 24FPS. It has not been tested at speeds above 24FPS. After being fully wound up the camera will run at 24FPS continuously for 37 seconds. When not fully wound up it runs consistently at the selected speed to the end of the wind. The spring drive makes a short rumbling sound at the very beginning and the very end of the drive wind, however this doesn’t appear to affect the film feed or show up in the results on film. The BTL (Behind The Lens) light meter does not power up with four 1.35v (Wein replacement) batteries, but does power up and light meter works when tested with an external battery holder with two 3v batteries in series. So may need calibration. The viewfinder has a few minor dust specs on the focusing screen, but overall in great condition.The focusing screen has a clear glass field with a crosshair and a round matte circular section in the center that makes it easier to focus. The viewfinder’s mirrored pellicule glass, positioned in the camera body behind the lens mount (to divert a portion of the taking lens light to the viewfinder) is in excellent condition with no cracks or damage. The rear eyepiece glass is in great condition, is adjustable and has the original lockscrew and rubber hood. LENS TURRET & LENS COMPATIBILITY The lens turret accepts MOST standard M25 thread C mount lenses. THE CAMERA WILL NOT ACCEPT LENSES THAT HAVE ELEMENTS EXTENDING BEHIND THE C MOUNTING THREAD (see photo of the turrent lens mount.) The short flange to film plane distance of the C mount allows using many different lenses with this camera via adapters. I've used a C to Nikon F mount lens adapter with great results (not included). The former owner told me the camera was used to document football games, the body shows some cosmetic wear from use and marks from tape being applied. INCLUDED WITH THIS CAMERA: • 1 Bell & Howell Taylor Hobson 25mm f1.9 lens in very good condition, glass clean, no haze, fungus or scratches, focus a little sluggish but usable, may be soft at the widest aperture • 1 Original Pathé pistol grip (rare) • 1 Original Pathé strap • 3 new alloy lens turret caps • 1 facsimile of original Pathé BTL manual in English that is very detailed. • Notes and tips on using this camera UPSIDES • Ruggedly built vintage mechanical reflex 16mm camera with many useful features in good working condition • No exposure compensation needed for the 180º butterfly shutter and reflex viewfinder system (unlike the Bolex reflex cameras)
• C mount allows a wide range of vintage and modern lenses to be used via adapters (not included) • Batteries not required to run the camera. • Portable and easy to carry by the grab rail or with a shoulder strap • Can accept an external Pathé magazine or motor (not included) DOWNSIDES • Need to wind up the camera • Shots limited to about 37 sec in length • May be difficult to find service, original parts or accessories for • Heavy (about 6+ lbs. without a lens) —---------------- You have been warned. This Pathé is probably best as an intro to 16mm camera for non-sync sound filming, for experimental work, an action / sports / crash camera (you wouldn’t mind if it got beat up), for animation, or… as a spare Pathé camera. 
I’ve tried to describe it as accurately as possible. THIS CAMERA, LENS AND ACCESSORIES ARE SOLD “AS IS” WITH NO RETURN. Please check my seller feedback and ask questions first before buying. BUYER PAYS ACTUAL SHIPPING within the continental US only. Shipping is cost calculated based on buyer location. US Buyers only, no internationally based buyers. Thanks for looking! ----------------------- Mark Eastman Palo Alto, CA