Eric Eader

The Spy Who Came in From the Cold (1965) Black & White The Criterion Collection Double-Disc Set features a commentary by DP Ozzie Morris that accentuates the "WHY" (rather than "HOW"), for quite a few scenes of the movie. Mr. Morris also photographed in B&W: "Lolita" (original), and "The Hill." (with Sean Connery in a non James Bond role). ("The Hill" is one of my favorite films). Two interviews with author John Le Carre highlight childhood, and college memories of his time before entering the "spy world" with cameos by former East German and Soviet spymasters etc. Also included: really fine pre-production drawings. There is more... check it out.

Antoine, I don't know for sure, but my first thought upon seeing your "L" spring was that it's broken. My next thought is that originally it was symmetrical. (It reminds me of a spring that helps hold in the pressure plate on CP-16's). Inspect closely the short end. Hopefully, some Bolex people will respond with the right answer. Also, WD stands for "Water Displacement" and is not a lubricant per se. It is great for removing water but will harden over time eliminating any lubricating properties it appeared to have. (New, unwitting firearms owners make the same mistake, sometimes with more serious consequences).

Samuel, There is a lot of 'lost knowledge' concerning B&W photography, first with the advent of color film and more recently the takeover by digital. To recover some of that knowledge I recommend that you acquire as soon as practical at least these five books: 1. 'The Mystery of Filters II' by Hank Harrison (It is a notebook style item from late 70's early 80's). There is a also an earlier 1938 pamphlet edition with less info, but nice to compare with the later edition if you can find an inexpensive copy. 2. 'Wratten Light Filters' (1945) by Eastman Kodak Co. 3. 'The Photography of Colored Objects' (1938) Eastman Kodak Co. 4. 'Filters and Pola-Screens' (1951) Kodak Data Book 5. 'Agfa Lichtfilter' (1954) Dr. - Ing. Franz Wenzel A Soviet era East German book on Agfa Filters. I am assuming you read German being in Berlin. Die Extinktions- oder Dichtekurven der Agfa filter etc. Also Color and Color Printing filters. (I have to use a Translator myself but I couldn't pass the book up on ebay). Harrison is good especially for the theory. He questions whether/when to actually compensate for filter factors. Instead, he suggests that one think in terms of "How much the filter darkens white" rather than how much more exposure the film needs to compensate for light loss. (Over exposure/under exposure of film tones). The 'Filter Effect Chart' is extremely valuable. Also using the Pan Viewing Glass (23W), with filters to observe approximate effect on film. Early 'Wratten Light Filters' (sized approximately 5 1/2 x 8 1/2"), have diagrams showing filter cut-off and a listing of light frequencies passed or blocked numerically). (Match number to color). Watch the Yellow, Orange, Green, Red shift points on graphs. Especially important, it has 'Wedge Spectrograms of Standard Photographic Materials' in BOTH Tungsten AND Daylight. Why you might want to use an X1green filter indoors under tungsten. There is a difference in film's response to light color. Later versions deleted one or the other. (Yeah, they were using more powerful lights then). 'Photography of Colored Objects' (sized 6x8 5/8"), opens the door to using filters to alter color response for technical or artistic reasons. 'Filters and Pola-Screens' illustrates my point about material deletions, but uses color pictures of dinner plates to compare before/after with various filters. Converting color objects to 'gray scale' with the appropriate balance differentiation/separation. That is a lot right there!! But wait there's more!! By gelling lights, the old timers could take advantage of color response to lighten/darken an area for emphasis and still have detail (as needed). Observe a stage play photo shoot to get an idea of warm/cool, shadow/highlight effects on film. They also used dimmers for certain lights. (not so much for a change during the shot but to balance the look. Remember, no color temperature change... just lighter or darker with B&W. Don't forget nets in front of lights; but sometimes that is a forest/pest to navigate on 'no-budget' shoots. Here is a BIGGIE!!! Make up for B&W was different than for color. Remembering the idea: filters lighten their own color and darken their opposite color, a make-up artist could apply the appropriate shade to achieve almost any effect. The same idea for color gels on lights!! If you haven't smacked the computer in frustration yet, hang on. All the above means: TEST, TEST, TEST, and TEST some more. Bulk load 400' or 100' of 5222 and shoot, shoot, shoot. Hand develop and print in a standardized way so the differences show up; then shoot a roll of 7222 to compare and adjust the process first to see what happens relative to 5222; then to construct/execute a planned/designed scene. My comments are directed toward getting it in the camera on set. Post Production, as above, still applies. Of course while you are doing this everyone else is shooting digital, but everything I've mentioned will help you understand B&W in ways others don't. It takes TIME, MONEY, and TESTING. There is no short cut. Art is the Most Expensive Mistress of all.

Skyler, KEH shows a 17.5mm Cooke for sale and indicates the filter size is 48mm. That means you will need a 48mm step-up to Series 7 adapter at a minimum. (Or 48 to 52mm for Nikon screw-in ND & B&W filters). Look first for Tiffen adapters then Harrison but look for Tiffen retaining rings as Harrison did not usually thread the retainer for a lens hood or extra filter add-ons. (eBay shows Tiffen rings for sale). Kodak made excellent filter holders but being steel are quite heavy... and durable!! Of course if you have or find other brands that work go for it. (I don't know if both lenses have the same thread size like more modern standardized lens fronts). Hope this helps.

Hello Skyler, While the Azores are not the most gun friendly of places in the world, you might try finding a gunsmith, who WILL have a proper set of screwdrivers he can use to loosen the magazine screw without damage. He may also have for sale a set of "gunsmith screwdrivers." Typically, they are flat shaped, NOT, wedge shaped as standard hardware store flat head screwdrivers. That means less likelihood of mangling the screwhead and surrounding surface. Wheeler gun screwdriver kits in (various sizes), are very popular in the USA and can be found online at Brownell's or Amazon. What brand is popular for Portugal, I don't know; and whether or not the screw you point out is necessary for proper repair, I am sorry I don't know either, but I do know that proper gunsmithing screwdrivers present far, far less chance for mangling and defacing expensive and rapidly becoming rare magazines and other camera gear. Properly cared for that kit will last beyond your lifetime. I hope this will go at least a little way toward solving your problem.

Liz and Dick (2012) An attempt to portray the tumultuous lives of Elizabeth Taylor and Richard Burton.

Being the Ricardos (2O21) with Nicole Kidman & Javier Bardem as Lucy and Ricky.

That is not how I had it centered on the page!!! Man what a Bummer!!

Hello, Here is a quote from the 7th ASC Manual (1993): Variety of motors for all uses. Crystal-controlled 30V DC 4,8,12,18, 24,28, 32 fps with mirror positioning circuit, sync alarm, 50/60 Hz output signal. Quote from Samuelson's 'Hands On' Manual (1994): MOTORS, SPEEDS, & POWER REQUIREMENTS: Interchangeable motors, 24V DC governor controlled and 115V AC/DC 16--32fps variable speed. Proprietary or non- proprietary 36V 24/25fps crystal-controlled and 12, 16, 20 and 25fps pre-set variable speeds. 115V 60Hz 24fps, 115 or 220V 50Hz 24 or 25fps single or three phase synchronous. 24V AC/DC or 200/240V AC 24--128fps high speed. 115/220V AC single shot. Some discrepancies exist between "Official" references so above response seems appropriate for testing. Unfortunately, when I used one of those cameras, I didn't pay the slightest attention to power voltage. Just plugged in and rolled film.

M, In the late 1960's and early 1970's Vivitar made lenses with "T Mounts" that focused in the "normal' direction. They fit several brands including Nikon, each with it's appropriate "T Mount." Now, whether they will be suitable for your needs, I don't know, but in 1968 no one knew my photos with my Vivitar 135mm lens from a Nikon 135mm lens. I don't know if Vivitar made a 50mm f1.4 lens or just an f2 or f1.8 etc. but it is a starting point.

The 24x36mm frame size for still photographs has existed since the earliest days of motion picture photography. As early as 1914, Oskar Barnack realized that 18x24mm cine frame size failed to produce high quality still photo print enlargements, (grain size too large), and so doubled the smaller size creating a horizontally travelling format. WW1 intervened and it was not until 1924 that Leica cameras entered the market. This was an expansion of the original conception of the camera being used by cinematographers as a means to check exposure for problematic scenes. Of course 6x6cm, 4x5 inch, 5x7," 8x10," 11x14," and 16x20" users each sniffed at an alleged "higher quality" the smaller formats claimed and felt theirs' was the highest quality to be had. (Ah, but at what price?) It is true that the Nikon F (SLR), took the photo world by storm beginning in 1959, and the rest is history. More than one hundred years later and this argument is still going on? HaHa. (The Simpson's Police Chief's son just laughed). All this proves that "free enterprise" or "capitalism" is still alive and kicking, and that sometime in the (near?) future, the tree will have been thoroughly shaken and the best (most economical?), format will emerge as "standard" until the next production revolution.

Jonathan, To my knowledge, the short answer is: No. No one makes a cage for your camera. Yes: You can make your own. Buy a ream or two of cheap typewriter paper, some pencils and erasers, and a bottle of single malt scotch, then sit down and work it out one problem at a time. Keep an eye on weight reduction, convenience of operating and don't negate the advantages of that small shoot anywhere camera. Find a machinist to transform your drawings into reality. Many years ago, I took my 5008 to Clairmont Camera (a major rental house in "Beautiful downtown Burbank," now defunct), to make a baseplate with attachments to allow using a Chroziel mattebox and follow focus. Because they were doing a lot of work for an early Bat Man movie they recommended me to an outside machinist they used as needed and he did an excellent job for me. Why I'm telling you this is because one day I came home from work and on my second step into my bedroom, the camera on it's baseplate, sitting nearly dead center on a cheap fiberboard closet shelf suddenly snapped that shelf in half and fell to the floor, smashing the eyepiece rendering the camera totally useless (except for parts). The moral of this story: Keep the camera in its case until needed. Keep that in mind, as well as convenience and mobility when you work out your solution. Best of luck. Maybe post a picture or two of what you've already done; and some more when next phase is complete.

Daniel, Sorry, no I don't have his book. As for analogue still-photo processes, there are still colleges teaching them. Santa Monica College and Daytona State College are two I have first hand knowledge of offering B&W and color printing, in addition to Alternative Processes, along with Digital photo. No doubt there are others in New England, New York, and San Francisco (though I doubt any one wants to brave the apparent lawlessness in San Fran; "stolen cameras anyone?"). Double transfer color carbon printing is probably the best alternative to Dye Transfer now --------- at least materials are available. "Uh, but is it easier?" "I Dunno."

"What Just Happened" (2008) Directed by Barry Levinson, starring Robert DeNiro, Sean Penn, & Bruce Willis A LOL, yet somber comedy of trying to get a movie made.

Goran, While I have no experience with the film...... could it be Rollei reversal? Their website indicates "high silver." As does the back of the box. Just a guess as Rollei is a German company.