Ignacio Aguilar

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Now on EBAY

For Sale: Sony PL Mount lenses in very good condition. Each lens comes with front and rear cap. ASKING 1400€ or 750€ each lens + shipping (not included) Shipping Worldwide from Madrid, SPAIN 0% VAT offered for EU VAT Registered companies PM me or Email: info at harmonicarental dot com

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Hello, I have for sale a rare Nikon "NOCT-NIKKOR" 58mm f/1.2. Ideal lens for a rehousing, the glass is in immaculate condition. Serial number is from the very early 1980's.RARE Nikon Noct-Nikkor 58mm f/1.2 Pristine [EU] Comes with front and rear cap. ASKING 5.500€ + shipping (not included) Shipping Worldwide from Madrid, SPAIN 0% VAT offered for EU VAT Registered companies PM me or Email: info at harmonicarental dot com

Selling Hasselblad MACRO lenses with Zeiss T* coatings in PL mount with Universal mount. Excellent quality.Lenses are:30mm Macro T3.550mm Macro T2.8Each lens comes with a rear and front cap.This is the same exact glass widely used for IMAX cameras and has also been adapted by ARRI for their 765 film cameras (65mm) and Alexa 65, as ARRI PRIME DNA or PRIME 65 lenses. Since they cover medium format and 5-perf 65mm, they will also cover FULL FRAME (Alexa Mini LF, Sony Venice, Red Monstro, V-Raptor, etc) and of course SUPER 35.Each lens already works very well as is, but could be rehoused if needed.ASKING 4.300€ for both or 2.400€ for each lens + shipping (not included)Shipping Worldwide from Madrid, SPAIN0% VAT offered for EU VAT Registered companiesPM me or Email: info at harmonicarental dot com

Selling a basically new Tokina 100mm Macro T2.9 lens, as it has been used just a couple of times. Covers Full Frame, Metric scales. Comes with original front and rear caps. ASKING 1900€ + shipping (not included) Shipping Worldwide from Madrid, SPAIN 0% VAT offered for EU VAT Registered companies PM me or Email: info at harmonicarental dot com

Priced to sell

Thanks David! I will try Glimmerglass in higher strenghts, as I don’t think I have used anything higher than 1/2.

I didn't really know what to expect from this film and I have been possitively impressed by it. It's really engaging and almost finishes too early, I would have loved to see an extended version that covers the period from his arrival to L.A. until he got his first direction assigments such as "Duel". From a cinematography point of view, I've gotten used to Kaminski's use of hot sources, overexposures and flares, they are well integrated and contribute to visualize the era. I assume this was 35mm with spherical Panavision Primos with 16mm & 8mm for the "home movies" segments, but is there any info about the diffusion filters? They looked to me like the old Harrison & Harrison Double Fogs (which are really a mixture of regular Fogs and Low-Contrast filters, not Fogs with a double effect), but the blacks seem to clean and unaffected to be these old filters. If there's a newer series that does the + or - the same as the DFG to highlights without lossing contrast, I'd like to know!

Selling again the camera. The price has been lowered. Get in touch if interested.

Hello, I want to buy a used OConnor head in good or very good condition. Located in Europe. Please PM to get in touch if you have one. Regards.

Let me know via PM if you would consider selling the 1/4 H&H Double Fog alone if it’s still available.

I have re-watched this film with my older kid. I hadn't seen it in decades, but it makes me remember how underrated cinematographer Donald M. Morgan [ASC] was. What a beautiful anamorphic photography, mostly in low-light, using the gorgeous Panavision Super High Speed lenses at very wide apertures, plus a few zoom shots here and there. Beautifully directed by Carpenter, brilliant acting by both Jeff Bridges and Karen Allen, and a nice main theme by composer Jack Nitzsche. ILM's vfx work seems quite outdated, happily the film relies as less as possible on the effects. The funny thing is that Dean Cundey is mostly regarded as Carpenter's cinematographer of choice during that era (later on, they worked again on "Big Trouble in Little China", 1986, their last film together), but Donald M. Morgan had shot (very well) Robert Zemeckis’ two first movies, and had previously worked with John Carpenter for the TV movie "Elvis" (1979) and more recently adapting Stephen King's "Christine" (1983), which is very well shot too. So “Starman” was their third project together. So somehow in 1984, Carpenter and Zemeckis switched their directors of photography, as Cundey shot "Romancing The Stone" for Zemeckis and Morgan did the same with "Starman". Michael Douglas was producing the two pictures.

No, sold.

Super High Speed Anamorphics are from the mid 70's, they were mentioned by Vilmos Zsigmond in the AC article about his photography for "Close Encounters of the Third Kind" (and you can certainly see them in action in the opening air traffic controllers scene). I've seen them in at least one pic on the set of John Carpenter's "Halloween" and I bet they were used by Richard H. Kline for many scenes of the 1976 remake of "King Kong". These lenses use Nikon glass and it's said they predate the E Series, which are Nikon as well, in design. What I don't really know is if the lenses are still around. I'd say most if not all of "Escape From New York" (1981) used them, and the night exteriors from "Die Hard" (1988) and some shots in Michael Mann's "Heat" (1995) did as well. I think Wally Pfister carried them on some of the "Batman" movies too.

No, it's still available.

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