What's the latest thing you've shot?

Brian Schmidt · Oct 28, 2016

Just for something to talk about (and ideas!) I think we should discuss the following:

What is the latest thing you shot, with what camera and what film? What do you plan to shoot next?

I will start:

Camera and Film : early model Revere 88; Fomapan R100

Subject: Flooding that occurred due to a week of torrential rain up north. I mostly went to flooded areas in town and took movies of people looking at it. I also did some driving around to capture longer areas that wouldn't be easy to photograph otherwise. I then went to the river downtown and got the bridges, where the barely noticeable dam is under the water, and people looking in amazement at the height of the water.

What I plan to shoot next: Possibly making patterns to cast up an engine I found plans (mostly re-made plans) for. This would work well as I could then show casting it. The other option would be doing rounds of clearing snow from driveways when that time comes.

Anyway, what have the rest of you been up to?

-Brian

Theo Sulphate · Oct 28, 2016

Something of a cliché that I do every year: autumn colors on trees, leaves, neighborhood photos.

I've probably got hundreds of many small prints of this - need to find the best, enlarge, and frame it.

Europan · Nov 6, 2016

Planning to make a short film in the macro realm, technical objects. My idea is that the motion-picture camera will show itself. I have two revised Bell & Howell Filmo 8 Turret models, an American 134 and a British 605. These cameras allow an enlarged view, although only three times, of a ground glass on which the camera and lenses can be set up accurately. An alignment gauge is also in my possession. Then a Paillard-Bolex H-8 Reflex, completely overhauled, too. The Kern-Paillard lenses 5.5 mm, 12.5 mm, 36 mm, 100 mm, and 150 mm for the H-8 RX. A Bolex 8 mm titler is on its way to me, might be that I’ll use a Paillard-Bolex C 8 as well.

What I still need is a sturdy support for shooting, for both the cameras and the small objects. Once I can handle screws and such in front of the lens I can add the second most important thing: light. I know that I shall need lots of light in order to stop down the lenses. Depth of field becomes very shallow. I also need several light sources for bringing out rough outlines and fine structures, I want to make cog wheels and wire springs glow and sparkle with light. There are some neatly made videos on the net of the tiny parts of watches. I shall expose Double-8 film, Fomapan R, Orwo UN 54, positive stock, whatever black and white I can grasp. I shall process and edit myself.

Finally, I need a set of D-mount extension tubes. Until now I haven’t found anything the like, so I’ll contact someone with a mechanical shop soon. One additional ring shall have the D thread on one side and a male metric filter thread on the other for taking a lens invertedly. The small Yvar triplets have the rear element almost flush with the “bottom” which is practical. At magnification 1:1 the object field has the same dimensions as the image aperture has, 3.3 by 4.4 millimetre, so a screw head will fill the screen. Working title? Don’t know.

Theo Sulphate · Nov 6, 2016

Sadly, I still have a roll of Kodachrome II (ASA 25, double 8mm) half-exposed from 1978.

It's my trip from California to Oregon by train.

I keep putting off sending it to Film Rescue - I'm mad at myself that, theoretically at least, I could've had this processed properly as late as 2010.

Dan Fromm · Nov 6, 2016

Europan said:
Planning to make a short film in the macro realm, technical objects. My idea is that the motion-picture camera will show itself. I have two revised Bell & Howell Filmo 8 Turret models, an American 134 and a British 605. These cameras allow an enlarged view, although only three times, of a ground glass on which the camera and lenses can be set up accurately. An alignment gauge is also in my possession. Then a Paillard-Bolex H-8 Reflex, completely overhauled, too. The Kern-Paillard lenses 5.5 mm, 12.5 mm, 36 mm, 100 mm, and 150 mm for the H-8 RX. A Bolex 8 mm titler is on its way to me, might be that I’ll use a Paillard-Bolex C 8 as well.

What I still need is a sturdy support for shooting, for both the cameras and the small objects. Once I can handle screws and such in front of the lens I can add the second most important thing: light. I know that I shall need lots of light in order to stop down the lenses. Depth of field becomes very shallow. I also need several light sources for bringing out rough outlines and fine structures, I want to make cog wheels and wire springs glow and sparkle with light. There are some neatly made videos on the net of the tiny parts of watches. I shall expose Double-8 film, Fomapan R, Orwo UN 54, positive stock, whatever black and white I can grasp. I shall process and edit myself.

Finally, I need a set of D-mount extension tubes. Until now I haven’t found anything the like, so I’ll contact someone with a mechanical shop soon. One additional ring shall have the D thread on one side and a male metric filter thread on the other for taking a lens invertedly. The small Yvar triplets have the rear element almost flush with the “bottom” which is practical. At magnification 1:1 the object field has the same dimensions as the image aperture has, 3.3 by 4.4 millimetre, so a screw head will fill the screen. Working title? Don’t know.

Interesting. The 150/3.3 MacroYvar is a fine lens -- I no longer shoot S8, so sold mine -- and the 36/1.4 MacroSwitar in H8RX mount is wonderful -- I had one with the mount trimmed so that it would focus a little farther away on C-mount cameras, viz., my Beaulieus.

That said, there are better longish macro lenses than the MacroYvar. I never hit a situation where I needed to use mine on very small subjects. Distant birds, yes, but so far away that they didn't fill the frame.

IMO, for closeup work there's no substitute for an SLR or a lens that allows focusing and composing through the lens. Otherwise putting the plane of best focus where desired is extremely difficult. So is framing. Why use second-rate old tools when first-rate modern (relatively) tools are available?

Europan · Nov 8, 2016

Because I want to know what it means to work an old-fashioned way. Everybody can use modern tools. Second, I don’t want to have anything else than air between lens and film. It’s probably kind of a spleen of mine. Third, and not to be underestimated, I have to keep my budget which is not exorbitant. So it is an adventure of diving down back in time with relatively simple and cheap means.

To lighten my way of thinking up still more let me tell that I also photograph with a 4" by 5" press camera. It offers a ground glass for more serious set-ups and two point-and-shoot viewing aids. Studio photography I do on even larger sheet film. Small technical objects actually call for a small film format and 8mm is fantastic in that respect. I am happy with an 8mm projector that gives me a 3 by 4 feet picture.

Of course, when wanting to follow moving objects you’re better off with a reflex camera on a fluid head.

Dan Fromm · Nov 8, 2016

Europan said:
Because I want to know what it means to work an old-fashioned way. Everybody can use modern tools.

I take it that you eat roast Aurochs that you've killed yourself with a spear, dressed out with a flint knife and cooked over a wood fire that you started with sparks generated by banging two flints together.

So you'll know, I sometimes do closeup work with a 2x3 press camera. I've experimented with focusing frames, gave them up as a bad idea and focus on the ground glass. You can't do that with a non-reflex cine camera.

If you have a limited budget you can't afford Kern lenses.

Europan · Nov 8, 2016

Funny, but I can dress tools since I’m a trained mechanic-machinist. Unfortunately the workshop I used to have sits in a garage, crammed up.

To come back to macro and micro cinema: At a certain point you stop moving the camera because it’s easier to budge the object. A good magnification of the ground glass is most important. In that respect I’m not happy with what the industry offered the amateur movie maker. 8mm is about half-way professional with a Paillard-Bolex H-8 or a Beaulieu R 8. The GDR Pentaflex 8 is absolutely off my taste although it is the only camera for Double-Eight film with a mirror shutter like professional cameras have.

The Kern-Paillard lenses I have from long years back when I had money.

Brian Schmidt · Nov 8, 2016

The clock parts should be quite a bit of fun to do. If you feel like doing other things in micro, for ideas, how about ants going in and out of an ant hill or bubbles on the inside of a glass of pop? Winter is coming so maybe you could put a pan out to catch snowflakes (when they look good) then film them melting as you hold a lighter to the back of the pan (out of the shot).

I agree that it can be much more rewarding to get a good image from more basic equipment. 8mm seems to me to be more of a "have fun with it" kind of format because it is cheap and easy, which is why I like it. Those B&H cameras should serve you well. There is a certain point where I question if better quality makes a worthwhile difference in the final result or if it is so minute that it's irrelevant. As far as I am concerned the more nit-picky you get the less fun you have. You can end up spending more and more money just to obsess over minor imperfections to the point that you've invested a fortune in something you've conditioned yourself to be unable to call good. Some call it "Marketing".

Even with the old Revere I use the grain is more of an issue than the focus/image clarity.

Anyway, lets see if anybody else comes to the party...

Brian

Theo Sulphate · Nov 8, 2016

There's always time lapse - I've never done it because my old 8mm cameras didn't have a single-frame release position.

Could be fun in autumn or winter scenes - e.g. take just one frame a day at a particular set time. Definitely need a tripod for that.

Dan Fromm · Nov 9, 2016

Brian, in the mid-50s my father had an 8/8 Filmo turret. Six lenses, more-or-less matched pairs of taking and viewfinder lenses. I used it too, tried to shoot small, relative to landscapes, objects. One that sticks in my mind was a model volcano I made. Whumped up a chemical concoction to simulate a slow eruption, filmed it. Focused as best I could, framed using the viewfinder.

If I wanted to make a film of small shiny moving parts, I'd use a macro lens on a digital SLR with video capability. Capital costs higher than shooting with an ancient 8/8 camera, running costs lower, better results. But and however, less of the undeniable joy of tinkering.

Brian Schmidt · Nov 12, 2016

There is the Konica Zoom 8 that has the viewfinder through the main lens, stop motion capabilities, etc. Maybe this could help? They aren't too expensive. My grandpa had one that he gave to me.

Brian

Dan Fromm · Nov 12, 2016

Brian, towards the end of 8/8 a moderate number of SLR 8/8 cameras were on the market. And Europan has an H8RX.

Europan · Nov 30, 2016

A Christen Reflex Intégrale DB-1 has joined the band today. I think I’m well equipped now. Will upload a short when finished

Europan · Jan 4, 2017

Have found the pellicle cracked with the Christen camera. Decided to give the camera an overhaul and to look for replacement glasses.
Luckily I managed to locate a source for such thin glass pieces, they should arrive in a few days.

studiocarter · Jan 12, 2017

Europan · Jun 18, 2017

One year has passed since I began planning this, I have come a little further. Five sets of D-mount extension tubes are made and I have come across a 1949 ad for such. Stevens Engineering Co. of Los Angeles once made D-mount tubes but only three sizes. I have 2.5-5-10-20 mm now. Below 2.5 mm I insert shim washers. A number of lenses I have revised, too. Interesting a Cinor B 35 mm, f/1.9, among them. Turned out it is the Hermagis Perlynx formula. A Taylor-Hobson Serital 1.5 inch, f/1.9, was unopenable without damage to the diaphragm follower, it was crimped to the cage. I still have other things to do but will be back. New turret discs for D-mount lenses are also planned, they will afford an upgrade to Bell & Howell Filmo 134 TA models. C and CS threads will be possible as well, any desired combination. The thin-walled original turret disc with the larger threads size was an insult.

FilmCurlCom · Aug 19, 2017

I shot one reel of 16mm Wittnerchrome reversal film in my Krasnogorsk 3 yesterday as a nice challenge:
The idea was to write a short, funny sketch that should have around 1.5 mins final duration and shoot that with only one single 2:47min 16mm 100ft reel.
Proved to be quite a challenge indeed!

First of all to write a sketch that makes sense and is funny and can be told in 1.5 mins AND without any sound is not that easy.
Then of course having to basically succeed shooting almost all takes at first try as there is not enough film to repeat most of them is tricky.
Additionally, for whatever reason, the 100ft reel had only 22 meters / 72ft of film in it, reducing the available duration to 2 mins.

So I had 2 mins of film to shoot 1.5 mins of story!
We shot it in sequence for various reasons, which was a pain, as we had to move back and forth between locations.
I was quite tensed at the end, because if we couldn't still fit in the last shot, the joke and final payoff of the sketch would have been lost, rendering the scenes before it useless.

It worked out really well at least from what I can say so far without having the film developed yet.
We repeated only two short scenes, all the others were successful at first try.
Massive planning and rehearsing (especially the camera movement and the focus pulling) proved to be very helpful.

Once I'm back from vacation I will develop the film myself at home and then cut it and run it through my 16mm projector.
In case the results are nice, I might scan it at high resolution and share it.

Bernhard

studiocarter · Sep 22, 2017

Trying to see what the best exposures are during projection. Videos are not the same. I have to loop the brackets and watch the film on a screen and take notes. It may be projected much slower than when copying it to video.

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What's the latest thing you've shot?

Brian Schmidt

Theo Sulphate

Europan

Theo Sulphate

Dan Fromm

Europan

Dan Fromm

Europan

Brian Schmidt

Theo Sulphate

Dan Fromm

Brian Schmidt

Dan Fromm

Europan

Europan

studiocarter

Europan

FilmCurlCom

studiocarter