Last time I used them, Blue Moon Camera in Portland OR makes prints optically. They sell and process Minox film, and I don't know of any place else that does that. They were also processing panoramic prints from Horizon cameras and others.
One clue I have noticed in scams is they usually use the work "kindly." There it is.
I took the little cog train that runs up to the top of Mt. Washington. My trip was probably less stressful than yours. This was in October, but it was so foggy you couldn't see past your hand, let alone get the pictures you took.
spiritwalker6153 wrote:
Does anyone here still use film? Just curious. I do a bit of both.
I use almost exclusively film. I mostly make View-Master reels. I have 2 formats of View-Master camera: the "Personal," which came out in the U.S in 1952, I think, and the Mark II, which came out later in Europe. You need a film cutter to punch out the corresponding right and left film chips, and mount them in blank View-Master reels. I have to use slide film (reversal, E6 processing), which is getting harder to find, and harder to process. I have bought it at BH Photo and Adorama in New York, and Unique Photo in New Jersey. I send it to Dwayne's Photo in Parsons, KS for processing. Actually, a camera store near me sells the film, but no longer processes it. I shoot mostly Ektachrome 100, and sometimes Fuji ISO 100 and 50 slide film.
I have one digital point-and-shoot, but I mostly make View-Master reels. I have both the American and European View-Master cameras, which have different ways of handling the film. When I go to a wedding, birthday party, etc, I shoot some View-Masters and then give the "star" the reels, with a $10 viewer and maybe a dedicated View-Master case. Of course, this requires shooting reversal (slide) film, processed with E-6 chemistry. I've had good luck sending the film to Dwayne's Photo in Kansas. I can't do that with digital. There is a company, image3d.com, where you can send them digital stereo files (left & right images) and they will make a custom reel for you (any number of copies). But that is much more expensive, and impractical for me.
SuperflyTNT wrote:
I’ll give you $1200. 😜🤪
Here in the Detroit area, there are at least 3 camera stores that deal in used equipment. See if there are any near you, where you can bring your stuff in and get a quote, with no shipping cost.
Bobspez wrote:
I have not scanned my large 8mm reel containing all my spliced reels because it and my projector were stolen years ago from the back seat of my car. However, if I were to do it I would set up a flat white piece of poster board on the wall, darken the room by covering the windows, and run the film on a projector and video it with a 4K camera on a tripod. This would allow you to scan in real time, rather than frame by frame. And you could easily improve the image and the speed in a video editor like Premiere Pro. And if there is a sound track you could tweak that as well with an audio editor like Adobe Audition which works together with Adobe Premiere Pro within the Premiere Pro timeline.
Everything I have read on film scanners has a lot of negatives, very long time to digitize a frame at a time, damaging the film, frequent stalls and need to watch the scanner during the entire process, unsatisfactory results.
I believe 16mm film runs at 24fps so there should be no frame rate mismatch there if you set the camera video to 24 fps. So I would start with the 16mm film. I would adjust the size of the projected image to get the clearest and best image with the naked eye.
This is just a guess but if you experiment with different shutter speeds and fps videoing the 8mm film you may be able to improve flicker due to mismatched frame rates. There are also youtube videos on techniques to remove light flicker in Premiere Pro that may work on frame rate mismatch flicker. But when you get the best techniques figured out, it should work for the rest of your project.
I wish I still had my 8mm reel to give this a try. Good luck.
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What about a projector with a 5-bladed shutter? As I understand, most movie projectors have a rotating shutter with 3 blades, to add more "flickers" to the projected image. If you only had 16 flickers per second, your eye would notice it. But 16 x 3 = 48 flickers, and the persistence of your eye smooths this out. So 18 fps gives you 54 flickers per second, and 24 fps gives you 72. But a video camera shoots 30 frames per second, so none of these match up. But with a 5-bladed shutter, you get 18 x 5 = 90, or 24 x 5 = 120. These both divide evenly by 30, a better match. However, 16 x 5 = 80, which still does not divide evenly by 30. I have bought a 5-bladed projector on eBay, but haven't tried this out yet.
Foto Jo wrote:
I have offered and am organizing an entire room/ofc of an friend who passed last year. His career was teaching photography. Needless to say this is a major task. I found this out yesterday when I spent 1/2 day starting to sort through stuff and his wife told me he never threw away anything. Fortunately that included every box his cameras and lenses came in.
I called KEH and spoke to a women in the resale buying dept. I wasn’t happy at all with her help and made an excuse to get off the phone. Very different from 6 mos ago when I called about this same thing.
This being said I am open to any and all suggestions everyone may have. I offered to help as my friends wife of 54yrs is in her 80’s and hasn’t a clue about all his gear.
I appreciate your advice.
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There is a camera store near me that buys used equipment. If you are near a full-service camera shop (getting harder to find) they may buy most of it from you. You will have to do some homework to figure out a reasonable value for the items, but that would solve the problem of shipping equipment in original boxes.
I shoot mostly color slide film (reversal) because I make View-Master reels, and they are basically color slides. I shoot E6 slide film in a View-Master camera, which takes a left and right image together. Then I send the film out for processing, and put it through a film cutter which punches out each corresponding left & right film chip pair. Then I manually mount them in blank V-M reels, which I have accumulated from NOS. If I go to a birthday party, especially for a child, or a wedding or other occasion, I shoot View-Masters and give them to the main person, along with a V-M viewer. They love it, and don't take it back to the store to exchange.
I belong to a stereo camera club, where most of the members have switched to digital stereo. You can do fabulous things with all that software, if you invest hours in learning the software, not to mention the cost of the hardware. There's a company in Oregon called Image3d, which will make a V-M reel out of digital files that you send them. But that costs a lot more than my little film operation. One advantage of that is you can get as many copies as you want. I only get one.
I also shoot 2 different formats of stereo slides, 5 perf and 7 perf, referring to the width of the image in number of film perforations. It's a sickness.
So I hope they keep making slide film for a long time.
This is a Russian FED stereo camera, which are notorious for squirrelly operation. I shoot stereo slides, so I use E6 slide film. This is less forgiving on exposure than print film, because they can correct for a lot when they make the prints. I think I have the right battery, but there are 2 models and I'm not quite sure from the manual. It is over-exposing, and I just wondered if that meant the voltage was too high or too low. You can only shoot in full programmed auto, or set the aperture manually, and get only one shutter speed--I think 1/30.
I wondered if the camera would over-expose or under-expose if the voltage was too low. In one camera, it seems to be over-exposing by about 1 stop, especially in bright light. Of course, if that was consistent, I could set the camera meter for a higher ISO.
I have some film cameras which have an integrated exposure meter. Some can not be set manually. In finding batteries for them, I wondered how the voltage affects the meter reading. If a replacement battery has too low a voltage, how does that affect the exposure? Or if the voltage is too high?
p.s. The Gossen Pilot can also measure incident light. It has a little opaque cover that you slide over the light sensor, so it will measure the light source.
Harl-Man wrote:
Seeking UHH advice.
I have an Olympus 35RC rangefinder camera I purchased at the Army PX back in 1973 and I learned much about photography from using this camera.
But the internal light meter has died.
I don’t have any idea what it would cost to repair or if anyone would repair it.
Have any of you experience and thoughts about the Voigtlander VC Meter II that mounts on a camera hot shoe?
Do any of you know of any similar types of hot shoe mount light meters.
Thank you in advance for your responses.
Harley Bowman
Seeking UHH advice. br I have an Olympus 35RC rang... (
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I have a Gossen Pilot meter. It is a small, analogue meter which does not use a battery. It has a speedometer type needle to indicate exposure. I checked it against my Gossen Luna-Pro, and it was pretty close, except it doesn't have much of a low-light range. I clip it on the hot shoe of my vintage cameras, and it is very handy. It usually comes in a hard case with a strap. When I bought it, they had a little clip you could buy that screwed into the bottom of the meter, and slid into the hot shoe. It didn't come with the clip. I saw several on ebay for about $20, but none of them had the clip. If you could just find one with a clip, or find the clip somewhere, it would be perfect for what you want. I also have a Pilot 2. They "improved" it by removing the EV scale, but otherwise the same. They also had a "Super Pilot." I have one of those, too, but it uses a battery, and is really not as convenient to use as the old-fashioned ones.
I hate to be so dumb, but what is a GAS attack? I've never heard that expression before.