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PostPosted: Wed Aug 15, 2007 11:03 am 
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I should have said of course, as my friend above says, that the mobile labs I was referring to were specifically for large format air cameras and film, recce stuff. Working in the 'factory' at RAF Tengah in Singapore in the late 60's, exercises were carried out in the field using these mobile labs; I have never worked in one as such but I was involved in preparing them for deployment.

Mobile photo labs and tents are not new of course, Matthew Brady, and other early 'War' photographers used them in the American Civil War, I believe they were also used in the Boer wars in South Africa.

(My apologies for wearing my stetson there for a minute .. chuckle !!)

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If I recall correctly I saw a photo taken during the American Civil War of a mobile lab in "Camera at War" by Jorge Lewinski.

On another note, have any of you seen Shorpy - the 100 year old photoblog?
It has some wonderful pictures taking from as far back as the American Civil War to the 1960s.
In the collection there are some great Kodachrome Transparancies from 1942.

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PostPosted: Wed Aug 15, 2007 20:33 pm 
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Battle of Kursk 1943 - Operation Citadel
Image
The last major German offensive on the Eastern front as it had been seen by propaganda cameramen of Infantry Division Grossdeutschland. This unique BW 8 mm filmreel shows the really hard battle in outskirts of village Syrcewo north of Belgorod.
Video in .wmv format (13MB).
http://hrad.unas.cz/Video/Zitadelle.wmv

Hope you will like it :)


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PostPosted: Wed Aug 15, 2007 21:01 pm 
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Hia Guys,
Been shadowing this thread,but not really had a chance to get involved...But firstly welcome Correspondent from an ex MoD Photog.. it's a great place to be.
Have quite a few WW2 cameras 16mm, 35mm movie (Filmo's ,Eyemos) also a couple of Speed Graphics and a few other bits.... I have used most of these in some form of TV doco, Drama,movie production..so I understand a little about how hard it is to get a good picture with this gear.. :D :D :D ..

Cheers...
Seimon.

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PostPosted: Wed Aug 15, 2007 21:25 pm 
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Im just getting into them, but as I said earlier not in a collecting way, I will settle for two more .. one cine and one still, when I can get them as I intend to use them as others do I know.

The Adox is working well, not clear by todays standards but gives an excellent period look to the pictures. Had a minor problem with a bar of fogging down the left side of the frame that was puzzling me, but eventually realised a very small screw was missing letting light into the body, luckily a glasses frame screw did the job so now all should be well; The only other problem I have is mine, Im shooting a bit low with the viewfinder but that will correct with time and use.

Did you know any of the MOD PR men, I did a lot of work with the two who were assigned to HQSTC in the 70's, cant remember their names unfortunately.

Looking forward to meeting with you all over time at various events.

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... " I got vision and the rest of the world is wearing bifocals " ...

... " I won't be wronged, I won't be insulted, I won't be laid a-hand on. I don't do these things to other people, and I require the same from them " ...


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PostPosted: Thu Aug 16, 2007 11:41 am 
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Your biggest chance of running into me is if you come to an event in the Netherlands or Belgium. ;)
My last event in the UK was Beltring. I have no other events planned in good ol' Blighty for a while, but who knows.

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PostPosted: Fri Aug 31, 2007 21:55 pm 
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Anyone got any experience of running the Kodak Cine Special? Just wanting to check available sources of 16mm film and cine film processing. :)
This idea in my head is getting more interesting. Keep up the good work DiggerDave et al. Thanks for the useful links.
ttfn


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PostPosted: Fri Aug 31, 2007 22:34 pm 
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You beat me to it ... I need the same info as I have just got a Bell and Howell three lens turret 16mm cine camera.

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... " I got vision and the rest of the world is wearing bifocals " ...

... " I won't be wronged, I won't be insulted, I won't be laid a-hand on. I don't do these things to other people, and I require the same from them " ...


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PostPosted: Fri Aug 31, 2007 22:46 pm 
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Funnily enough I was thinking about a Filmo at some point. Did you get yours locally. I noted your location and guess its not a million miles away ;)
ttfn


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PostPosted: Fri Aug 31, 2007 22:48 pm 
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Hi Matt, Sorry i have no experience of it...well its Kodak and I tend to somehow not get so involved with their kit, unless obligatory.
I am very lucky in that I have a couple of good contacts , that keep me going in the odd bits of stock that I need in my dabblings. Fortunately there are a lot of people still shooting on 16mm for telecine work (i.e filmed on proper film but processed and then transferred and editted on video for video broadcast)
For basic work the Eastman plus x b/W neg film would be the best , but check that you get the right type for the camera.
Dealing with the pro processors can be a bit of a minefield, and be costly but maybe have a look at these people...... http://www.nowhere-lab.org/. they are more about the art form than big business and are very friendly.
Depending on your project I would think you are best off avoiding any kind of 16mm processing yourself. It might be worthwhile checking any local college for help,equipment use, ..its very time and space consuming.
You may be lucky enough to live near a good cine club, they can be really helpful even if they are mostly involved with 8 mm or 9.5mm, its the same principles.
16mm is now comparatively cheaper than it has ever been, but can the pounds can add up very quickly, every time you pick up the camera.the pounds just whir away! With the modern films and techniques , I dont think its worth setting up in 16mm from scratch, as period results can be emulated on 8mm.
I certainly would not have started in 16mm..I inherited my gear from my father in law who (being a millowner) could indulge himself in the 30's when everyone else was starving.
Let me know if need any further help or info.

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Hi Matt .. well I missed that one on E-bay recently, the 1942 USAAF one, it went for £166 in the end, but I didnt do too badly;
Found one in a little shop in an arcade in ...hmmm .... chuckle, .. my secret for now :D :wink: .. well when I tell you I got it for £30, you will understand why :lol: and they do get other cameras in there from time to time.

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'The Writing 69th'
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... " I got vision and the rest of the world is wearing bifocals " ...

... " I won't be wronged, I won't be insulted, I won't be laid a-hand on. I don't do these things to other people, and I require the same from them " ...


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Sorry Correspondent..you post appearred while I was laboriously typing out the above. Hope its useful.
The BH turret jobs (C mount) are great.tools, very adaptable. Theres an elaborate zoom lens attachment(1955) that can often be found at photo fairs.
/

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Well done C! Good find. ;)

Thanks also Dave. I know what you mean about the 8mm idea. Would be cheaper. With the idea of the Northern Command Home Guard film unit in mind I have to look at the good quality civilian amateur stuff that would have been on the market at the time.

I'm not too sure about actually running film now, but since the 16mm format was pretty much the quality amateur 30's thing, as you outline yourself, thats what I figure I would like to use for display at shows at least. Even if I don't run any film through them.

Thanks for the advice even if you don't touch Kodak. [so many people I have spoked to are the same, forgive me for asking but is there any special reason?]

The Kodak Cine Special, in the UK in 1939 was an expensive piece of kit. It was £150. Payable in 24 monthly installments of 134/5d. You could buy a car for that around then! I have noted several photos of them in use by US forces cameramen, but when the govt is paying I guess its ok ;)

Best wishes


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Kodak was essentially in the business of selling films and processing and , simplistically only made cameras because it had to to maximise on the sales of those.
There was for many years a lot of pressure on the camera makers, which resulted in a lot of cutting corners in design and remodelling. firts class camera would be discontinued and a similar but cheaper to make model made to replace it. They also mechanised a lot of the production, where other makers were still more or less handcrafting.
The result is that when many of the cameras,albeit in quantity) came onto the secondhand or even collectors market, they were much more worn, and not as easy to repair or to swap parts on.. this latter also being true when in original use.
(I think there were about 30 different models of the Cine Kodak you mention between 1925 and the US entry into the war.)

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PostPosted: Fri Aug 31, 2007 23:35 pm 
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Thanks Dave. Interesting story. I have also owned a Ford Model T. Ford affected nearly all car makers worldwide with his philosophy too.
Kodak made lots of "Cine Kodak" models from the A, B, BB, and E, and the Magazine Kodak [with easy load 8mm film mag and the Model 8. These were about the £10 to £40 bracket in 1939. The £150 Cine Special was hopefully something better ;)
I'd still like a B&H or a pre-reflex Palliard-Bolex which, from reading up, seem to have been quality machines. At the mo I am looking at whats out there. Seems to be plenty of collectable cameras out there, probably too much choice :)
Ah well, I'm not rushing.
What's a good show to catch APFU re-enactors?
ttfn


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PostPosted: Sat Sep 01, 2007 10:12 am 
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MattGibbs wrote:
What's a good show to catch APFU re-enactors?
ttfn

I think that would need a poll.
I certainly think there are some possibilities, maybe ask Tony nicely to see if he will devote a corner of a tent to all of the snappers, next year?
Mind you there is some good general stuff coming through the media , if everyone keeps their eyes open.
In my TV region they have been running a series, based on old commercial and "home" movies. called "The Way We Were". This week, they showed the Acocks Green Bus Garage Home Guard unit on exercise.( They had their own bus!!!) It contained some amazing stuff, especially considering they can only be showing edited highlights of the footage they have found. It was probably AFPU produced
Most of it is most probably from the BFI, although they did make an appeal to viewers at the beginning of the series.
Maybe its a question of finding the right person to pester. The same I think would apply to the film museum in Bradford.
I think getting to see archives like these would be of interest to others as well as those with an interest in the AFPU.

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