It’s been a while. Life gets busy sometimes.
I’ll post more later — the images take a bit of effort because of the funky film.
Some color correction from the old film — this camera got the other half of the 1997 Fuji 400 roll.
I hope I can fix/remove the weird drips. I like a couple of the images enough to try with swabs and distilled water.
This guy decided to shoot with cameras he could get for 99P (under a pound UK) and the Halina Speedy 33 was his first project camera: https://austerityphoto.co.uk/halina-speedy-33-poundland-camera-no-1/
The Owner’s Manual is posted on the Manuals page.
I did a LOT of color correction on these. The film in the camera in the video is not what I used — that’s a bad roll of Polaroid I use to test film transport, etc. The images are Fuji ISO 400, expired in April of 1997 and it shows. Really grainy and it has a bluish tint almost like expired slide film. I processed this at home (Unicolor C-41 kit) so temperature variation might be part of it. It’s not the camera’s fault.
While editing the video, I thought of a way to do exposure compensation. The lens is smaller than the glass covering and well above the CdS sensor. A bit of neutral density filter material over the sensor but not the lens and it’ll over-expose. Over the lens but not the sensor will underexpose. I have some 3-stop from using Instax in pack film Polaroids…
The film is Fuji 200 i got with a camera lot from a Craigslist ad. It was in his garage and I have no idea how old it is. Pretty grainy so I did some noise reduction and minor tone tweaks. Processed and scanned by Gold One Hour Photo in Los Angeles, CA.
The film in the video was shot last year. We went back to the Salton Sea again this year and I shot with a couple of still cameras I’ll review shortly.
The film page at Spectra Film & Video shows what they currently have. I got two rolls of the Agfachrome 200D with processing before it sold out and it worked well and the processing was really well done.
Spectra’s telecine can seem pricey but after working on two 8mm projectors and an editor just to be able to look at the film, it’s feeling cheaper and cheaper: Shooting video of the projection looks awful. Neither scanner is suited to a reel of film of any size. Kludging a slide duplicator is a possibility but that’s going to take forever to shoot frame by frame.
I have 3 or 4 other cameras, a mix of 8mm and Super-8, plus a bunch of found 16mm reels, so I have to decide whether to: A) farm it out, B) buy something, or C) make something.
A has the advantages that I don’t have even more clutter, I don’t put in a bunch of time, it’s done by professionals, and I only spend the money when I have something. But, it’s expensive.
B is a one-time investment, but it’s time consuming, good telecine gear is also expensive & I don’t want to do conversions for others for it to pay for itself. And more stuff to store.
C is cheaper in money but time consuming to design and make it. A good design could be set it and forget it once it’s built. I love a challenging project but I have several in line ahead of it.
Probably A or C or a mix of A and C. I’ll let you know.
Heavy noise reduction on all. I hope some of it is scanner noise rather than grain so I can re-scan at higher resolution on a couple of them.
There was a weird dust splat and I did a little color correction on this one.
Color correction for the old film.
Boosted the mid-tones. The noise reduction tends to make things look flat and this could’ve used flash.
I did a bit of editing on most of the images. It’s from the film (age=grain and loss of speed) and scanner noise.
Fuji ISO 200 film of unknown vintage. Some grain in low light but not bad for being in someone’s garage. Processed and scanned by The Camera Shop of Santa Fe.
* With the old Achiever 115A flash, ISO 200 should be at f/22 at 3 feet but the Rokkor-X PF 50mm f/1.7 only stops down to f/16. Exposure compensation wouldn’t help since the exposure is based on the flash duration and the only correction the camera could do would be to double the shutter speed at -1 exposure compensation (to adjust the exposure down to ISO 100 which is on the flash table at f/16 and 3 feet). A -1 stop ND filter would work but I didn’t have one handy. I got lucky with the film’s exposure latitude (or it’s slower because it’s old) and it’s not overexposed.