F. and S. Marriott 140 Newbegin, Hornsea, England, HU18 1PB

May 2010. Stephanie died peacefully on 19th April after a short stay in hospital. She had been suffering from acute cervical cancer. Fred will continue to run the business to the best of his ability. The web site is slowly getting under control again as he tries to take over some of Stephanie's responsibilities, and learns some of the mysteries of Dreamweaver.

Pieces An on-line look at cameras etc. by Stephanie Marriott


Elmo C-200 and C-300

Fujica ZC1000

Fujica P1

Fujica ZS400

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September 1998

Introduction. I have always had a fascination for Single-8 cameras. The design of the cartridge is more like Standard-8 cassette loading systems, while the film adheres to the standard issued by Kodak for Super-8 (frame size, sprocket holes and frame spacing are all the same as Super-8). The film base is polyester so Single-8 films cannot be spliced using cement, only with tape. Therefore, this month is devoted to Single-8 cameras, in a column which draws much (but not all) of its content from Classic Camera Magazine number 4.

Elmo C-200 and C-300. These cine cameras are not, strictly speaking, Single-8 cameras, as they have interchangeable backs. The C-200 has a 9 mm. to 36 mm. f/1.8 zoom lens (takes 52 mm. screw-fitting filters), 18 and 24 f.p.s. and automatic TTL metering with manual metering option. When using the Single-8 back, the camera would allow reverse running as well. Three backs were made for the C-200; Standard-8, Super-8 and Single-8. The C-300 has the same specification as the C-200, but with the addition of single frame. A further back was made for the C-300, for Double Super-8, which also permitted reverse filming and backwind. In 1967 the C-200 cost about £130 and the backs about £16 each.

Fujica ZC1000. For anyone interested in exploring the limits of Single-8 film-making, this is the camera to get (if you can find - and afford - one). It is one of the few modern 8 mm. cameras with an interchangeable lens (C-mount). The camera offers a range of facilities, from 72 f.p.s. (also 12, 18, 24 and 36 f.p.s.), single frame, forward and reverse drive, hand crank, digital frame counter, variable shutter and provision for remote control and sound synchronisation. The zoom lens is an EBC Fujinon MA-Z f/1.8 7.5 mm. to 75 mm. (takes 62 mm. screw-fitting filter) with macro facility. Fuji also made a 5.5 mm. f/1.8 lens, and adapters were made to permit the use of 35 mm. s.l.r. camera lenses on the ZC1000. The camera was introduced to the UK in the mid-seventies, and in 1976 this camera cost £780. By 1982, the price had risen to £1,062 (as a computer programmer, in 1982 I was earning about £7,000 per annum). The high price may help to explain why so few of these cameras are available second-hand now.

Fujica P1. Not all Single-8 cameras are rare, complicated and expensive. One of the first Single-8 cameras was the P1, which is now a fairly easy camera to find second-hand. This was introduced as the entry-level camera , with a fixed focus f/1.8 11.5 mm. lens, automatic exposure and single filming speed (18 f.p.s.). In 1967 the camera cost about £34, a D-to-A filter was an extra £2 and a 2x telephoto attachment was an extra £6. For comparison, a cartridge of Single-8 film cost £1 7s. 5d. (£1.37) including processing.

Fuji ZS400. I am not sure whether this camera ever went into production, but I hope it did as I would like to see one, someday. It has an f/1.8 9 mm. to 36 mm. zoom lens, automatic metering with manual override and 24 f.p.s. It is not a normal sound camera though, it uses an optical sound track recorded down the edge of the film opposite the sprocket holes on silent film. There is a 22 frames separation between film gate and sound head, which utilises an LED (light-emitting diode). I have no idea what sound quality would be produced by this method. I have no price information on the camera, and I think it is significant that later Fuji cameras either used single-system sound onto a magnetic sound track or they made use of the Fuji Puls-Sync system for sound synchronisation.

It is listed in a book I have as if it went into production. The filter size is given as 46 mm. screw-fitting or 49 mm. push-on fitting.

Note: I like to give price information in both sterling and American dollars. However, this information is not always available to me, in which case I use whichever I can get. I do not convert from one currency to the other; market conditions vary and camera prices were often very different in the U.S.A. and Britain, so conversion would not give an accurate picture.

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