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Browsing Category Steve Serota – Classic Camera Workshop

Steve Serota was the owner of Classic Camera Workshop and before that a small camera shop in Philadelphia called Camera Care. He specialized in restoring old cameras and lenses and was one of the best in Philadelphia. He will be missed.

This section is dedicated to his memory and highlights some pictures and films from lenses that he restored.

Steve Serota and his dog

In Memory of Steve Serota

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Steve Serota, owner of Classic Camera Workshop outside of Philadelphia recently passed away.

Steve used to run a camera shop near Chinatown, Philadelphia on between 9th and Arch Street called Camera Care. When cameras starting going digital he had to sell his shop and later retired from the business. But he never left. Instead, Steve ran his camera shop from his home largely focusing on repairs and calling his online shop the Classic Camera Workshop.

I only knew him just this past year but he was one of the few guys around who had the history, know how, and love of old cameras and lenses. He had the gift of restoring and bringing them back to life.

Though I only knew him for a short time from my own need to get some old c-mount lenses repaired, I definitely felt a connection to his love and passion for classic cameras and lenses and learned a lot from him. His knowledge in the field and his persistence to tackle any problem was really amazing and he had a gift for doing what he loved to do.

Steve never charged you hourly for his services. He was one of the few camera repair guys who gave one price and stuck by it. No matter how long it took he’d get it done and repair that lens with all the tools he knew in his trade. He took a hell of a long time with your lenses though because he got them to his strict standards of perfection. Most would wait and give nudging e-mails or phone calls but then months later when you least expect it you’d be rewarded with an amazing lens that was overhauled and restored with care.

He never did get paid for what he truly deserved. He just loved doing it. He had the unique history to know how to work on so many cameras and lenses before digital came into being. Ironically, his knowledge is needed now when most people are investing to have old lenses repaired and restored to be used with DSLR cameras.

I never met him in person. Never even saw a picture of him or any pictures that he took until after he passed away. I only talked to him by phone and through e-mail. Camera lenses is why I came to him but through the process of repair and restoration he shared his life, his love of cars, taking care of his wife and mother-in-law, and his love for his son who recently just got married.

When his wife Barbara called me and told me he had passed and that she had my camera and lenses to return, my heart sank. I wanted to pay my respects in person. I drove out to his beautiful home just outside of Philadelphia and met his wife and she shared a picture of when they first got married and her own stories too, the good memories as well as the times of struggle, his health challenges and how the life of a camera repair guy was always a struggle but it’s what he loved to do.

Before I left their home, she took me down to the basement where he did all his repair work. It was as if he never left. Piles of old cameras on the floor, his beat down chair bent and slightly swiveled waiting for his return and a few tools and hardware strewed on his desk as if Steve was right in the middle of a repair.

It was truly a mess but I could see some semblance of structure. There were scribbled tags in plastic bins identifying someone’s lenses or camera body. Some bins were in the middle of repair and he needed a part or two while others were not touched at all. All were just waiting to be fixed. He was the camera doctor and this was really his labor of love.  In all it’s chaos it was his sanctuary. His home.

In all this organized clutter of old cameras and lenses this is what he loved to do. Being able to restore a bad lens and get it back up and running to its full potential was something that he took pride in especially the ones that were impossible to repair. I remember he repaired an old cine Nikkor 10mm c-mount lens that was impossible to repair. I told him if you can’t do it just let it go. He stayed up all night and gives me a proud call on the phone 8:30am the next day explaining how he could not sleep and was able to get the helicoids unfrozen. That was the kind of dedication he had to his craft.

His wife jokingly said to me, “Steve knew how to repair cameras but he could never take a good picture.” And that was not far from the truth.

When I picked up my plastic bin containing my last set of lenses from him, I imagined him telling a long story of why he was delayed with my lenses saying he was at the hospital and had meant to send them to me sooner. He would then say, “I didn’t forget about you. I got your lenses and camera right here.” And there I was holding the last of the lenses repaired by his hands. In the bin was also my GH1 camera which he used to test out all my lenses. When I turned on the camera, I saw his test pictures that he took shooting his shop and backyard using my c-mount lenses. Most pictures were really bad but it was a nice gift. They were little snap shot memories documenting a brief moment of his day to day repairs.

One was the nicest pictures was this test from his backyard using what I think was the Cine Nikkor 10mm c-mount lens.

On my way back home I decided to take a last minute stop where his shop used to be near the Chinatown Arch in Philadelphia, one of the beautiful landmarks of Philly. It was cold that night and no one was around except the few cars that passed by. I looked up and noticed there were new lights on the arch. It looked beautiful. It was a classic camera moment. I took out the plastic bin and I pulled out one of Steve’s lenses and placed it on my camera and looking through the viewfinder said, “Here’s to you Steve.” And I started shooting.

These shots were taken with a Yvar 75mm f/2.8 c-mount lens restored by his gifted hands.

Though he could not take very good pictures, he sure knew how to restore classic cameras and lenses. These pics prove his worth in gold. He was a humble master allowing his art and spirit to live on through the people who he touched and through the lenses that he restored.

Every time I use any of his lenses I’ll always think of Steve Serota.

I will be creating special shorts with each of the lenses that he has restored for me.

For those who have had their lenses repaired by Steve, I invite you to send me your stories, pictures or films. I will add it to this post.

And for those who may still be anxiously waiting for your lenses and camera. His family asks for your patience at this time and are in the process of contacting all his clients.

Please feel free to contact them at Steve’s e-mail at repair@camera-care.com

Angenieux 64mm Leaf2

Angenieux 8-64mm = The little Angenieux c-mount that could

My Story of the Angenieux 8-64mm c-mount lens:

The Angenieux Zoom Type8x8B 8-64mm f/1.9 c-mount lens was the first legacy zoom lens I purchased for the m4/3 system. I was pretty green at the time and when I initially got the lens I popped this lens on my GH1 and I saw the image was a tiny fuzzy circle as big as the size of a quarter. I was pretty disappointed but did not want to give up so I gave the lens to Steve Serota from Classic Camera Workshop to see what he could do with it. He spent close to a year cleaning up the lens. He just loved that little lens and said he was surprised at how sharp it was and how he finally got it working nicely with his 16mm camera. When I got the lens back I thought this would be it. I thought I’d  have a nice clear image but when I popped it back on my GH1 camera I still saw the quarter size image only this time it was sharp only on the telephoto end not on the wide end. At 8mm I still saw an image that was out of focus and still could not get the lens to infinity focus. With the results only a shade better then before the lens was repaired the Angenieux 8-64mm was useless to me. I still kept it though because it was the last zoom lens Steve Serota repaired for me before he passed away.

This past summer I was about ready to sell the lens but I heard the GH2 was announced with the extended tele conversion (ETC) feature that allowed the ability for small lenses like this to be used in the full HD resolution of the camera. I wanted to give this lens one more shot. I knew I would need to find someone to get this little lens machined so that it can achieve infinity focus on a standard c-mount to m4/3 adapter. I knew that the best legacy mount m4/3 manufacturers were in China so I sent an e-mail to “R.J.” also known as ebay seller jinfinance to try to see if he would be open to machining my lens to fit his c-mount adapter. R.J. is one of the more well known legacy mount makers in China and is best known for his reliable C-mount to m4/3 adapter and Canon FD to m4/3 adapter.

I sent pictures of the lens to R.J. and he told me that he could not guarantee it would work because there could be a possibility that the lens would fall apart. I decided to just go for it anyway and sent the lens to him in China. I thought if it falls apart then it was meant to fall apart and if it works then it would be pretty unbelievable and make for a good story to tell. After a two month waiting period I got the lens back before X-mas just in time to test with my new GH2.

R.J. had done it. He had machined a significant portion of the rear of the lens. I popped the lens on the RJ c-mount adapter and on to the camera and engaged the ETC of the GH2 and took a deep breathe. I set the lens on 8mm and saw the the quarter size image had almost filled the screen. It was not the sharpness that Steve Serota was excited about but the picture on the wide end was in focus and had that soft Angenieux quality that was very pleasing to me. Then I brought the lens to the telephoto side and that’s where the sharpness of the lens really shined. It was all worth it. It really was a huge journey to get the Angenieux 8-64mm c-mount to work on the micro 4/3 system. There are a number of flaws that I have found out as I’ve played with the lens a bit more but I feel the journey was worthwhile and the lens will serve its purpose. The big pluses for me is that this lens is a very tiny fast zoom so you can carry it around with your small GH2 and images become sharper as you go up the focal range.

Here are two sample stills at 64mm.

One thing to note is because the image circle is very small at 8mm there is vignetting and edge distortion when using the GH2′s ETC mode.

You can definitely work around these problems or make the issues work as a part of the character to your film. The Angenieux 8-64 lens despite all it’s problems represents to me why I do what I do. The idea of collecting legacy lenses is also the idea of keeping the story alive and passing on what was once old and worthless and making it new again. In a small way, this journey is hopefully honoring the previous owners who may have used this lens on their own films and also honoring the guys like Steve Serota who repaired it.

The Angenieux 8-64mm lens was first used in my test film footage for the indiSYSTEM Bulldog and indiSYSTEM BallGrip in a piece called Aloha Winter.

If you’d like to try this with your own Angenieux 8-64mm lens it will take a few hurdles, some patience and a few key pieces of knowledge:

(+)

  1. Send the lens to R.J. (ebay seller: jinfinance) in China. It cost me about $60 to machine the lens.
  2. R.J.’s c-mount adapter works well but the best mount to get you infinity focus with this lens on the wide end is with the “Hawk’s Factory Made in Taiwan” adapter from Hawk Peng or ebay seller hawks_factory. I have only tested the old version which works great. The new version I will be testing shortly.
  3. This is a very small c-mount zoom and works best wide open and sharp near the mid to higher focal ranges (20-50mm).

(-)

  1. GH2 ETC mode in creative movie mode is the best way to get the lens working but this mode cuts off some of the sharpness and on the wide end you will still see vignetting and edge distortion especially when stopped down.
  2. Since this is a legacy lens there is no optical lens stabilization so in the GH2 ETC mode it’s best to lock your camera down on a monopod or tripod any bit of camera shake will be magnified greatly in this mode.
  3. Because of the design of the lens at the farthest focal length (64mm), you will unfortunately see two metal elements from the interior of the lens on the edge of the frame of your shot especially when stopped down. Unfortunatey, I do not think it is possible to remove these metal elements from the interior of the lens.

Special Note:

When using the GH2 ETC mode for still pictures you will have to make sure you set the camera quality to capture only JPEG and not RAW stills and also set the picture quality to 1920×1080 16:9. Creative Movie Mode gives a larger picture than when shooting in any still mode with the ETC engaged.

 

Steve North Philly

We Will Be Missing You – Steve Calvarese

Over the course of this year, I will be creating special shorts with some of the lenses that Steve Serota restored for me. 

The first is called, “We Will Be Missing You” written and performed by Spoken Word artist Steve Calvarese.

Steve Calvarese is an emerging artist based in Philadelphia who has really been growing and developing his craft. With the help of Michelle Myers, who is one half of the famed Yellow Rage yellowrage.com,  Calvarese has been sharing his take on the Spoken Word form integrating personal, community, and social issues.

Calvarese says “We Will be Missing You” tells a story about gun violence in the city of Philadelphia. At the same time, the story is grounded on the belief that understanding is key, thus it opens our minds to multiple perspectives.

This footage was taken using the Panasonic GH1 with a Schneider 1:2/18-90 C-Mount zoom using the indiRAILSpro MP and a new indiSNAP gear.

Sound was captured with a Sound Devices 552 Mixer/Recorder and Sennheiser SK2000 wireless system with a Sanken COS-11D lavalier.

This version of We Will Be Missing You is set at the Christa Lewis Memorial Tot Lot in Russo Park Philadelphia.

This piece is dedicated to Steve Serota who used to run Camera Care in Philadelphia and later his online repair shop Classic Camera Workshop. This Schneider 1:2/18-90 C-Mount Lens was overhauled and repaired by his hands. Whenever I shoot with this lens, Steve Serota will always be remembered. His work was amazing and brought back to life every lens I brought him. He was a storyteller, a perfectionist, a great family guy, and he loved his work and was passionate about classic cameras and lenses. He will be missed.

Here are the words to the Spoken Word piece.

We Will be Missing You

Written and Performed by Steve Calvarese

Dedicated to all of those who died by gun violence

What weighs on his conscience

is greater than the weight

he carries on his waist

but the problems he faced

being raised in a broken home but no one can relate

so he alienates

himself from everyone else

away from the fake

those who create hate

cuz he’s seen as a Monster

which generates

his hate he has for them

no friends, accept for his gloc

forget about crying out for help

he’ll let his gun be louder than his mouth

R.I.P. carved into every bullet

finger itchin’ on the trigger waitin’ to pull it

so he can express his meaning of “Resting in Peace”

his piece

is always kept off safety

before the victim died. Mama was praying for his safety

before you go out make sure you walk the street safely

before he knew it cold metal was against his skin

he wanted to show him how cold the world really is

one shot left his frame frozen in time

where he hangs is in his home, a 8×10, a picture frame

the only memory his mom have left to keep herself alive

is his smile so everyday she don’t think about suicide

and dreams

dreams to remember about her baby boy

the only person she has left in this world is her baby boy

now that he gone away to a better place

she will no longer see the smile on his face

every night when she goes to lay herself to sleep

she prays

so she can listen to her son speak

sayin’ I’m still alive inside

when your heart beats

no more cryin’ out

you’re baby boy is here now

smile down

and watchin’ out

soon we’ll be together but for now

you got to remain strong

no matter how deep you feel pain

I know it’s hard to adjust and make that change

when the only thing you have left in your pockets is hope

hopin’ for better days

hopin’ that kids like me don’t gotta die today

she tires to be the voice about gun violence that needs to be heard

but no one wants to hear her

lying to ourselves when we know it happens too often

how many kids we gotta see dead layin’ in coffins

how many bodies gotta drop

being outlined in white chalk

we just chalk it up and talk

like it’s the new verb

but stuck in the pretense

because we are preoccupied by other things

what we need to do

instead of throwing shoes

we need to throw our guns on the wire

first we must be alive

say like Kanye “Through the Wire”

open our eyes

and not retire

the issue

I know we’re all tired

But I don’t want to tell another friend

“I miss you”

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