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Fuji stops black and white... :(


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I would speculate that both BW films are more "specific" ones, with high sensitivity, non-traditional grain and a bit whimsical while developing. If anyone need anything with high sensitivity, pushable and pullable, they will certainly pay 10+ dollars for either Delta or P3200 (although Kodak is a bit cheaper to my bliss).

 

As for Portra 160, I'm a bit confused as well, it sells for 6.5-7.5$ while Portra 400 goes for around 8$.

It was $7 where I got mine, and about $!0 each for TMZ and Delta 3200.

 

It was buying the three rolls at the same time, that made me think about the pricing.

 

But yes, I suspect that they sell less TMZ and Delta 3200 than Portra 160.

-- glen

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and the prices of the Acros went crazy... in BH they are discontinued, in macodirect are more than 8 €, in amazon I saw even 10 £ and 22 $...

 

I thought to buy several but I just won't give twice and third for a single roll... greedy b.... the same happened when they announced the discontinuing of the Ektachrome back in 2013

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Fuji was never that most popular with b/w film, it was always Kodak Tri-X and Ilford HP5 right. Fuji is also down to one film now 400ProH or the newer NPH only in 35mm and 120 format. Then there is Provia and Velvia.

 

I have a Coolscan 400 or I had. Doesn't work now. Cannot be repaired. I read that some firm can replace the USB logic chip.

 

Mostly pro's have gone digital. Slide film is a lot more restricted even Provia, after the sun's down, the shadows block up. Not very versatile. Astia might had been more versatile. E6 are the most expensive film and the most expensive to develop. Some can DIY the processing but not every country now can get access to these chemistry kits as the demand has dried up.

 

Even if Kodak comes out wasn't that only planned for 35mm and just one emulsion.

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Even if Kodak comes out wasn't that only planned for 35mm and just one emulsion.

 

Over the past few years, Kodak has shown a general trend of bringing out new emulsions in 35mm first and then migrating to larger formats as the product is established if demand increases. Ektar 100 was that way-it started out as 35mm, and now can be had in sizes up to 8x10.

 

IF the new Ektachrome ever happens, I suspect that it will expand into 120. From what I've read and heard in discussions the target is something like the old E100G, which actually is quite a good film. My recollection of it was that it was very "sterile" feeling, but just a good general purpose slide film. I just picked up some in 120(along with 18 rolls of Plus-X!) after not shooting it in years, so I'll see if my recollection is correct. When I could still get it, I always preferred E100GX, which was a tad bit warmer and got rid of some of the "Ektachrome Blues" that were inherent in E100G.

 

If I had my druthers and could only get one slide film from Kodak, I'd take something with the grain and dynamic range of E100G and the saturation/color profile of Elite Chrome. Elite Chrome was always a great middle of the road film that was a bit punchier and warmer than E100G but not as saturated as E100VS(Kodak's poor attempt at a Velvia clone). Its one downside vs. the E100 series films was that its grain technology was a generation or two behind. I use to shoot a lot of both films(and still pull out some frozen Elite Chrome-one of the best general purpose slide films I've ever used) and can pick out an Elite Chrome scan right off by looking at the grain. While I'm also compiling my wish list, can we also get the caucasian skin tones of EPP(Ektachrome Plus)? E100GX was decent at that, but EPP stuck around a LONG time past its prime for that very reason.

 

With that said, it wouldn't surprise me if the new Ektachrome(again, if it ever happens) IS something like that. After all, Kodak use to make NC and VC(Neutral Color and Vivid Color) versions of Portra, and then a UC version(Ultra Color) in 400 speed. The current film splits the difference between NC and VC, and overall is quite a good film in all speeds. I do miss 400UC, though.

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I have shot E100G in 35mm and 120, still have a few rolls left in the freezer. It does look laboratory gaming style sterile to me. Fuji films were more blues and greens. At golden hour and after it was Fuji but i didn't use it at night due to the shadows.
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Stop buying stale/deadstock film. Buy new fresh stock whenever available if you want it on the shelves tomorrow. Know too many people with freezers old materials who kvetch incessantly about today's prices and limited choice. Always ask when they last bought fresh-dated film. Meeting over.
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I bought mine when E100G was announced to be discontinued, so I guess they were fresh but already decided by the manufacturer. I guess for Fuji b/w film doesn't make business sense these days. Some smaller company might had been OK with it but they have a more demand digital product and other stuff the Fujifilm company does like cosmetic and commercial printing.

 

I have fresh Acros 100 in my freezer also, imported to New Zealand from USA since here is like 3x the price. Yeah .. other countries with less film demand just gouge you for it. B/w film to most are Kodak and Ilford. Slide film ... to hobbyists like us it is really expensive, we pay again 3x a roll here vs the USA, processing is like $14US these days a roll. So I just collect up 1 or 2yr and send them over to the USA for processing and they are cleaner also. Mounting is offered also, not here. Even some years ago, mounting we had pay to per slide - yup for cardboard mounts even. Might had been 30c USD per slide.

 

Someone gave me a 35mm bulk loader, felt heavy, I opened it in a dark bag and found I had 1/2 or 2/3 of a roll in there. Did some development with a short length and it was Fuji MS 100. But the thing is given this thing is unknown quality and how it is stored, and how expensive E6 processing is. Just what do I do .......

 

Fortunately B&H and Freestyle only charge you $5US or $9US to send a 10 or 15 rolls overseas. Yeah that's incredible. But labs don't have that.

Edited by RaymondC
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Stop buying stale/deadstock film. Buy new fresh stock whenever available if you want it on the shelves tomorrow. Know too many people with freezers old materials who kvetch incessantly about today's prices and limited choice. Always ask when they last bought fresh-dated film. Meeting over.

 

I buy new film stock if it interests me when it's available. Heck, I do it sometimes just to support the effort, as I did with P3200 last month.

 

I've been hunting for E100G to have some to shoot side-by-side the new stuff if/when it becomes available.

 

BTW, you've been preaching doom and gloom lately and now you're chastising folks for buying old stock(I'm guessing that's partially directed at me since I commented on just buying some Plus-X and E100G).

 

I spent about $2K last year on fresh, in date film from Kodak, Fuji and Ilford. That money was split between B&H, Freestyle, Adorama, and my local camera store. So far, I'm on track to spend about the same this year. I know that's a drop in the bucket of the entire industry, but I resent any implication that I'm not "doing my part" to support the production of fresh, in date film.

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"Stop buying stale/deadstock film. Buy new fresh stock whenever available if you want it on the shelves tomorrow. Know too many people with freezers old materials who kvetch incessantly about today's prices and limited choice. Always ask when they last bought fresh-dated film. Meeting over."

 

Buying the old stock up is a driver to the reintroductions......

Meeting is never over.......

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BTW, you've been preaching doom and gloom lately and now you're chastising folks for buying old stock(I'm guessing that's partially directed at me since I commented on just buying some Plus-X and E100G).

 

I spent about $2K last year on fresh, in date film from Kodak, Fuji and Ilford. That money was split between B&H, Freestyle, Adorama, and my local camera store. So far, I'm on track to spend about the same this year. I know that's a drop in the bucket of the entire industry, but I resent any implication that I'm not "doing my part" to support the production of fresh, in date film.

No clue what your buying habits are but you'll have to admit it's tiresome having people who congratulate themselves for thriftiness then turn and howl about price and selection. You get it. They don't.

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"Stop buying stale/deadstock film. Buy new fresh stock whenever available if you want it on trEAT US the shelves tomorrow. Know too many people with freezers old materials who kvetch incessantly about today's prices and limited choice. Always ask when they last bought fresh-dated film. Meeting over."

 

Buying the old stock up is a driver to the reintroductions......

Meeting is never over.......

 

WTF? Treat us to an explanation of how sales of old film off eBay get communicated to Kodak as an index of demand.

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If you do not understand that Kodak noticed the resurgence in demand for film, including people spending money on long expired stock, you are way behind here.

Demand for product is monitored in every way possible. From youngsters on YouTube singing the praises of buying some old beater camera off EBay to how to get film for it. They also monitor places like this. Business' primary source for trends and demand is internet activity.

I really can't believe you have to have it explained to you.

"WTF" indeed.

And whom may I ask is this "us" you are the representative of ?

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If you do not understand that Kodak noticed the resurgence in demand for film, including people spending money on long expired stock, you are way behind here.

Demand for product is monitored in every way possible. From youngsters on YouTube singing the praises of buying some old beater camera off EBay to how to get film for it. They also monitor places like this. Business' primary source for trends and demand is internet activity.

I really can't believe you have to have it explained to you.

"WTF" indeed.

And whom may I ask is this "us" you are the representative of ?

 

Magical thinking. If demand isn't ultimately registering by sales and revenue upticks visible and analyzed in financial statements, then none of the other mirage indices you mention matter. They went broke in 2012...Why?

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You just changed the premise from your assertion that sales of expired film had no influence on a decision to increase production, to a premise that sales of new stocks influences production.

That fallacious line of argument is as insightful as it is laughable.

 

The points of my post aren't magical thinking. They are easily verifiable marketing realities.

Edited by Moving On
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Magical thinking. If demand isn't ultimately registering by sales and revenue upticks visible and analyzed in financial statements, then none of the other mirage indices you mention matter. They went broke in 2012...Why?

They aren't mirage indicies. And trying to link this discussion to 2012 shows a complete lack of understaning, knowledge and comprehension on your part.

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You just changed the premise from your assertion that sales of expired film had no influence on a decision to increase production, to a premise that sales of new stocks influences production.

That fallacious line of argument is as insightful as it is laughable.

 

The points of my post aren't magical thinking. They are easily verifiable marketing realities.

So share 'em, bro. Still waiting...

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Reading comprehension isn't your strong suit.

Follow the links.....

“It’s no secret that we’ve been looking for opportunities to expand our portfolio” said Dennis Olbrich, President of Kodak Alaris Paper, Photo Chemicals and Film in a statement announcing the film’s release. “Darkroom photography is making a comeback, and B&W Film sales are clearly on a positive trajectory. Given these very encouraging market trends, we believe P3200 TMZ will be a great addition to our lineup”.

 

I really don't know how much clearer it can be made for you.

Edited by Moving On
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