Comments, Page 11

The functional LEGO camera project, LEGO ZH1 has reached its first goal: 10K upvotes.

Zung’s project will now enter a review process where they company will evaluate whether they’ll make it an official kit you can buy and assemble yourself.

Read more about this camera and see sample photos taken with it here: analog.cafe/r/a-functional…

#editorial🔥

Hey Eddie, I don’t seem to have this problem with mine and I haven’t read about issues like that. Did you test your camera with film to see if the exposure is indeed longer?

Hey, I have an ae1-p and I’m noticing a weird issue, though I’m a bit of a noob so it might be something I’m missing. When I set the exposure to something like 1/250 the first shot I take sounds and looks like a much longer exposure. The second shot taken immediately after has a much more ‘as expected’ sound. Has this ever been reported anywhere else?

Nice! This stuff is arguably the most important film product for Kodak (since movie studios spend a lot more on film than still photographers) and they sure do care about quality.

Отснял по паре фильмов 50D и 250D, снимал в соответствии с рекомендациями, пока не проявил, но читал отзывы о них самые восторженные! Я проявил один фильм 250 D, который снял на Зенит-12 СД, то что я увидел на негативе меня очень обрадовало! Негативы очень чёткие и резкие на просмотр, к сожалению было недосуг отсканировать и просмотреть, но даже беглого просмотра на свет негатива можно понять что снимки очень высокого качества!

Sounds good!

I’m currently shooting a roll of NC500 and I’ve found some labs nearby that do ECN-2, so I’ll consider trying it out myself. I haven’t yet decided though if I want the washed out look or the more saturated look for this roll, I guess we’ll see what kind of scenes I have a chance to shoot on this one.

Bastian got some excellent results with this film! Interesting that he compared it to Agfa Vista, it’s one of my all-time favourite emulsions. Many suggest it’s rebranded Fujifilm, but as the case often is in these cases, the evidence is scarce.

I’m wondering what the grain is like with ECN-2. Bastian’s scans don’t show it on the website. My scans showed it as exceptionally prominent (a lot grainier than Agfa Vista). Perhaps the “proper” chemistry can soften it a bit as well?

If I had ECN-2, I’d certainly give it a go.

Metropolis looks a lot like this film but it may not be the same thing. But now I’m curious about that too.

Edit: I wonder how developing NC500 in ECN-2 would affect the dynamic range. In C-41 it feels somewhat limited.

You’re right and thank you! Just had a look at the manual — it explicitly states that the additional time is for the developer only. I’ve removed that sentence from the article.

I’ve found a blog post showing some photos shot on NC500, but developed in ECN-2 chemistry: phillipreeve.net/blog/anal… The results show much more saturation than with C-41 development (and I’ve been told this is not a result of digital postprocessing), the colours still have pleasantly quaint tones though. It looks like it’s something worth trying with this film, and maybe also with stuff like Lomochrome Metropolis? What do you think?

I’ve never had a Cinestill c-41 kit instructions require me to extend the time of blix — only the developer. Great article! Definitely going to give this kit a try.

Techniques like dodging and burning shows us that at least many black and white films have dynamic ranges bigger than what human eye can register. It’s often shock to many people to see how you can “recover” details from “underexposed” or “overexposed” by adjusting time of exposure of print paper in darkroom or by adjusting level of backlight during scanning. And the bigger film format is used the dynamic range only increases.

An interesting camera to say the least! The only TLR 35mm I was familiar with was the Agfa Optima Reflex.

When one of these popped up in my feed, I had to do some looking into the funky camera with two lenses AND a rangefinder

Despite the double exposure, I quite like that first photo!

Thanks! If you get a chance to shoot the new emulsion and make a little comparison with the old one, that’d be cool :)

Kodak Alaris, a brand that owns the rights to the Portra name, was recently acquired by Kingswood Capital Management, L.P.

As some of you may know, Kodak was split into several businesses decades ago. Kodak Alaris is responsible for the branding and distribution of its films like the Portras.

The news is fresh, but some photographers are already making gloomy speculations about film prices increasing. I think this will be impossible to prove untrue, as price increases in film photography are guaranteed — at least due to general inflation. But that’s beside the point: private equity firms have a reputation for damaging the businesses they purchase. So, I did a bit of research on Kingswood to see who they are.

It turns out that Kingswood also owns MEC, an iconic Canadian store brand that sells mountaineering and camping equipment. This acquisition was also met with criticism and disappointment back in 2020 (cbc.ca/news/canada/british…). But four years in I see no significant changes to the stores (as a consumer). I think this is a good indicator of Kingswood being careful about the changes it brings about, especially with brands that have strong consumer recognition.

Besides, pension funds are often thought of as grossly inefficient with their investments. Perhaps, there’s some hope for improvement.

News source:

finance.yahoo.com/news/kod…

#editorial🔥

I’m pretty sure it replaces the current stock. I imagine it would be expensive to run two separate formulations simultaneously while earning the same from sales.

True! There’s a lot that could be improved about Color’92, and the new version seems incremental. But I suppose it’s nice to see the brand continuously working on making the film better. While Kodak films are nearly perfect, they’ve remained constant for almost 20 years! (Although the 400’ reel I have here says that they won’t take responsibility for changes in colour as their emulsion does change — perhaps it does, just no announcements?)

Do you think/know that the new Color ‘92 emulsion is intended to replace the original one? Or will they be available side-by-side?

Now, I haven’t yet seen any comparisons, so maybe the warmer tone of the new one is just a kinda marketing gimmick, but I feel like we already have a ton of film stocks that are supposed to yield warmer tones, while the possibility of preserving more gloomy ambiances are overlooked, which is a bit of a shame IMO.

Indeed, I found film photography to be more expensive in Canada after moving from Thailand, where the lab services are a fraction of the cost, and even film is cheaper!

Дмитрий, браво!!! Аплодирую Вам, очень точные и верные наблюдения и абсолютно бесспорные выводы!!! Вы прекрасно аргументировали прелести и преимущества аналоговой фотографии! Это в самом деле так! Я являюсь счастливым обладателем фотоаппарата ФЭД 5, двух зеркальных советских камер Зенит СД и Зенит ТТЛ в прекрасном рабочем состоянии и в отличном сохранившемся виде которые мне оба обошлись в 35 $ , плёнку С41 я покупаю по 9 $ , Е6 в среднем по 15-17$, наборы для проявки 12-13$, и при этом я получаю массу удовольствия и положительных эмоций, как будто я всегда возвращаюсь в свою юность держа в руках Зенит или ФЭД, такие приятные вещи неоценимы, Вы весьма и весьма правы, благодарю Вас за статью!

В сущности если это увлечение, оно прежде всего для души, и на мой взгляд, расходы здесь вторичны. Они есть, без сомнения, но как ни странно, у нас в России, всё это обходится значительно дешевле. Я охотник, и это моё одно из главных увлечений, но я люблю то что делаю, получаю радость и наслаждение от охоты, так и с фильмами, хорошие положительные эмоции не идут в счёт ни с какими затратами, да и затраты не велики а моральная отдача огромна!!!