Hello! There are a few places you can try. eBay comes to mind and Facebook marketplace. You can also post it on social media like Threads, Bluesky, and Mastodon. You can use the #believeinfilm hashtag there to get the attention of photographers who may be interested.
I recently have obtained one of these cameras, an L variant in very good condition from a relatives estate. I would like to be able to sell to someone who is interested in using it… finding it difficult where to advertise it? Any help would be much appreciated!!!
CineStill 800T is a tungsten-balanced film stock that would otherwise benefit from an 85C lens filter (see analog.cafe/r/how-to-shoot…), but in these conditions (middle of the night with the primary subject being the sky), it did not matter.
Close focus may be tricky to nail while zone focusing. Even at 𝒇8 (the same aperture as the famed Polaroid SX-70’s widest, analog.cafe/r/polaroid-sx-…), it’s hard at 0.3m with a 90mm lens.
I think Christine Turek did a wonderful job here with her portrait of Mila.
Lomography just launched an Instax Wide camera with a 90mm 𝒇8-22 coated glass lens for under $300: Lomo’Instant Wide Glass.
I’m very happy that Fujifilm allowed its film format to grow far beyond its in-house cameras, with many options available for advanced photographers, including the MiNT InstantKon rangefinder, back for large format cameras, and even a gingerbread camera with the help of the Jollylook manual processor (analog.cafe/r/building-the…, unfortunately just 1 of 1 for now).
However, quality glass options for Instax film are not cheap. InstantKon currently sells for $900, NONS SLRs (which accept a variety of vintage lenses with Instax Square) are $500, and backs for medium and large format cameras (while relatively affordable) still require the said pricey cameras.
Lomo’Instant Wide Glass, on the other hand, is $279. Though this camera comes short of full manual controls, “the world’s sharpest instant camera” comes with a 90mm (35mm equiv.) 𝒇8-22 coated glass lens with a 0.3m/1’ close focus (zone focusing), 8–1/250s leaf shutter with Bulb and a fixed 1/30s option, +1/-1EV exposure compensation control, multiple exposure control, flash & remote flash (PC), and wireless shutter trigger.
I’ve been waiting for something like this for years. My Contax t2 is constantly crapping out on me for some tiny part failure. The fact that this can auto focus in the dark is insane. Feels like a must cop. It looks like it’s available on the 31st — is that true?
Nice article — unfortunately with a bit contrasty images… ;-)
As an owner of the bodies FtbQL, EF and F1n I can`t support the authors view of prefering Ft-bodies over EF-bodies. The fast response and dynamic range of light metering (Si-diode) are so superior and helpful in practical use… Plus higher flash-sync speed is better as well. Just to add a technical detail — not narrowing the authors feelings. Cheers!
This week, Miles @expiredfilmclub shot the NY Jets game on film, developed it, scanned it, and posted it while the game was still happening. (PetaPixel has more: petapixel.com/2024/10/18/p…)
Last week, I shot Aurora on film around midnight, then posted the results here (along with a long-form article: analog.cafe/r/shooting-nor…) in the afternoon (yes, I slept).
From what I understood about the demise of film photography, particularly in journalism, it was pushed out by the convenience of digital cameras. They were faster and more practical for time-sensitive applications. But in 2024, it seems less true, as we’ve learned to use the same digital cameras to scan film quickly and transfer the results instantaneously:
It’s easier to select the best shots out of 36 instead of thousands on a memory card, and well-scanned quality emulsions come with a formulated colour profile, in contrast to the editing some digital photos may require to look “right.”
Lastly, there’s something to say about the built-in authenticity of physical negatives in the sea of digital fakes and AI slop (see analog.cafe/r/shot-on-film…).
Of course, not every shot is possible on film, and it can be out of the budget (esp video analog.cafe/comments/lso8), but still.
I’ve just heard back from CineStill and Analog Amsterdam, whom I asked to comment on Eastman Kodak’s stricter rules regarding the sales of motion picture reels for bulk loading into still cameras.
CineStill respectfully declined to comment on decisions made by other manufacturers. The company has not announced price increases or difficulties acquiring films from Kodak, which I think can be interpreted as good news for all the 800T, 400D, 50D, and BwXX fans.
(Better yet, the prices on CineStill 50D film have recently decreased across various retailers; see: analog.cafe/app/film-price…)
Analog Amsterdam also replied with a positive update: “We’re currently still able to receive new shipments of film. For the time being, nothing changes.” They also promised to post any updates about changes to supplies or pricing on their website (analogamsterdam.com) and Instagram (@analogamsterdamstore).
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In other (related) news, I’ve just sold my last pack of Cinema Shorts (hand-spooled Kodak Vision 3 film; see analog.cafe/r/new-film-cin…). Let me know if you’d like me to try* to make some more!
* — given everything discussed above, this may take a bit more time/effort than before.
Jagglé launched the Berlinova daylight table-top enlarger for black-and-white prints without a darkroom (on Kickstarter).
Darkroom printing on the go or in small apartments has been difficult or practically impossible until recently. To turn a negative into a photograph, you need a dark space, a sizeable enlarger, and multiple trays for chemical baths.
Jagglé Berlinova enlarger makes the job easy with its portable, light-tight construction and clever cassette holder that keeps the paper and accepts chemicals. The built-in high-CRI LED battery-powered USB-C-chargeable light is calibrated for proper exposures, and a bespoke fixed 50mm 𝒇4.0 Tessar lens makes perfectly focused projections on 10x15cm/4x6” paper (which may be upgradable to 13x18cm/5x7” if the project reaches a stretch goal).
I briefly covered this project in last month’s Community Letter (analog.cafe/r/film-photogr…), where you can refer for a bit more detail on how this works and to learn about its author, Wicher.
There are still a few Early Bird packs of the enlarger (with lens & paper cassette) available on Kickstarter for the 4x6” enlarger at €275 (~$300), which will continue to sell for €285 while the project is live:
Wicher is seeking €80,000 (~$87K) in total funding to produce Berlinova enlargers at an injection moulding facility for the highest quality and durability.
Paul and others suggest that this is the consequence of the recent Kodak Alaris acquisition (see analog.cafe/comments/4lsz).
The new Alaris brand owners have the rights for Kodak film sales to still photographers (and the resulting profits). While Eastman Kodak may’ve allowed their movie reels to be sold to still photographers and their purposes previously, this is now under tighter control to presumably guarantee compliance.
It’s still unclear how this change will affect colour film sales and prices for still photographers as a whole.
(I’ve also contacted Kodak and CineStill for a comment on this story. I will update this thread if/once they respond.)
Confirmed: Kodak is no longer selling its motion picture reels (this includes Vision 3 250D, 50D, 500T, and Ektachrome) for bulk loading/still photography.
Previously, avid photographers and businesses bought 400+’ Kodak Vision 3 or Ektachrome film to bulk-load into 36exp. cartridges (I did this recently with Cinema Shorts, analog.cafe/r/new-film-cin…). The purchase could be made directly from Kodak, which was cheaper than getting it from a reseller. This gave birth to many new brands that sold film with remjet, spooled Ektachrome, and even films like Amber T800 (analog.cafe/r/amber-t800-f…), which removed remjet for standard C-41 processing — using the same process CineStill enacts to make CineStill 800T.
But last week, I came across a Reddit post (reddit.com/r/AnalogCommuni…) in which a user complained about Kodak now requiring movie production credentials.
Reflx Lab confirmed this is also their experience and added that they now have to acquire film from third parties at a higher cost.
Paul McKay of Analogue Wonderland also shared his thoughts on the news: “I think the impact would be that it dries up a lot of secondary branding in the market… That would be ultimately bad for the choice we face, but could also avoid some issues I’ve seen where folks don’t do it very well and the poor results put off casual film shooters.”
YouTube Video