Kodak has reported its financial results for Q3 2019. They have announced that their film business has grown by 21% in the last quarter over the previous year. This looks very promising for Kodak’s future in film, although they report that overall profits are down, noting a $5 million loss on revenues of $315 million.
Designed as a technical high-resolution copy film, Ilford Ortho film has thus far only been available in sheet film formats. Now, Ilford has expanded the formats to add 35mm and 120 medium format roll film. The black and white film is rated at ISO80 in natural light and ISO40 in tungsten.
Harman Technology, who owns the Ilford brand, has also announced the 5th generation of Ilford Multigrade paper. Multigrade V RC Deluxe replaces the Ilford Multigrade IV RC papers released 25 years ago.
When it comes to weird lenses, the first name that springs to many minds is YouTuber Mathieu Stern. So, who better to go visit the weird lens paradise at Camera Rescue? So, that’s exactly what Mathieu did. He hopped on a flight to Tampere, Finland, to check out their huge collection of kit. Fortunately, he shot a video so the rest of us could see some of the cool lenses he got to play with and tell us more about the Camera Rescue project.
September 21st, 1979. Forty years ago, British rock photographer, Pennie Smith immortalized the destruction of a Fender P-Bass guitar by Paul Simonon of The Clash on the stage of The Palladium in New York City, on gorgeous B&W 35mm film.
Her soft-focus, grainy image with its blown-out highlights and development stains has been dubbed by numerous publications and music fans, “the Greatest Rock ‘n’ Roll Photograph of All-Time.”
In my never ending search for that “special” photographic look that sets me apart from the competition, I recently discovered that overexposing film increases the grain and adds a vintage pictorial look to my images. So I wanted to explore that look further. To that end, I wanted to find out if this film grain can be copied in the digital world using Adobe Lightroom. So I went out and shot a few rolls of film and shot the same images with my digital camera. I used the same lens and F stop for each image. (Well, almost the same F stop. I made a few mistakes but it was close enough for my purposes)
I don’t know about you, but I always find it fascinating to see current events shot on old cameras. Whether it’s stills or motion, it’s an interesting insight into how differently it sees the world differently compared to the cameras of today. And on April 20th, 2019, Nick Shirrell saw the world differently when he shot a car race through the viewfinder of a Canon 1218 Super 8 camera from 1968.
Well, this is kinda cool. It appears that Fujifilm isn’t doing everything they can to forget film exists, after all. It was mentioned last July that Fuji might be planning to bring back some black & white film, and now they’ve just gone and made it official.
They’re starting with Neopan ACROS 100II. Technically, this isn’t a reintroduction. It’s a new formula, which Fuji says gets around the issue of raw material availability in the old ACROS 100 formula.
I’m not a fan of western superhero franchises.
Yes I fully appreciate that I’m in the minority here and it’s certainly not my intention to turn you away in the first sentence, but rather to solidify the fact that this exploration of colour in cinema does not come from a fanboy solely driven by vapid, one dimensional characters and napkin narratives, but rather pure adoration of a masterwork in cinematography.
Fujifilm has announced that it will be implementing “a worldwide pricing revision for its photographic films and photographic papers”. Fujifilm says that they’ve been facing the rising cost of film and logistics. They say that they’ve absorbed some of the costs through structural reforms, but can not risk sacrificing the quality of their product, so prices are going up.