Film Photography News

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Cynthia Boylan  |  Aug 21, 2014  | 

Kodak Alaris has announced that—due to a steady decline in sales and customer usage—it is discontinuing the popular Kodak Professional BW400CN film.

Cynthia Boylan  |  Aug 20, 2014  | 

Ilford Photo recently confirmed reports that there are no plans to discontinue production of their XP2 SUPER film. The product is in free supply globally from Ilford Photo distributors and retailers.

Cynthia Boylan  |  Jul 30, 2014  | 

Some classic slide films never goes out of style. Or at least that’s what Lomography is hoping now that it’s now brought back Agfa CT Precisa color 35mm slide film. Best known the cool blue tone effect it produces in photos – such as the pumped up blues in images of skies – Agfa CT Precisa also has a fine grain quality and is available in ISO 100.

Roger W. Hicks  |  May 21, 2013  |  First Published: Apr 01, 2013  | 

Here’s another in our series of reports from photokina 2012. As you will have noticed we do not attempt to create a laundry list of new products and companies from the show, but prefer to report on what struck our eye and thought might be of special interest to Shutterbug readers. In this report Roger Hicks tells us about numerous instances of life in the film arena he found at the show, with special cameras, film, paper, and even processors part of the mix.—Editor

George Schaub  |  Jan 28, 2013  | 

Early photographers were bedeviled by the slowness of their sensitized materials. Though exposure times were eventually shortened to workable lengths, early studios used neck braces and confining chairs to keep their subjects still while the exposure was being made.

George Schaub  |  Dec 26, 2012  | 

While black and white digital photography is based on the conversion of a color (RGB) image to monochrome via software, those who remain adherents of film photography have an entirely different route to obtaining a black and white image.

George Schaub  |  Dec 16, 2012  | 

The reaction to a human face is inherently stronger than to any inanimate object or arrangement. The expression, body language, placement and lighting often overcome the processing and/or printing technique, or at the least dictate much of the approach.

George Schaub  |  Dec 11, 2012  | 

When a photographer deals with the emotions generated by black-and-white prints, and the methodology of creating and defining those emotions and how they are generated, he or she begins to deal with developing a sense of the aesthetics of the monochrome image.

Roger W. Hicks & Frances E. Schultz  |  Jan 01, 2011  | 

Let’s be honest. One thing no one would have expected at photokina was a unique new black-and-white silver halide process. But that’s what we got. Well, not exactly brand new. It’s a revival of a technology that hasn’t been seen in decades, quite possibly not in the lifetime of many of our readers: direct reversal paper.

Roger W. Hicks & Frances E. Schultz  |  Sep 01, 2009  | 

Kodak’s new Ektar 100 is a film of unparalleled fine grain, very high sharpness, and excellent color rendition.

Joe Farace  |  Sep 01, 2009  | 

At photokina in September 2008 Kodak announced its Professional Ektar film in 35mm format.

Frances E. Schultz  |  Jan 01, 2009  | 

At two very well-attended open forums, Kodak asked the all-important question: “What’s film got to do with it?” The answer, given by four top professionals (Amy Postle, Pep Bonet, Det Kempe, and Eddie Soloway), cheered on by large audiences, turned out to be “A lot more than you might think.”

I forget which of them first said, “I use digital...

Robert E. Mayer  |  Jun 01, 2008  | 

As would be anticipated in this ever more dominant digital world, there were very few new offerings from silver-based film and paper firms, and even less for the conventional darkroom. Here are the few items I did locate:

 

Fuji has the new Fujicolor Crystal Archive Preferred color reversal RA-4 process paper that's said to offer vivid color reproduction, brilliant...

Roger W. Hicks & Frances E. Schultz  |  May 01, 2008  | 

Film photographers are a cantankerous and ungrateful crew, often greeting revised films with suspicion and resentment instead of hope and pleasure. To some extent this is understandable, because they usually have to establish new development times and possibly new exposure indices, too; but the manufacturers' claimed improvements are usually honest, and without them...

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