An E100 sheet film tease

[Tin Can]

I may as well try them with some E6. It's even in SF!

Soon

Not quite, the E6 is still there : http://oscarsphotolab.com/film-processing/

[chassis]

Thanks Oren. I'm in for 4x5 if it comes to market.

[m00dawg]

Mentioned on the Sunny 16 podcast. Seems like this might be real!

[Tin Can]

Mentioned on the Sunny 16 podcast. Seems like this might be real!

Nothing but babble until 5.00 minute mark

[Shailendra]

Don’t know how accurate this is but...

https://kosmofoto.com/2019/01/ektach...3QE-W5UJ-Gq6Ck

[Oren Grad]

Threads merged.

[Drew Wiley]

I'm always a bit skeptical of timeline rumors from dealers trying to drum up sales in advance. Wait n' see.

[Drew Wiley]

Here we are a year later, but now it's confirmed that 4x5 E100 is due for production "next year" - probably meaning late next year. But that's OK. So I went out a bought a roll of 35mm for critical color testing : color temp meter, filters, MacBeth Chart n'all, plus plenty leftover frames for general field experimentation. Why now? It's ideal lighting conditions for a litmus test - overcast, gloomy, and wet - exactly the kind of situation where Ektar color neg struggles, even filter-balanced, but where certain previous chrome films performed well. Otherwise, I have no use for 35mm shots; but they should give a good idea of the color characteristics of upcoming sheet film.

[Duolab123]

I was out in today's warm, 54°F winter day. Shot a fresh roll of Velvia with a Hassleblad, beautiful, came home let the machine warm up, got some lovely shots. 10 bucks for a roll of film, $225 for 5 liters of Fuji Pro6 chemistry. Jobo machine.

I fell for a Fujifilm X-Pro 3 camera, cool as hell, surprised me . The Velvia film simulation is astonishing similar to the real thing. The Provia setting, I'm not sure yet.

I would think long and hard if I was Kodak Alaris before ordering a run of Ektachrome sheet film. KA is trying to unload the film business, I wonder if any thing will happen with the sale up in the air.

I'm an enthusiast, thus my clinging to reversal and color negative film and printing.

How do professionals make any money shooting large format reversal film???

[Drew Wiley]

Some people just like better things. Sheet film does a lot of things digital can't. I happen to greatly prefer true optical prints, whether color or black and white. If enough people think the same way, there will be enough demand to sustain a niche E6 film market, which is apparently now expanding. Commercial work can take that direction too. The most stable portrait gallery in this area works on the niche premise itself - only real film, only real darkroom prints. There are also a remarkable number of thriving niche restaurants. They don't serve million and millions like the Golden Arches venue, which happens to do rather poorly around here. There are far better burger joints doing quite well. So it all depends on the demographic opportunities and willingness to risk doing things differently from the herd. I will admit the dominant mantra of commercial work today if that everyone wants it yesterday, and they also want to hover over you like vulture when editing digital frames. So, in that respect, it's mighty fine era NOT to do commercial photography anymore. I had an inside track that allowed me to do high quality work and charge per print rather than per job. That sometimes also spun off into personal print sales, or visa versa. Regardless, either way, every shot had to being worthy of being seriously framed - another source of profit to me, since I did all of that custom too. I don't give a damn what is hypothetically possible digitally, in terms of aping film. I sure as heck can see the difference. Even the new Natl Geo magazine images look like crap since digital with all its blatant trickery took over. That's not really the fault of the technology itself, but of the usual "let-it-all-hang-out" new toy mentality, devoid of tasteful restraint.