At 03:41 5/11/01, Ray Moth wrote:
Donald MacDonald wrote:
(Snip) . . . Now that Kodak are cutting me off from 25, what do slow
film enthusiasts use now?
=======================================================================
A neutral-density filter? ;-)
Regards,
=====
Ray
Ray, I know it was said in jest.
Yes, an ND can make another film require exposures the same as ISO 25, but
sadly the resulting image will not have the resolution/sharpness of an ISO
25! Kodachrome 25 is super fine grained with an extremely thin emulsion
compared to other color films. Kodachrome 25 is similar in color response
and contrast to 64, but not quite identical which creates problems for some
of its devotees.
As I recall there was a gnashing of teeth, rending of clothing and great
wailing when Royal Gold (a.k.a. Ektar 25) was discontinued. More recently
the same occurred when Agfa announced discontinuing its ISO 25 B/W
film. Agfa had predicted a several year supply and it vanished in more
like several months! There may not be many users of these slow films, but
they are true devotees to them. Like Donald I have a few rolls in the
freezer and am contemplating placing a rather large order for Kodachrome 25
and freezing it. Kodak is _claiming_ what happened to Agfa won't happen to
them . . . but who knows.
As someone who pushes limits of 35mm film into large prints I too like the
slow films. Sadly they're all disappearing. I fear that Tech Pan may be
next. Yes, I can pull out the M645 and start using it for making large
prints, but getting the same size large prints from 120/220 film is much
more expensive.
For conspiracy theorists on the list:
It's a conspiracy to rid the world of high resolution images. Get rid of
them and dumb down the masses to computer screen resolutions. Then make
tons of money selling a googol of comparatively low resolution digital
cameras, lenses and other gizmos to the unsuspecting consumer sheep.
I have certain standards for large prints because I _know_ what's possible,
and I'm not about to go back down to the farm . . . 'cause I've already
seen Paris.
-- John
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