News and commentary about film and Nikon film SLRs:
Not often do I get to write about something being added to the existing film choices, but apparently the Kodak Pension Plan needs to be funded ;~).
The company formed as part of the spinout of Kodak's pension plan, Alaris, has announced that they intend to bring back Ektachrome, a film that was discontinued back in 2012. The new 135 format (35mm) version in 36-shot spools will once again be manufactured in Rochester, NY, and a Super 8 version will be produced as well (though that will be marketed directly by Kodak).
The announcement was made at CES, and attributed to "a resurgence in shooting film."
The new film is expected to become available in the last quarter of 2017.
(news & commentary)
Fujifilm is raising prices on its film offerings, effective immediately. The increase applies to all color negative, color reversal, black and white, and even Quick Snap boxes. Fujifilm’s justification for the increase is that “demand for film products is continuously decreasing and the cost of production…stays at a high level.”
Fujifilm then goes on to say that the price increase “will be applied to each market based on its individual conditions.” In markets with lower demand, prices may rise more than in markets with higher demand. While no particular prices were noted in Fujifilm’s press release announcing the increase, they did say that the increase would be “at least double digit.” I take this to mean “double digit percentage increase.”
While the increase is immediate, most stores haven’t raised their prices on existing stock, so if you want to save some money, you’d best stock up now before they have to reorder at a higher price.
Lomography introduced a new film for 35mm cameras, Kono! Donau, an ISO 6—yes, that’s right, 6—color negative film. The film uses C41 processing, and comes in a three-pack of 24-exposure cartridges for US$38.
(news & commentary)
Fujifilm has announced that a 20% price increase will take effect in October on the following 35mm films:
- Fujicolor 100
- Fujicolor Superia Premium 400
- Fujicolor Superia X-Tra 400
- Fujicolor Superia Venus 800
- Fujicolor Natura 1600
- Fujicolor Pro 400H
- Fujichrome Velvia 50
- Fujichrome Velvia 100
- Fujichrome Provia 100F
- Neopan 100 Acros
120 sizes of many of those films also get the price increase, as do Fujifilm disposable cameras.
Meanwhile, we get another round of discontinuations (date of discontinuation in parentheses):
- Fujicolor Pro 160 NS 220 (Dec 2016) (use 120 size instead)
- Fujichrome Provia 400X (Dec 2015)
- Fujichrome Velvia 50 for 220 (April 2016) (use 120 size instead)
- Fujichrome Velvia 100 for 220 (March 2017) (use 120 size instead)
- Fujichrome Provia 100F (August 2016) (use 120 size instead)
- Fujichrome Velvia 100F 4x5 and 8x10 (March 2017) (use Velvia 100 instead)
The good news, of course, is that we have plenty of warning about both things and can stock up if we rely upon any of these films. The bad news is that the trend towards discontinuation—especially of lesser used formats—is continuing, and costs of producing what remains in production are going up.
(news, commentary, a bit of a review)
source of item: review copy supplied by Meta35
Meta35 is a small USB dongle and cable that you plug into data port of your film SLR, plus a Windows or Macintosh program. In the Nikon world Meta35 supports the N90(s), F100, F5, and F6 models. The Canon 1V is supported. And if you’re an A-mounter, the Minolta Maxxum, Dymax, and Alpha 7 and 9 models all are supported. If you’re interested in what exactly is supported, see here.
A bit of history: the Nikon N90 was the first commercial film SLR I know of that kept shooting information in memory internally, and had a way of getting that out of the camera into a form you could use on your computer. Originally that worked via a Sharp Wizard, but Nikon also created a piece of software called Photo Secretary and produced a 10-pin to Serial cable. All the Nikon prosumer/pro film SLRs after the N90 had the ability, and it formed the genesis upon which the Nikon DSLRs did EXIF, too.
Minolta eventually jumped on this bandwagon, though I’m not sure what software they provided. Canon was also a little late to the game, with the EOS 1V being the only camera they built that had accessible shooting memory.
When the F6 appeared, Nikon built a new accessory, the MV-1, that essentially moved the camera data to a card, and then you could use that card with your card reader and another Nikon program to grab the data in spreadsheet form.
The Meta35 disperses with the intermediary step of a card: you plug the Meta35 into your camera (10-pin port on the Nikons) and your computer (USB port) simultaneously and run their software program to grab data.
Meta35 was released a bit before I expected, so I haven’t gotten the rolls of film back yet I shot to use with this article. Instead, we’ll pull data from when I was reviewing the F6.
Here I’ve performed the first step: data import from camera. Apparently I left data from two shoots in the camera (you have to erase camera memory from time to time as it is finite). The image we’re looking at here was one of a series of focus checks I was doing, which I later digitized into a JPEG with my Nikon slide scanner. At the bottom below the image note the EXIF-like data: this image was shot in Manual exposure mode, 1/250, +0.3EV exposure compensation, f/5, using the matrix meter, ISO 400 film, and the 24-120mm f/3.5-5.6 lens at 24mm:
Note that you can create and attach further metadata to the image with Meta35 (see lower left of main window, shown magnified here):
With some cameras (unfortunately not my F6), you can set custom functions, as well, including being able to load a preset of functions you’ve previously made with a single click):
Meta35 isn’t without a few warts, though these are generally things built into the camera that they had to program around. For instance, on some cameras you have to disconnect the camera when you exit Meta35 (the camera thinks it is still talking to something ;~). As I noted before, you need to be disciplined about erasing the camera’s memory or else you may end up shooting without recording new data.
In general, the Meta35 software is straight forward and prompts you on many of those gotchas that might catch you up. Using Meta35 is a little labor intensive if you’re going to do it right: (1) erase your camera’s memory; (2) go out and shoot; (3) have your film processed, (4) scan the film and place each roll into its own folder; (5) hook the camera to the computer and run the Meta35 software; (6) grab the data from the camera; (7) load your scanned images; and (8) enter any additional metadata you want.
Step 4 is trickier than you think. What you’re really going to want to do there is not only scan, but do a full post processing to create a finished image, I think. Meta35 backs up your images before it embeds the added data, by the way.
So why would you want Meta35?
Well, the classic film SLR problem was this: you’d go out and shoot in the field, then you’d come back and you (a) couldn’t exactly tell what you messed up; and (b) you couldn’t distinguish image 1 with settings 1 from image 2 with settings 2 unless you took copious notes. Moreover, those notes didn’t exactly embed with the images ;~). So a year later and you have a question, you have to figure out which notes apply to which image.
If you’re shooting film for customers or publication, the ability to now tag additional metadata into the scans you might provide them is also useful. Sure, you can do that in Lightroom, but Lightroom doesn’t have the camera shooting information in it, and sometimes (photo publications, for instance), they want the shooting information.
At US$150, Meta35 isn’t cheap. But it’s useful. Indeed, I find it more convenient than Nikon’s MV-1, which costs US$250. Moreover, Meta35’s software is decidedly better than Nikon’s crude program.
Ilford issued a press release last week concerning a survey they performed of thousands of film users. Interesting stats:
- 30% of film supporters were under 35 years of age
- 60% had been using film less than 5 years
- 49% develop and print pictures in a darkroom
- 98% used black and white film
- Fujifilm Film Discontinuation
- Latest Film News
- Help Save a Film Factory
- CineStill bwXX Film
- Lomography Cine200 Arrives
- Kodak Film Prices Going Up?
- Two More Fujifilm Films Discontinued
- Capture NX-D Nails Nikon Scan Coffin Shut
- Fujifilm to Increase Film Prices in April
- Fujifilm Closing UK E6 Lab
- And a New Name to Remember...
- Not Exactly a "Film" Camera, but...
- More Repurposing of Big Screen Film
- Ilford Opens US Lab
- Ferrania Coming Back?
- Not That Ilford
- Fujifilm Prunes Some More Films
- Prints? Sure. Print Your Own Camera!
- Kodak Stopping Acetate Production?
- Let's Crowd Source
- In Case You're Still Shooting...
- VueScan 9.2.20
- The X-Ray Question
- 22 Remaining Fujifilm and Kodak Choices
- Kodak B&W Developer Not Discontinued
- Should Adobe's Change Send You Back to Film?
- How Steep Was The Decline?
- Kodak Retires by Selling to Retirees
- Fujifilm Increases Film Prices
- Bye Bye Tri
- Another One Bites The Dust
- Kodak Says You Press the Button, Someone Else Will Do the Rest
- Velvia Going Black
- Party Like it's 1999: The Downhill Path
- Fujifilm Stops APS Film Production
- Fujifilm Raises Prices