You mean the real reason they won't sell us kentmere in sheets is because they already are! and they just like to sit in the pub sniggering about it in a corner!!
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You mean the real reason they won't sell us kentmere in sheets is because they already are! and they just like to sit in the pub sniggering about it in a corner!!
It's close enough that I don't buy much hp5 anymore....
How do ya really feel Scott?
TheFlyingCamera
Membership Council
How do ya really feel Scott?
If you REALLY want the Kodachrome look, along with all the challenges (you have to nail the exposure), shoot Ektar 100. It really gives the Kodachrome look, without the vices (can get it processed anywhere, relatively inexpensively, not nearly as environmentally messy, etc).
Thanks but I'm doing the B&W thing right now. 
I wasn't wishing for the impossible I just knew that would wake somebody up. I do miss it though. Had a lot of fun with it.
I wasn't wishing for the impossible I just knew that would wake somebody up. I do miss it though. Had a lot of fun with it.
TheFlyingCamera
Membership Council
Thanks but I'm doing the B&W thing right now.
I wasn't wishing for the impossible I just knew that would wake somebody up. I do miss it though. Had a lot of fun with it.
Oh, I know- it was a fantastic film. It's just not viable any more for a whole host of reasons and it does irritate me when I see people wishing for its return but unwilling to pay the price it would take to bring it back. No, you're not going to get $10/roll Kodachrome and you're not going to get it processed with 24 hour turnaround for $5/roll. Multiply those numbers by a factor of 6 and you might be in the ballpark. I'd love to have Polaroid Type 55 back (and in many ways that would be more feasible) but the probable cost for reviving it would be well beyond what I'd be willing to pay.
Grain is better than pixel.
Spontaneity is that moment of decision to take (make) an image. After that it does not matter has long it takes to take (make) the image. Roll film cameras are not necessarily more spontaneous than an 8x10. Faster, yes, but quickness does not equal spontaneity.
Pineapple on pizza is delicious. 
Especially after a long, stressful photo shoot....or a darkroom session when you DON'T use stop bath.
Especially after a long, stressful photo shoot....or a darkroom session when you DON'T use stop bath.
Pineapple on pizza is delicious.
Especially after a long, stressful photo shoot....or a darkroom session when you DON'T use stop bath.
So you're using pineapple juice instead?
Kodachrome II | Timeline of Historical Colors in Photography and Film
is a comprehensive resource for the investigation of film color technology and aesthetics, analysis and restoration, developed and curated by Barbara Flueckiger since 2012. In 2024 Sylvie Pénichon joined the Timeline as a co-curator for still photography.
filmcolors.org
I don't agree with either statement.
Owning his three books (all of which have as a disconcerting feature less than high quality printing), his subjects — with the exception of a few studies of Yosemite, were bland and unserviceable. His printing is so over-the-top (Moonrise over Henendez NM is a prime example when compared to the anaemic, insipid but still salvageable original that would have benefited from moderate contrast and tonal adjustment, rather than pushing everything to Halloween extremes).
As an Ilfochrome Classic printer in the commercial/custom sphere when I printed from many films ((transparencies), both Velvia and Kodachrome were recommended and interchangeable to achieve different and improved results, specifically changing the way Velvia renders red and blues, as opposed to the more nuanced approach of Kodachrome that was often recommended as a sub-in (or repeat!) over Velvia (or Provia), especially if printing involved many hues of reds and blues. RVP50 excels in the green spectrum, but fails in the blue.
Wow, this is definitely an arguable point. Just stepping outside and looking into the science or engineering and manufacturing worlds, one can quite often name multiple different techniques and methodologies used to obtain a certain goal. Let's just think of DNA sequencing. There's the Sanger's sequencing vs most of the new, 3rd and next generation sequencing methods (Pyro-, various Illumina, Nanopore, and so many that I did not keep track of in recent years). Sanger's more laborious, slower, most of the time less precise. Its benefits are mostly less technologically advanced equipment that's required and an excellent demonstrability of the process - but it is better in only these terms. The fact, that it is more laborious (hence, more difficult) doesn't make it better for obtaining the results. Now, one could argue that the next generation sequencing methods are more difficult because of the technological advancement - but they surely won't be more difficult for the person undertaking the analysis.
But the example I gave is not even a really good one. There are surely better examples of methods that are not only more laborious, time and resource consuming, over engineered, but also much less efficient than simpler solutions that required some technological breakthrough in terms of the tools used or even simpler, thorough understanding of the ways available to reach a desired goal.
Now, in arts this is more disputable, because very much often there's many people that don't only discuss the value of the piece displayed on its own, but also the way it's been created. This discussion board is a great example of the crowd cherishing the craft sometimes even more than the result itself. But as there are many cases of methods carrying a set of different advantages and disadvantages coupled to their labour cost, as is in the case in the discussion of digital vs non-digital or hybrid photography processes, or also on very objective grounds like in science and engineering, there are different techniques carrying similarly different sets of costs and gains in the ways of obtaining similar goals, there are surely methods that will be more difficult, and objectively almost worthless, especially when stripped from the meaning that we as humans put in the craft - again, more applicable in STEMs rather than in arts. But in photography, let's say, using highly radioactive plutonium as a light source to create a portrait image of a living subject, without killing yourself as a creator in the process. That would definitely be more difficult to pull off than anything of historical or contemporary processes. There would be surely a couple of people that would appreciate the craft of undertaking the task, as compared to simpler, safer photography methods. Would it REALLY be better than other methods?
My hot take is that ETTR/ETTL and zone system are more often distracting than they are useful. There is surely great value there, there are some images that hugely benefited from incorporation of these, but there's a much bigger number of captivating images that had no concious incorporation of any of these in the making process.
Pretty sure he was being sarcastic. However....
While difficulty may not make something better, it does work as a filter that prevents lazy people from starting. The results will likely be better overall if fewer lazy people are doing it.
Also, difficulty can be fun. I'm definitely doing photography the hard way, and my future plans are even harder. But I make no claims for my images, I'm just enjoying what I'm doing.
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Sally Mann's work is exploitative and saccharine but she's a whiz with a camera, Cindy Sherman's work is utter trash artistically and technically, Annie Lebowitz's early work was amazing but she's been phoning it in for decades.
Aren't there more women you can dismiss? Mary Ellen Mark? Francesca Woodman? Certainly she's too popular. Oh, you missed Anne Geddes - or is that one too easy? What about Diane Arbus? She was snide and exploitative, wasn't she? I'm sure you can find more.
TheFlyingCamera
Membership Council
I'll vote for Anne Geddes as being trite, kitsch pop art. And I use the term art loosely. She's the William Wegman of babies. And I do think Francesca Woodman is overrated. Her suicide is what made her interesting, not her work. But I do agree with you about criticism leveled at the other women photographers being unfair.
I was joking, by the way, and assuming that @Cholentpot didn't notice the post was tearing apart only women.
That was a classic example of a "hot take"... it really worked!
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Dane Arbus, Vivian Mair, my mother, Gail Rubin, Dorothea Lange, Polly Smith, Margaret Bourke-White...
But Don does have a point, maybe the crop of photographers that I mentioned don't resonate with me. I've found a certain age set of men white knight them.
Yep. I know that folks get riled up when you critique those names I mentioned. No one gets bothered when Weegee or Cartier or Adams gets critiqued. Mention Cindy Sherman and out come the armor and lances.
For the record, Cindy Sherman's work is awful. Out of all the names I mentioned for criticism I genuinely find Sherman's work to have zero artistic worth. It's the equivalent of a girl on Tiktok upgrading her camera and lighting and taking selfies of herself and the goobers all eat it up.
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