However if you have a good idea for another distribution option - i.e. are offering to become another local distributor customer for Kodak Alaris - then they will be happy to hear from you.
Eastman Kodak only sells to Kodak Alaris.
Kodak Alaris only sells to local distributors.
Local distributors sell to retail.
Retail sells to you.
Does Eastman ship their film to Alaris for re-shipment? Or does Eastman dropship directly to Alaris' local distributors? Now that Alaris was bought by a California investment company, are there any changes planned, like buying Eastman's film division? I believe Alaris USA is right next to Eastman Kodak in Rochester, New York State. Any changes since the new owners?Eastman Kodak and all of its international subsidiaries was historically a massive international distribution and marketing corporation that had both manufacturing capacity and the capacity to get others to manufacture for it.
When the market imploded, it was the costs related to marketing and distribution that forced them into bankruptcy.
It costs far more to get a roll of film into a customer's hand then it does to actually make it. That has always been the case, no matter what the distribution model is.
The structure they use may not provide us photography enthusiasts with the least expensive film, but it does get film into the hands of way more people, all around the world, then something far smaller.
DF, I hope you eventually get through so we can learn what you want to present to EK via KA. We really have no idea what your idea is so all I can say is : Didn't Edison get a "Nero's thumbs down" answer from the gas mantel and paraffin lamp manufacturers about the electric light bulb
pentaxuser
Egad! How many lumps of sugar does one need in their coffee anyway? First, super-saturated film, then a polarizer, and maybe after that, ridiculous PS saturation tweaks that make it look like the world has been sprayed with Krylon fluorescent spray paint, ala Peter Lik. Why go through all that trouble when all you need to do is develop your film in a hallucenogen?
Does Eastman ship their film to Alaris for re-shipment? Or does Eastman dropship directly to Alaris' local distributors? Now that Alaris was bought by a California investment company, are there any changes planned, like buying Eastman's film division? I believe Alaris USA is right next to Eastman Kodak in Rochester, New York State. Any changes since the new owners?
Did he have a recommendation for an appropriate warming filter?
Ah, Alan, another sucker for that old trick... I remember back when sales organizations were all hiring foxy young gals in short skirts. Our company did the same thing; it was the trend for awhile . Some of them were smart and really did a good job, and some of them didn't. But with a contractor related audience, overall they were a distraction. So lots of companies went back to plump jolly middle aged ladies in comparable positions, who actually did a better job in most case because they got along with a wider range of "guys" with less distracting temptation or inter-guy competition involved.
Does Eastman ship their film to Alaris for re-shipment? Or does Eastman dropship directly to Alaris' local distributors? Now that Alaris was bought by a California investment company, are there any changes planned, like buying Eastman's film division? I believe Alaris USA is right next to Eastman Kodak in Rochester, New York State. Any changes since the new owners?
Today, E100 is fine used with a polariser, either to moderate its palette or intensify it (in the right conditions in which the film delivers its best results!) — as one would do routinely with RVP and, particularly RDPIII. Another film just with a warm tinge doesn't make market or economic sense.
More saturated!?
To what means and end??
E100VS was one of the worse films to print Ilfochrome Classic from — on a par with the widely-panned Velvia 100f with its unbridled Vaudevillian palette.
VS's gaudy presentation was no better if projected. On the flip side, it did at least have beautiful crisp, clear whites and deep blacks — a characteristic that today's E100 also presents. What was Kodak thinking way back then?
Something about trying to knock the dominance of Velvia and its stablemates? A hypersaturated palette did it no favours for photographers who exposed it in a cavalier manner (e.g. very bright sun), and it fell out of favour very quickly in preference for Kodachrome, Velvia 50 / 100 and Provia 100f (another film that benefits from slight warming). I last used it, during a detailed review for the Australian Institute of Professional Photography, in August 2004.
Today, E100 is fine used with a polariser, either to moderate its palette or intensify it (in the right conditions in which the film delivers its best results!) — as one would do routinely with RVP and, particularly RDPIII. Another film just with a warm tinge doesn't make market or economic sense.
"Another film just with a warm tinge doesn't make market or economic sense" -
Okay then, true it may be.
How 'bout a survey of Ektachrome shooters " would you purchase/try if such & such were offered in a warm balance...blah...blah...?
There is zero chance that they would bring out a version of Ektachrome that isn't essentially the same as the motion picture variant - which would never succeed in a warmer version.
Neither still nor motion picture Ektachrome would exist without the volumes contributed by the other.
[...]
How 'bout a survey of Ektachrome shooters " would you purchase/try if such & such were offered in a warm balance...blah...blah...?
There is zero chance that they would bring out a version of Ektachrome that isn't essentially the same as the motion picture variant[...]
So what you're saying is Ektachrome in 70mm and 220, while theoretically possible, are unlikely, at least not anytime soon.
220 - no and never, due to the issue with leaders and trailers.
70mm - equally never, because no one would ever use positive film for the sort of motion picture that Christopher Nolan makes.
Oh heck, Alan, the Makita Rep who showed up was better looking than any of the Miss Makitas on their calendars; and there were better looking ones than her. She was a good dependable rep in her own right, just like any of the male pros - and quite unlike most of the mere low pay gofers and informational-useless so-called reps scurrying all over today, yet never around when you need them. Rigid itself took a nose dive once they licensed their name to Home Depot for sake of import trash like dangerous flimsy ladders - a giant tactical mistake and blow to their reputation they almost didn't recover from, although the pipe wrenches and other original offerings are still US made by themselves. If they still had calendars, they's probably shatter on delivery.
Nope.
The basic problem here is a lack of technical knowledge of exposing the film being talked about — Ektachrome 100, apparently (lazily summarised)... a bit cool and needs warming up. Well, this is not the film's problem (or Kodak's!), but that of the user. You can whistle Dixie 'til the cows come home, but Kodak isn't going to fix something that isn't broken.
So, best solution is to learn to use the film competently and fluently, reading your scene and applying filtration as and when required, or when you desire. If you want a 'warmish' film with little else to add, use Velvia 50, and then again, in those conditions where it delivers the best results.
Photo: Velvia 50 in summer afternoon mixed light.
Canon EOS 1N, 24mm TS-E w/ 8°T
There aren't too many pretty girls who can handle a screwdriver.
Didn't some nut use Ektachrome developed as a negative for a film not too long ago???
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