I personally don't care what they do with their black and white line. I like Acros and it's unique, but I don't shoot that much of it and can certainly live without it. Frankly the whole black and white world aside from Ilford could go away and I wouldn't be negatively impacted. I'd change a few products, but I could live happily with Ilford for black and white.
But Fuji is the only game left for slide film (aside from black and white film reversal processed, or reversal processed C41 if you want that look) so it matters a lot more. And even when Kodak was around, 400X was still unique. It's a wonderful film. They've now canceled their two best ever slide films, Astia and Provia 400X.
I hate to say it but never trust Fuji. They pull this stunt all the time.
I personally don't care what they do with their black and white line. I like Acros and it's unique, but I don't shoot that much of it and can certainly live without it. Frankly the whole black and white world aside from Ilford could go away and I wouldn't be negatively impacted. I'd change a few products, but I could live happily with Ilford for black and white.
But Fuji is the only game left for slide film (aside from black and white film reversal processed, or reversal processed C41 if you want that look) so it matters a lot more. And even when Kodak was around, 400X was still unique. It's a wonderful film. They've now canceled their two best ever slide films, Astia and Provia 400X.
Fuji still lists this films without discontinuation notices. The information policy of Fuji is anything but the best, but still I would take anything Freestyle confirms with a heap of salt.
We had these discussion on Fuji films discontinuations before.
Pretty much nailed my feelings on this.
I love Acros 100. It was the first black and white film I really seriously tried in medium format. I enjoyed not needing to keep a reciprocity adjustment chart taped to the back of my meter. But I'm trying to dial in a reliable shoot-develop-print workflow here, actually understand the materials I'm using, and I don't like the idea that I might settle on Acros only for Fuji to drop it without warning. I can't afford to stockpile film when it gets dropped.
Plus from a pragmatic point of view, I'm much happier directing my limited budget for this stuff toward companies which are demonstrating commitment to sticking around.
I hate that I feel that way, but...
That's a prize I am NOT happy to win. I dont get it. How can ONE product line for color slide film be too much for the market to bare. Provia is the last standard all purpose color slide film. Even rationalizing down to a single product line was still too much supply, not enough demand.
And why in the world did Fujifilm commit the resources to reformulate Neopan 400 and then market a launch of this product?? What a phenomenal waste.
You did see the official notice about the cancellation of these two films, didn't you? How much more official can it get??
The official note is from Fuji North-America. To my understanding there have been different distribution approaches between the different Fuji subsidiaries.
Well, for the first time ever I just now placed an order to assure myself a modest future supply of an announced discontinued film product.* Ordered 25 rolls of 120 Provia 400. Added to the 5 in-date frozen rolls I currently have, that's 30 total.
What is it we expect Fujifilm to do here? Sell film for a loss? Is that what the film world has come to? Just manufacture film for a loss.
Of course not. How exactly would that help anyone?
The problem isn't discontinuing lines that are making a loss. That's just good business sense. The problem is the confusion around every single time they cancel a product. The problem is that a lot of people don't trust them, and that hasn't just sprung up out of nowhere; *something* Fuji is doing has caused that. The problem is that they now have almost no presence left in b&w films. That doesn't inspire confidence, it feels more like a last desperate rearguard action of a division Fuji don't really need to keep around.
Compare to Ilford who don't cause those same trust issues.
High context societies have interesting ways of communicating. I often wonder if discontinuation is considered a failure - and hence they hem-haw back and forth on it until it can no longer be avoided. One thing's for sure: their speciality surely isn't clarity.
Absolutely! Failure represents a loss of "face" and is to be avoided at ALL costs. If Fujifilm considers discontinuing a film a failure, then that is a massive blow to them.
Over here in New Zealand they are asking for $32US for a roll of any slides so it's not helping. Maybe if they rip people off even for few customers maybe they make more profit than selling more at a lower price. I import film like many here but I also export to the USA for development. But checked online, $16US for a roll of Provia 400X is getting expensive even by USA standards.
Yep, exactly what I meant.
I'm going to presume you're a westerner in China and that you've banged your head against a wall multiple times upon coming to terms with "face", eh? Great way to collectively hold back the entire society due to a baked in insecurity of looking wrong, or losing respect, isn't it? I have some fundamental disagreements with how "face" is handled in high-context societies. I think it takes more courage to admit wrong and to volunteer loss of face - but in the end one is usually respected more for admitting wrong. I don't get why they can't get over this hang-up. It's holding them back.
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