Report from the Photokina 2014

[Henning Serger]

Hello friends,

as promised finally here my report from Photokina this september. Sorry for the delay, but I had (and still have) so much to do in my job.
As you from North America, the UK and Ireland, Scandinavia and Australia, and all the other regions and countries in the world being quite far away from Germany, could not visit the Photokina, I’ve tried to be the “eyes and ears” for you.
I've talked to lots of companies.
Fortunately, the overall news are quite positive.
I will give you the most important facts concerning these companies (in alphabetical order):

Adox:
Adox presented their new Adox MCC 112 fibre base paper with semi-matt surface. They have matched the surface of their other fibre base paper Variotone.
The samples they presented at their booth looked excellent.
They have also presented wonderful BW slides from Adox films on a lightbox: Adox CMS 20 II with its unsurpassed, breathtaking resolution, sharpness and fineness of grain. The detail rendition is unbelievable (well I know, because I am using this film for years ). And with higher speed the wonderful Adox Silvermax and Adox CHS 100 II, developed in the outstanding reversal process of Klaus Wehner ( www.schwarz-weiss-dia.de ).
If you have never tried BW slides so far, go for it. They are wonderful.

AgfaPhoto / Lupus Imaging:
They remain committed to film and have assured that their current film portfolio will be unchanged for the mid-term future. Seems they have contracts for the next years with their film suppliers. They have also assured that their current films are all from fresh production. And that the European high volume lab companies like Cewe and Fuji Eurocolor continue offering film processing (and of course making RA-4 prints and photo books, which is by far their biggest business).

Bellini (http://www.bellinifoto.it/):
Bellini is producing photo chemistry since 1988. E6, C41, RA-4 and chemicals for BW. They even offer a BW reversal kit.
And they remain fully committed to classic film photography.
By the way, as they are also offering E6 chemistry:
We currently have only one manufacturer of colour reversal film with Fujifilm (and hopefully soon two with Film Ferrania). But we have 4 manufacturers of E6 chemistry!
So there is definitely no problem at all with E6 chemistry availability (unfortunately this nonsense has been very often told here on apug, please stop it!!).

CineStill Film:
The Brothers Wright from CineStill Film presented their 35mm film and started their Kickstarter campaign for their film in 120 format at Photokina:
Dead Link Removed
The Brothers Wright are very passionate for film and do an outstanding job with their young company; very nice guys.
They deserve our full support. I’ve supported their project (as well as I’ve supported the Film Ferrania Kickstarter). If you have not done it yet, please do it. For both companies. For the sustainable future of film. “It is in our hands”.

Film Ferrania:
Well, they have not had a booth at Photokina, but as we are talking about news here, it is of course important to talk about Film Ferrania, too.
I’ve been there in Italy and visited the Ferrania factory last autumn (a report about that by me was published in the PhotoKlassik edition I.2014). And talked to Nicola Baldini, Marco Pagni and Marco Descalzo. These guys know what they are doing. The successful funding of their Kickstarter project is just the first step of very hard work for the next decade. They know about all the huge challenges in their project, they know how ambitious it is. They are not naïve, they have a realistic view on it. And they have the engineers who have produced film there for decades. They have the passion and self-confidence that they can successfully do it. With our help. Let’s support them! For those, who have not pledged for their Kickstarter yet, please just do it.

Some apuggers here worried that Film Ferrania could have negative effects on Kodak Alaris, Fujifilm or even Ilford. Don’t worry, that will not be the case. Film Ferrania has a realistic assessment, they don’t want to “replace” any of the three, and they cannot replace them in the foreseeable future. Film Ferrania can be the urgently needed addition / completion to the market, filling the market gaps and niches. Especially the numerous market gaps in the colour film market. And don’t forget how big this market still is: Depending on the country 75-90% of all sold photo films are colour films, the rest is BW.

What can we do and should do just now to support them besides supporting their Kickstarter project:
Support colour reversal film by using it regularly. Show it to other photographers, especially to young ones, educate them. Get others interested in it.
Reversal film is an absolutely unique photographic medium with strengths and characteristics no other photographic medium can offer. Reversal film cannot be replaced by negative film or digital!
It is an essential part of the photographic culture and heritage. And it absolutely deserves to be kept alive. And we need both Fujifilm and Film Ferrania for that.
Lots of the most iconic pictures in photographic history were shot on colour reversal film.
Photography would be very poor without it!!

Foma:
They said demand for their products is stable. They are currently focussing their efforts on improvements in their Fomatone paper line, making them capable for lith printing.

Fujifilm:
Concerning film they had a clear focus on Instax film and cameras at their booth. There were several dedicated “sub-booths” for the Instax camera lines and films.
The new Instax Wide 300 camera was of course introduced. Fujifilm sold 2,3 million (!) new Instax cameras last year. Demand is significantly increasing.
The responsible Manager for Film said, I quote: ”Fujifilm remains committed to film. When I will retire in 20 years, Fujifilm will still produce film”.

O.k.: Fujifilm is doing a very good job with their Instax line: They are doing an effective marketing, which results in increasing sales. New products are introduced. Fine.
Same with RA-4 paper: Increased budget for R&D, new products, increasing sales. Fine.
So dear Fuji people, if you would show more commitment and more action in the field of conventional photo film, if you would start marketing again, and improve the distribution of your film products, you could definitely stabilise (or even increase) your sales.
It is now time to transfer and adjust your succesful strategy with Instax and RA-4 to classic film!

Ilford Photo / Harman technology:
Finally this year they had their own booth, again. Well, we’ve missed it in 2012.
The new fibre base papers were presented, as well as the prototype of a 120 Titan pinhole camera.
But the most important news were: Finally a stabilisation in demand during the last months. Hopefully it is a sustainable stabilisation.
And Simon presented the plans for their restructuring and modernisation of their factory in Mobberley. Awesome! Put in short, simple words: In the end it will be a new, very modern, efficient and much more environmentally friendly factory. The BW film and paper factory for the 21th century. This project is even much bigger, with much higher investments than the Film Ferrania project.
Well, that is a commitment to film and silver-halide paper! Ilford Photo believes in the future of film.
Well, must I mention that I had a very big smile on my face after my meeting with Simon…...

Impossible Project:
Very interesting news in the talk with the Impossible manager, too: Demand for Impossible film is increasing. They expect to sell about a million film packs this year. Demand for their refurbished Polaroid cameras is significantly increasing as well. They sold more than 30,000 last year, and had to hire five more technicians for the refurbishment department in the factory in Enschede to keep with the increasing demand. Next year they will introduce their own first new camera.

The main strategy of the company has changed lately: Full concentration now on R&D and film quality improvements. They want to make their films better as soon as possible. This year already a new BW film will be introduced.They said it should be a bit better compared to the last original polaroid BW films. Next year a new colour film will follow.
R&D is located both in the factory in Enschede, the Netherlands, and at their partner InovisProject (InovisCoat) in Monheim, Germany. The Germans are also producing the negative film base for the Impossible films.
Regarding all the understandable and legitimate excitement about the Film Ferrania project it is worth to know that with InovisProject a very modern, medium sized film factory for both colour and BW silver-halide products is running since 2009/10. They are producing colour and BW films / papers for several partners.

Kaiser (http://www.kaiser-fototechnik.de/de/index.asp):
They have assured to keep the numerous products for classic film photography in their programme, including their complete enlarger line. Demand is somewhat stable. They have introduced a new, quite interesting loupe: Originally intended for backside monitors of digital cameras, it works also very well for negatives and slides up to 4,5x6 format. I tried it with my slides at their booth.

Kienzle (http://www.kienzle-phototechnik.de/):
They are producing all you need for making wonderful prints in your lab. And their products are on a very high quality level. You have a special wish? They will make it for you. They even make parts for Leica and Durst enlargers.
They told me it was the best Photokina for them ever. So much interest from photographers that they even hardly had the time to take a break and eat something.

Kodak Alaris:
Besides their digital products they have presented their film and RA-4 paper line. And the new RA-4 Endura Canvas paper was introduced. Their film portfolio will remain unchanged for the foreseeable future they said.
Original quote from the film manager: “We want to sell our RA4 paper from our own factory. We can sell more of it if we also offer film”.
Some months ago in an official statement Kodak Alaris said that last year their amateur film sales declined by – 30%, their professional film sales increased by + 15%.
This data was confirmed at Photokina. The big decline in amateur film sales was partly due to the fact that Kodak Alaris quit the private label film business. The increase in professional film was partly influenced by “panic / hoarding” purchases from photographers who have misinterpreted the chapter 11 situation in 2012/2013.
But in general Alaris is quite satisfied with the professional film business doing well. Unfortunately the colour negative amateur film business is still the ‘Achilles heel’ and significantly declining.

Leica:
Leica was very succesful during the last years, and built a new factory in Wetzlar. Besides their new digital products the new film Leica M-A was introduced. I’ve talked to the responsible product manager for the Leica M system. He told me that last year the sales for the M7 and MP have been a bit higher than in 2012 (1000 film M cameras were produced last year). They expect the demand for their film M cameras to be stable to slightly increasing in the next years.That is why they have introduced now a third film based M with the M-A.
AFAIK that is the first time in their history that three film M cameras are offered at the same time.
And also very positive: From next year on Leica will offer new courses for classic film photography at their “Leica Akademie”.

Lucky:
@ Ricardo Miranda: You asked me to ask them about their color films. I did ask them. Their answer was very clear: No chance at all for a re-introduction of their colour films.
But they will continue producing RA-4 paper.

Lomography:
They had exceptionally high growth rates in the period from 2005 to 2011. But they had grown too fast, in 2012 the situation changed, demand declined and they had to re-structure their business. They closed several of their Gallery Stores, and the Embassy Stores were sold to the former store managers and / or investors. The last two years were quite hard for them, but the restructuring was succesful and the new strategy is working now.Their recent Kickstarter projects for the Petzval lens and the Lomo Instant camera were very successful. The new LC-A-120 has been introduced.
They are working on further new products, including another new film.

Maco / Rollei-Film:
Maco has extended their RPX film programme: RPX 25 and RPX 400 are now also available in 4x5” sheet film.
Furthermore Rollei CN 200 and CR 200 are now available in a new, improved packaging.
And very exciting: Contracts between the cooperation partners of further production of the unique Imago Direct Positive Paper were finished. The Imago paper is coated on Melinex PET base, the same base Ilfochrome was coated on. This gives the unsurpassed brillance and long term stability. An outstanding paper for use in cameras, and for making direct BW prints from transparencies.

Photostar / Tura:
Their main business is RA-4 paper, finished by their own and distributed under their own brand Tura. Main markets are in South America, Africa and Asia. They were very satiesfied with the business at Photokina, and reported increasing sales.

Reflecta:
They introduced two improved 35mm scanners with higher resolution and better Dmax capability, the Reflecta ProScan 10T and the RPS 10M.
They reported increasing demand for their scanners.

Rodenstock:
The production numbers for their enlarging lenses are on a record level (!). Demand comes from the industry, using these top-quality lenses for surveillance in certain production steps.
Well, we as photographers do benefit from that and have the full range of these outstanding lenses available ( I use an Rodenstock APO-Rodagon N 2,8/50 for 35mm format in my lab; outstanding quality, delivers much better detail rendition than even the best drumscanners; I’ve made the direct comparison tests).
Large Format Lenses: Production is going on. Their stock of Copal shutters is likely good for another 2-3 years, and they are working on different alternatives for the Copal shutters. They are optimistic that they will find a good solution.

Tetenal:
Tetenal has introduced three new products: Film developer Paranol S, warm tone paper developer Variobrom WA and Stabinal, a stabiliser for silver in prints.

Voigtländer:
The current line of cameras will be continued. At Photokina they got increasing interest from young photographers for their cameras.

At the end some general comments:
I’ve also talked to Lab owners from different countries. Those, who are very active in marketing for their film development and print services and classic photography in general were quite satiesfied and reported stable to increasing business. Especially those who are running their own internet blogs and Facebook pages.
Those who are passive and don’t do any marketing reported about problems in their business.
Unfortunately only a very small percentage of the labs is active in marketing.
The same concerning film, paper, photo chemistry: Those manufacturers and distributors who are active in marketing all reported at least better business results compared to the companies without or with very little marketing.
Not surprising at all. Effective marketing is the key factor for a sustainable future of classic film photography.

And of course it is also “in our hands” as photographers, it is in our responsibility. There is a lot we can do:
- let’s give the digital cameras a break, shoot more film, make more prints on silver halide papers
- use the wonderful variety film offers: colour reversal film, BW reversal film, colour negative film, BW negative film and instant film
- be a “film ambassador”: get other photographers interested in film
- if you have an internet homepage / blog or use social media like facebook: spread the word there why you enjoy using film; support others who want to start with film
- educate the next, young generation in classic film photography.

In 2007 / 2008 all the “experts” were absolutely convinced that instant film will be the first film type completely killed by digital imaging.
But now instant film is the first film type with a real and strong revival.
If that is possible with instant film, than it can be possible with the other film types as well.
It is hard work, but possible.
Let’s do it!!!

Best regards,
Henning

 

[Richard S. (rich815)]

Thanks Henning. Great stuff.

But what about Neopan 400?

Just kidding.

Thanks very much for taking the time to write this up, some very encouraging news on a number of fronts for us film fans.

 

[Francesco_from_Rome]

Thanks for taking the time to write such a detailed report. And thanks for providing us with some good news!

Francesco

 

[Hatchetman]

Thanks for the update. The film situation (at least B&W) sounds relatively stable at the moment.

 

[Jeff Kubach]

Thanks for the info. Sounds like good news to me!

Jeff

 

[Krockmitaine]

Thanks for the time spent writing this report. Very much appreciated!

 

[Ricardo Miranda]

Henning,

I can only say a big THANK YOU!
In particular for the report on Lucky.
Sorry, just a small tiny question: did they say anything about their B&W film?

 

[hdeyong]

I think a lot of people appreciate the trouble you take to write all this up. Thanks very much.

 

[faustotesta]

Great Job Henning. Thanks you very very much for your effort.

 

[Trask]

Thank you, Henning -- great report. I wish I could have been there with you! A few comments: I'll admit I've never quite grasped what people needed B/W positives (like Scala) for. Do they project them, or are the intended for use with a direct positive paper like the one you've mentioned above? And how interesting that Tetenal is marketing Paranol S which they say is "compatible" with Rodinal, same dilutions -- and they seem to have stopped making Studional, the reported equivalent to Rodinal Spezial, as it is no longer mentioned in Tetenal's 2015 brochure at http://www.tetenal.de/imaging_shop/images/00000031.pdf

 

[Chazzy]

Thanks for the detailed and encouraging report.

 

[RattyMouse]

Fujifilm:
Concerning film they had a clear focus on Instax film and cameras at their booth. There were several dedicated “sub-booths” for the Instax camera lines and films.
The new Instax Wide 300 camera was of course introduced. Fujifilm sold 2,3 million (!) new Instax cameras last year. Demand is significantly increasing.
The responsible Manager for Film said, I quote: ”Fujifilm remains committed to film. When I will retire in 20 years, Fujifilm will still produce film”.

O.k.: Fujifilm is doing a very good job with their Instax line: They are doing an effective marketing, which results in increasing sales. New products are introduced. Fine.
Same with RA-4 paper: Increased budget for R&D, new products, increasing sales. Fine.
So dear Fuji people, if you would show more commitment and more action in the field of conventional photo film, if you would start marketing again, and improve the distribution of your film products, you could definitely stabilise (or even increase) your sales.
It is now time to transfer and adjust your succesful strategy with Instax and RA-4 to classic film!

Thank you for this report! Much appreciated.

You ask here a very good question about Fujifilm (why not market their conventional films?). You should have asked Fujifilm when you were there!

About distribution, where does Fujifilm suffer here? I find Fujifilm's films very easily in Asia and Europe. They seem to have no distribution problems in areas where I travel.

I would have asked Fuji if their E-6 film was at a sustainable level!

Thank you again.

 

[Henning Serger]

Thanks!

@ all:
Thank you very much for your kind words!
You are welcome.
I am glad my little report is helpful for you (despite my horrible English).

Henning,

I can only say a big THANK YOU!
In particular for the report on Lucky.
Sorry, just a small tiny question: did they say anything about their B&W film?

Well, Ricardo, concerning BW film the Lucky manager could not give a very precise statement. He said the future of BW there is uncertain.
The competition in the BW film market is very hard. Fortunately we have so much excellent BW films on the market.
And as in their main market Asia the incomes of photographers are increasing, more and more photographers are able to buy films with higher quality (at higher prices).

Best regards,
Henning

 

[Henning Serger]

Thank you, Henning -- great report. I wish I could have been there with you! A few comments: I'll admit I've never quite grasped what people needed B/W positives (like Scala) for. Do they project them, or are the intended for use with a direct positive paper like the one you've mentioned above?

Well, BW transparencies:
Let it express me this way: I love making my BW prints on real silver-halide paper in my own darkroom. I get outstanding quality. As long as I stay alive, I will make it.
But I also love making transparencies / sildes (colour and BW). As an addition / completion.
BW transparencies are unique, they have a unique look, a unique tonality (which can be widely influenced by the reversal process you use), a unique brillance, which you cannot get with prints. The light is shining through them, on prints it is reflected light, that is a big physical difference!
A BW transparency can have a Dmax (depending on the reversal process you use) of up to 4 - 5 logD.
The maximum for a print is about 2,3 logD.
So you have a bigger max. contrast range with the transparency.

And I really like my pictures big and brillant:
Making prints in my darkroom I there prefer bigger prints. Usually my smallest print size from 35mm film is already 20x30 centimeter.
But making big prints you simply have some limitations in your own darkroom.
Not so much in projection:
No problem to project my BW slides up to 1 meter x 1,50 meter, or 2m x 2m. It just looks awesome! You really have to see it. Then you will be hooked. Promised .
And you get these very big pictures in unsurpassed quality at negligible costs.

And of course as a user of BW transparencies you have this unique and unsurpassed versatility / universalism transparencies generally have:
Reversal film can be
- simply held to light to be looked at, you already have a finished picture in excellent quality
- viewed with a slide viewer enlarged
- presented on a light box with an excellent slide loupe (e.g. the loupes from Schneider-Kreuznach, Rodenstock, Emo, Leica etc.); that delivers an enlarged picture with outstanding optical quality and an almost three-dimensional look
- projected with a slide projector with excellent projection lens:
That delivers a breathtaking, unique and unsurpassed quality with bigger enlargements at minimal, negligible costs. The (colour) / tonality brillance, sharpness, fineness of grain and resolution performance of slide projection with excellent projection lenses cannot be achieved by other means (we did all these tests in our test lab)
- direct prints on BW paper with the Harman Direct Positive Paper (fibre base)
- direct prints on BW paper with the Imago Direct Positive Paper (Melinex base, same base as Ilfochrome has, with its outstanding brillance)
- scan and print on laser-exposure capable BW silver gelatin paper (available from Ilford and Adox), or display film (for poster-sized slides on big light boxes, looks stunning), or inkjet paper, or even RA-4 (well, real BW paper is the better option).

Try BW transparencies, you will not regret it.
If you are located in Europe, I can recommend
- www.schwarz-weiss-dia.de
- www.photostudio13.de
- www.agenzialuce.it
If you are located in North America, you may have a look at dr.5.com.

Best regards,
Henning

 

[Henning Serger]

Thank you for this report! Much appreciated.

You're welcome.

You ask here a very good question about Fujifilm (why not market their conventional films?). You should have asked Fujifilm when you were there!

Are you kidding? Of course I've done that.
Well, Fujifilm is a Japanese company.
And the Japanese company culture generally is quite different from the European or American company culture. Different thinking, different mentality. If you talk to employees from Canon, Nikon, Fujifilm, Pentax etc. the people report very similar circumstances / issues / problems.
Much less open minded discussions in Japanese companies, less information exchange between the subcompanies in different countries and the mother company in Japan.
"Lonely decisions" and orders made in Japan which simply have to be executed by the subcompanies are not seldom.

Well, the Fujifilm people I've talked to do see indeed the need.They want to do and care more. But they also have their marketing budget restrictions made by the headquarter in Japan. And the headquarter is currently only focussing on the X camera series and Instax.
The Fuji Europe / Germany staff is realising that there are chances in the film market. There is currently "something going on" and evolving in the film scene, they know that.
They have even told me some news from the industry about some plans which were, if implemented, really a little sensation and could give an important push to classic film photography.
But it looks like that Japan is currently still too much focussed on other product groups.

Of course you currently still need the capability of "anti-cyclical" thinking in the film market.You need courage.
Well, Ilford Photo / Harman technology and Impossible for example acted in the last years based on that concept. Film Ferrania now, too.
Now, and probably much more in the next years they will benefit from that.
But in lots of big companies "pro-cyclical" thinking is the norm.
These big structures are of course also not so flexible.

About distribution, where does Fujifilm suffer here? I find Fujifilm's films very easily in Asia and Europe. They seem to have no distribution problems in areas where I travel.

But there are indeed several problems. Some examples:
- There is significant demand for Acros 100 in sheets, but Fuji did not import it any more to Europe. Now the distributors have to import it by themselves, resulting in higher costs.
- There have been partly problems with Velvia 50 supply.
- Some Fuji films we can buy here in Europe are not available in North America for example.
- Brasilian photographers are now complaining that Fujifilm has stopped shipments of Acros 100 to Brasil. Brasil has an active and evolving film photographer scene. 200 million people are living there, the economy is growing and more people have the money to afford photography (and film).
- There are some problems in the distribution system between the manufacturer - wholesale dealers and the retail distributors. I cannot go here in further detail because of NDA.
But that is not a Fujifilm only problem. Other manufacturers are affected, too.

I would have asked Fuji if their E-6 film was at a sustainable level!
Thank you again.

Provia 100F, Velvia 50 and Velvia 100 have got the new packaging design recently. Fujifilm certainly would not have done that if they intend to discontinue these films in the foreseeable future.
But by far the best is to use them, to use more of them, to educate other photographers about the outstanding results you get with these films.
Demand is the best "insurance" for future availability of products.
I am doing my part: From 2006 until today I have increased my use of colour reversal film (and also other film types) from year to year.
Just recently I've made some commercial shootings on colour reversal film with outstanding results.
And I educate younger photographers.

Best regards,
Henning

 

[miha]

Thank you Henning, most detailed report.
TT introduced another Rodinal clone.:confused:

 

[tony1]

thanks for working so hard for us

 

[kraker]

Henning, thank you very much, tack så mycket, danke schön for talking to all these people from various companies and for sharing their good news with us.

You have given me some homework. I'll look into the CineStill kickstarter project and see whether there's a nice package to back their project.

Thank you also for sharing some European dr5's. I wasn't aware that I could get B&W slides closer to home, have only used the service of dr5 so far (which, by the way, is excellent).

So, thanks for all that!

 

[baachitraka]

I wish Adox bring CHS II in 120 soon.

 

[Henning Serger]

Hello Michael,

Thanks for this review and taking the time.

Quick question for anyone - any idea roughly how much $$$ Kienzle enlargers retail for? I've never been able to find much info but they seem like really nice machines.

just send them a email. They do speak English and are very customer friendly. They have an excellent reputation.
Their enlargers offer different options, and you can have one made for you with exactly the specifications you need.
Just tell them what you want or need.

http://www.kienzle-phototechnik.de/home_english/home_english.html

Best regards,
Henning

 

[miha]

Thanks for this review and taking the time.

Quick question for anyone - any idea roughly how much $$$ Kienzle enlargers retail for? I've never been able to find much info but they seem like really nice machines.

Roughly from €1,000 to 50,000.

Which model are you interest in? I have their pricelist from 2013.

 

[Henning Serger]

Hello 'neigbour' ,

Henning, thank you very much, tack så mycket, danke schön for talking to all these people from various companies and for sharing their good news with us.

no problem, you're welcome.

You have given me some homework. I'll look into the CineStill kickstarter project and see whether there's a nice package to back their project.

I am convinced both the Film Ferrania kickstarter, as the CineStill Film kickstarter deserves our suppert. Therefore I've joined both.

I wasn't aware that I could get B&W slides closer to home, have only used the service of dr5 so far (which, by the way, is excellent).

So, thanks for all that!

As you are located in the Netherlands, it is "nearly at your doorstep" .
In fact there is even another lab for BW reversal development in Germany:
Dead Link Removed

But from my own experience for several years I can recommend Klaus Wehner ( www.schwarz-weiss-dia.de ),
Photo Studio 13 ( www.photostudio13.de ),
and Agenzia Luce ( www.agenzialuce.it ).

Klaus Wehner is currently offering the following films in his high-end reversal process:
- Agfa Scala 200X
- Fomapan R100
- Adox Silvermax
- Adox CHS 100 II
- Rollei Retro 80S
- Rollei Superpan 200 / Retro 400S / IR

Here are some examples (shots from me developed by him; scanned by www.high-end-scans.de ):
Retro 80S as Infrared with RG 715 filter:
http://www.high-end-scans.de/img/bilder/web/Serger_SWD_RR80S_03_4000ppi.jpg

http://www.high-end-scans.de/img/bilder/web/Serger_SWD_RR80S_04_4000ppi.jpg

http://www.high-end-scans.de/img/bilder/web/Serger_SWD_RR80S_05_4000ppi.jpg

Here you find the complete list of the films Photo Studio 13 is currently offering in their (modified) Scala process:
http://www.photostudio13.de/fileadm...ion_fu__r_S-W-Diafilm__Scala__Entwicklung.pdf

Here two examples from me developed by Photo Studio 13 ( scanned by www.high-end-scans.de ):
Both with Adox CMS 20 II:

http://www.high-end-scans.de/img/bilder/web/Serger_OT_ACMS20II_28_4000ppi.jpg

http://www.high-end-scans.de/img/bilder/web/Serger_OT_ACMS20II_57_4000ppi.jpg

All three labs are doing international business and shipment.

Best regards,
Henning

 

[RattyMouse]

Thank you again!

 

[Ricardo Miranda]

Thank you Henning!
I was afraid of asking that question as SHD 100 is out of stock with my usual suppliers.

 

[pentaxuser]

I don't think I have ever seen any Lucky RA4 paper for sale in the U.K. Where is it sold and does it come in sheets or rolls only. How does it compare to Fuji and Kodak in terms of price and quality?

Thanks

pentaxuser