Some Kodak B&W Film Deletions

aldevo

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You cannot obtain financial returns for Ilford Photo, specifically.

You can obtain returns for Harman Technology Limited but this would include information beyond the immediate scope of the Ilford Photo operation, such as Harman Photo as well as the licensing turnover they receive from Oji Paper, Ltd in Japan for use of the Ilford name.

As the returns only cost £1.00, I think I'll purchase them nonetheless.
 

aldevo

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Well, it looks like I've fallen victim to some terminology differences between the UK and USA.

I ordered the companies "Annual Return", dated 30/9/2009 but this includes nothing other than a statement of the company directors, total shares outstanding, and their ownership among the partners.

But, at the very least, I can tell you that there are 6 equal shareholders and that Simon Galley is one of them.

It appears the most recent full financial statements are dated for 31/12/2008 and as that is no longer a timely read, I'll wait until March when the company should file for 2009.

Stay tuned?
 

Scott_Sheppard

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Kodak Speaks...

Hello Everybody:

I just interviewed Scott DiSabato from Eastman Kodak about this topic.

Here is the APUG link:

(there was a url link here which no longer exists)

This should clear up some questions people have.

Enjoy

Scott
 

clayne

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Scott_Sheppard said:
Hello Everybody:

I just interviewed Scott DiSabato from Eastman Kodak about this topic.

Here is the APUG link:

(there was a url link here which no longer exists)

This should clear up some questions people have.

Enjoy

Scott
Click to expand...

Scott, I appreciate that you connected with Kodak but I think in your shows you need to ask harder questions to people. The interviews tend to be too free-flowed with no hard questions being asked. As a listener I find myself sometimes tuning the show out when listening to it and not intently listening because I'm not learning anything new by giving the interviewee an easy road to take.

I mean seriously, I just listened to the interview with Stephen Schaub, for instance, and he was basically dissing TXP, 220, etc. while at the same time advocating the use of non-optical/non-darkroom printing and telling me that black and white film doesn't matter 99% of the time and I won't see a difference compared to C-41 color? I realize that he wasn't saying it as an absolute truth, but as a general recommendation to Joe Blow film user, he was. Yes, this is going to irritate people hearing something that the majority of us on this site know as absolutely not true.
 
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Scott_Sheppard

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Hello Clayne

clayne said:
Scott, I appreciate that you connected with Kodak but I think in your shows you need to ask harder questions to people.
Click to expand...

So what kind of HARD questions do you want to hear from Kodak ??

What kind of questions do you want to hear at all ??

I welcome your feedback.

Thanks

Scott
 

Ian Grant

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Scott in the Kodak interview you said the B&W market was growing, would you care to elaborate.

I ask because while back in the UK in November I was told the same by a retailer who said his B&W film sales had risen considerably despite the recession, but he carries little stock ordering in as necessary and he was very competitive on prices. It was a store I'd visited many times over the years but never bought at, and they gave me an exceptionally good deal on a new tripod.

Other stores said much the same.

Ian
 

Ken Nadvornick

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Ian Grant said:
Scott in the Kodak interview you said the B&W market was growing, would you care to elaborate.
Click to expand...

Yes, Scott. I, too, would be very interested in any elaborations you might choose to make regarding possible new growth in the B&W film market.

Thanks in advance,
Ken
 

Ektagraphic

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Anon Ymous said:
At about 19:20 Scott DiSabato says:



Sounds interesting.
Click to expand...

That's really awesome. I'd love to see a new E-6, and new black and white or even some black and white paper. I am overjoyed.
 

Chazzy

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I agree. Scott was much too easy on Disabato, and the Stephen Schaub interview was an outrage. And I am tired of constantly hearing propaganda for the hybrid workflow on what is supposed to be Inside Analogue Photo. I think it's time to change the name to Inside Hybrid Photo.
 

PKM-25

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Too easy on Scott, OK, like Scott S. asked, what would you have asked Scott D. then?

And as far as hybrid process goes, it's there, it is necessary for us who actually shoot for a living to get press ready film derived images to places like book publishers and magazines. John Sexton makes prints to sell in galleries, but he also has his negs scanned for publication, do you? Of course you do, if you have photos displayed on APUG.org, you have published them on the web.

The point is effort is being made here to communicate. But this is a company, a large one. You can in no way ask and expect a company like GM or Proctor and Gamble to completely divulge every little detail you want to know about product development or internal road map policies, that is proprietary to the company.

Kodak is no different, so you can't keep taking it personal....or you can and you would be wasting time you could be using to become a better photographer, selling your work, becoming a better receiver of that "Football" called film when it is thrown your way.

You have no choice in this, you need to adapt. If someone told me I could only shoot one film for the rest of my life, I would be fine with it, because I am a photographer, not an enthusiast who spends far more time online bitching and complaining rather than shooting.

Sorry if this offends, but I just can't believe how many posts some of you have, why not spend that time shooting?

Why am I on here today then? My girlfriend is recovering from surgery, so it is a good time to catch up on what is going on "All I do is complain.org".
 

chriscrawfordphoto

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I agree 110%

I love shooting film, especially black and white film. I hope I never have to stop using it because it is no longer manufactured (and I'd prefer it to be Kodak, as I like their films best), but if Kodak stops, i'll shoot Ilford or Foma or whoever else makes it. If no one makes it, I'll shoot digital. Guys here are always saying that they'd rather stop photographing than filthy their hands with a d-----l camera. The word is so filthy to them that they can't even type it. To me, they're not photographers. A photographer will have the need to say something visually no matter what equipment or supplies are available and will adapt. I don't want to, but I know how to shoot digital (I use it for commercial work) so I'll be ok if I'm forced to. I have to much to say to the world to give up in a childish tantrum because film isn't available in the future (assuming that ever happens...I think BW will always be made by someone but thats a guess).
 

chriscrawfordphoto

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Oh and regarding Hybrid workflows. All that Dan (KM-25) said is true (how you are all doing it if you put pics online and you need to if you get published). I want to add too that some of us have to do that even for exhibition prints. I have severe allergies that I 'developed' (pun!) over the years that make darkroom printing IMPOSSIBLE without endangering my health. I do not want to die young, and my son would appreciate it if I didn't as well. To hear some here say it, work from people like me isn't legitimate and if it destroys my heath, too bad. Just stop shooting then, if you can't print with chemicals you're not worth anything to us. Whatever.
 

Photo Engineer

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Due to the decline in use of color papers such as Fuji CA and Kodak Endura, I can see a day when they vanish. This leaves us with only a hybrid work flow. I have found that this is an excellent method of doing all that has been said above. You get the best of both worlds. You get film originals which last and have high quality and you can produce some pretty decent color or B&W prints. Given that they do not last forever, they still meet deadlines and have the quality needed for most purposes.

I agree that Scott S. could be more aggressive, but this is a two edged sword. If he were more aggressive, he might not get these interviews. Think on that. Do you want any interview or one shot aggressive interviews?

PE
 

Ektagraphic

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I agree. Hybrid is out there and it is one way of doing things. You don't have to love it. I prefer optical but have work hybrid often. I try to keep it as optical as possible though. Since the discontinuance of Efke's reversal paper I am trying to find a way to make internegs that work well to have optical prints made. I just like them better.
 

Photo Engineer

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I am using a hybrid method to produce internegs in B&W, but I find that digital cannot replicate a color transparency or color negative with any degree of fidelity yet. So, duping is a real problem.

PE
 

DanielStone

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I just listened to the 1st interview mp3, it was very interesting, and I can't see why anyone would bash Kodak for thinking smart.
personally, I don't think that Kodak's upper management who decides where R&D money goes is all that ready to shove film in the can, they know film sells, and it sells well(at least for todays market). Why would they leave a perfectly good product to the wolves?

c'mon, Kodak cut TXP(insert weep here ) to keep their film options open.

yes, I'm sad that another good product from EK has been cut, but I'm not going to cry about it, I'll just continue to use the films that are still available out there that give me what I want


btw... anyone have some spare Super-XX I could try in 8x10 or 4x5?

I'm serious about the super-xx, or could someone recommend a suitable replacement, I've never shot it, but having seen some of Michael A. Smith's work, in addition to Paula Chamlee's on their website, I REALLY want to try some....


-Dan


p.s. I'll agree with Scott D. that this is the BEST time for film photographers! We have *some* of the BEST film emulsions EVER made, and there isn't any signs of stopping! And when he mentioned a new product launch, I'm just hoping its a whopper of a film! Long live Kodak film!
 

David A. Goldfarb

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Despite claims from Bergger, BPF 200 has absolutely nothing to do with Super-XX other than being a nominally ISO 200 film, alas. Contrary to that article in _Shutterbug_, it wasn't a "French-made" film either in 2000. It was made by Forte in Hungary, now defunct, and it was identical to Fortepan 200.
 

Sanjay Sen

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There's actually some Super-XX on eBay right now, in 5x7 and 8x10, if you want to pay that kind of money.
 

DanielStone

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Sanjay Sen said:
There's actually some Super-XX on eBay right now, in 5x7 and 8x10, if you want to pay that kind of money.
Click to expand...


ya, I saw that. a bit pricey seeing that I've never used it before. if it was $50 I'd snap it up, even though I can't really afford it right now, but $150, ouch....


thanks

-Dan
 
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