What is the current best non slide color film?
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I doubt if the amount you will buy will make a snowball in hells difference, they'll discontinue them anyway.
This I agree on, oh Neopan400....
Yes actually, I do... A penny is a penny, but if many thought like me about that issue, there would be more money coming into the company for new films and could be just that extra boost that helps get them over the next quarter hump...
Exactly, why specialize on something and study an learn it's characteristics full well knowing you won't be able to get more at some point soon, at least with currently produced emulsions you have a chance.
I admire your positive attitude, Stone, and hope that you are right... but these companies look way past the next quarter in making strategic business decisions. However the dice ends up rolling in the short-term, long-term product-line decisions are likely mostly already made. I think this thought may be underlaying Ben's wise comment.
Sorry Fellas, Reala is not missed by me. I never found 120 Reala pleasing.
I believe that Reala and Ektar are dependent on the type of light in the shooting location. For California, Nevada and Arizona light, Reala comes out flat and cold yet Ektar loves the light around here.
For more northern, colder climates, Reala might be more well suited.
And it seems the Reala lovers are typically from those locales.
I believe that Reala and Ektar are dependent on the type of light in the shooting location. For California, Nevada and Arizona light, Reala comes out flat and cold yet Ektar loves the light around here.
For more northern, colder climates, Reala might be more well suited.
And it seems the Reala lovers are typically from those locales.
Your loss, and it is indeed, a big one.
To experience it. I'm shooting Astia now so that I never have to wonder what kind of results were possible. I am always left wondering what Neopan 400 (in 120 size) and Neopan 1600 were like to shoot. I'll most likely never know.
It says right in this link you posted that Reala 100 is discontinued. There's still remaining stock, but once it is gone, it is over forever.
I can believe what you wrote here. I shoot Reala in an urban environment and find it most excellent, much better than Ektar. All the concrete here must like the colder tones of Reala.
I was where you are a few years back, now I've come to realize it's a distraction, and I'm not able to totally learn a film, so I've been whittling away at all my old stock, chosen 4 films to work with (2 color/2 B&W) in all formats and that's it!
Or be a Film Whore like me, who will shoot any film, anywhere, anytime! Even Reala 
It's all good for me. But I do it just for fun and because the corpse says we aren't supposed to use film anymore. Even in sizes and formats we're not "allowed" to have, like 127 and Instamatic.
Why worry about the Best? They are all great!
It's all good for me. But I do it just for fun and because the corpse says we aren't supposed to use film anymore. Even in sizes and formats we're not "allowed" to have, like 127 and Instamatic.
Why worry about the Best? They are all great!
Or be a Film Whore like me, who will shoot any film, anywhere, anytime! Even Reala
It's all good for me. But I do it just for fun and because the corpse says we aren't supposed to use film anymore. Even in sizes and formats we're not "allowed" to have, like 127 and Instamatic.
Why worry about the Best? They are all great!
Corpse? Not allowed?
Corporations... the powers that be.
They don't really want us operating outside their profit streams.
Off topic.
Hah! I like it!!
There just really are not that many available anymore, though fortunately they are superb. Like everyone said, Ektar 100 for saturation, Portras (either speed, take your pick, I find little to choose between them other than the speed) for a softer and possibly more natural look.
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Ektar is fussier about color temp correction than Portra films, but once you understand that fact, it's quite color accurate. Maybe too accurate
for shooting high school yearbook pictures of zitty teenagers, but very nice for certain applications. If people on the wet side of Oregon have
trouble with it, is that they don't understand the filtration issue. No different here on an overcast day or in the rainy redwoods. The degree of contrast and saturation is higher than Portras, but that is relative to the degree of enlargement, and there are various ways of controlling the outcome. The trickiest problem with Ektar is in mixed outdoor lighting, where part of the subject lies in relatively warm color temp open
sun, and significant shadows fall into deep blue. I'm running experiments right now in preflashing with warming filters to selectively correct
just the shadows. Photoshop will NOT do a good job of correcting such issues after the fact. I'm sure I'll get the usual flack on that comment by the "I can do anything in Photoshop" crowd, who next promptly blame Kodak for not making a film they can manage well. But I don't print digitally anyway, and am losing patience with people too stingy or cocky to buy a simple 81A warming filter.
for shooting high school yearbook pictures of zitty teenagers, but very nice for certain applications. If people on the wet side of Oregon have
trouble with it, is that they don't understand the filtration issue. No different here on an overcast day or in the rainy redwoods. The degree of contrast and saturation is higher than Portras, but that is relative to the degree of enlargement, and there are various ways of controlling the outcome. The trickiest problem with Ektar is in mixed outdoor lighting, where part of the subject lies in relatively warm color temp open
sun, and significant shadows fall into deep blue. I'm running experiments right now in preflashing with warming filters to selectively correct
just the shadows. Photoshop will NOT do a good job of correcting such issues after the fact. I'm sure I'll get the usual flack on that comment by the "I can do anything in Photoshop" crowd, who next promptly blame Kodak for not making a film they can manage well. But I don't print digitally anyway, and am losing patience with people too stingy or cocky to buy a simple 81A warming filter.
Maybe because colour compensation filters are now next to impossible to get? I was out of luck trying to obtain some in 58mm.
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These are technically light balancing filters, not CC's. But either category are still obtainable. I prefer multicoated Hoya for a happy combination
of quality and reasonable price, but there are several outfits still making these in high quality glass. I generally carry 81A for bluish overcast
conditions, 81C for under deep blue shade, and a pale pinkish skylight like a 1A for just a tad of correction. The same filters would be applicable
for chrome film or other kinds of color neg film under analogous conditions. I wouldn't worry about CC filters unless you're trying to correct some weird indoor light source with a color temp meter on hand.
of quality and reasonable price, but there are several outfits still making these in high quality glass. I generally carry 81A for bluish overcast
conditions, 81C for under deep blue shade, and a pale pinkish skylight like a 1A for just a tad of correction. The same filters would be applicable
for chrome film or other kinds of color neg film under analogous conditions. I wouldn't worry about CC filters unless you're trying to correct some weird indoor light source with a color temp meter on hand.
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B&H currently lists 212 different 81A filter SKU's, not to mention those listed under the German "KR' designations (which is how Heliopan lists
them). B&W filters are also listed "KR"-series for warming filters or "KB"-series for cooling. There is also the Formatt Brand among the higher-quality choices. Easy to get.
them). B&W filters are also listed "KR"-series for warming filters or "KB"-series for cooling. There is also the Formatt Brand among the higher-quality choices. Easy to get.
Kodak Portra 160 400 & 800
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Heliopan, Formatt, and B&W are all European brands. And Hoya markets internationally. Otherwise, you can pay shipping from somewhere else.
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