What would you miss?

[Aurelien]

Hello,

Considering a new activity, I am studying the market.

So my question is the following: In a perfect analog world, what type of product would you miss?

Old chemistry formulas?

Single lens mecanic reflex?

Single lens rangefinder camera?

A serious Black and white developping lab?

Anything else?

Thanks for your answers

Aurelien

 

[scootermm]

In a perfect analog world, what type of product would you miss?

in a perfect analog world ... I wouldnt miss anything, because in a perfect world it would all be available.

for that matter in a non perfect world (the one we live in) I still wouldnt miss anything, would just make due with whats available.

 

[Alex Bishop-Thorpe]

I'm not too sure what you mean, but I mostly agree with the above - It's about being adaptable. Having said that, I know that if Pan F+ and HP5+ disappeared I'd be pretty down about it...I've tried a lot of film, but those were the only two that I've really gotten attached to.
Apart from that there's no lack of cameras to buy or chemistry recipes to read, and serious Black and White labs may be uncommon, but they exist.

 

[Aurelien]

I know every body has himself's habits. But For example, new chemistry would please you? Would you buy it? For example chemistry optimized for one film in particular.

Or aren't you worry about complete disappearance of analog materials (cameras...)?

 

[scootermm]

aurelian
to expand upon my initial short and instinctive answer...
Sure having chemistry optimized for a particular film/paper would be nice. But it would seem to me, given the dynamic nature of different films/papers, their availability, having a specific chemistry/developer for a given paper/film wouldnt fly with the overall market. Plus Id much prefer using products such as developers/chemistry that work with many different papers/film so that when or if a certain paper or film goes away my chemistry will work with whatever I replace it with. Make sense?

and no Im not afraid of analog materials disappearing. at its very root, most everything thing we use (even the manufactured materials) can be produced at home. If film all the sudden went away, Id go to a trophy store, get blackened aluminium and shoot wet plate, or get some glass and make glass negatives to print on hand coated paper.

In fact, as scary as it is to contemplate and as much as I hope it doesnt occur anytime soon... I almost look forward to the day when manufactured film/paper is available. I like the idea of having to create, with my own two hands, every single part of the process - hand coating the neg or wetplate, handcoating the print, etc etc.
Plus it will makes the remaining practictioners a rarity and wonderful community (much like it is presently)

To me, it all seems about adapting to your limitations and using those limitations to your benefit.

hopefully Im not missing your point.

 

[bdial]

I'm not sure this is what you are looking for either, but I'd miss being able to obtain alternatives to what disappears.
That is, if film y, or paper x disappears, I'd miss the option to learn to work with film d or paper c.
Once all the manufactured products disappear, I'd miss the availability of component chemicals.
However, as Scooterman says, I would not want to depend on a film or paper that's optimized to some particular chemistry. That leaves you with very few options if the supply of one is interrupted, for whatever reason.

As for equipment, I think what I would miss most would be optics. But I too am not very worried about equipment disappearing. There are too many cameras, etc. around for all of them to be consumed in a collector's market.
Additionally, my sense from attending shows and auctions of all sorts of old stuff is that collectors themselves are disappearing. I see fewer and fewer young faces in these events.

 

[David A. Goldfarb]

I'm not worried about chemistry, as long as I can obtain the components to make my own. I've moved toward mixing mainly from scratch anyway.

I'd be happy doing all handcoated work, if there were no more commercial papers.

I'd miss Tri-X, but I'd adapt to whatever films were available. Making my own film would be an inconvenience. I'd end up shooting only large format, and probably plates, if I had to make my own film.

I'm not too worried about having modern camera bodies. Most of what I use more or less reached a stage of technological maturity by the 1970s. As long as I can set the aperture, shutter speed, and focus, I don't really need much else.

 

[Neal]

Dear Aurelien,

Color negative sheet film.

Neal Wydra

 

[Jim Noel]

The thing I would miss is film. If it is available I will find a way to make chemistry to develop it, as well as the chemistry to print it on paper.

It is absolutely the one thing I can not do without.

 

[Paul Howell]

I am starting to worry about 35mm and MF, there is still a large used market, the these cameras are being gobbeled up.

 

[David Brown]

We've had a number of threads (on apug) over the years about what products people miss. I used to use Panatomic-X and Medalist papers - gone for years. More recently - any Kodak papers. But, I can't say I "miss them", since there are other films and papers and I'm getting better results than ever because of more experience, and not due to the materials.

As for gear, I'm older and have more disposable income, and there is a ton of stuff out there. Ironically, it's the "perfect storm". Just last night I was looking at the latest KEH catalog to come in the mail and I have to stop myself from buying things just because they're cheap!

IF and WHEN film is gone, I'll do digital. Right now I'm doing both (Shhhh ...)

 

[Phillip P. Dimor]

I'd miss film. And good paper, particularly warmtone paper. Actually, I miss having so many options. Kodak used to have so much stuff..

 

[RobertP]

Hello,

Considering a new activity, I am studying the market.

So my question is the following: In a perfect analog world, what type of product would you miss?

Old chemistry formulas?

Single lens mecanic reflex?

Single lens rangefinder camera?

A serious Black and white developping lab?

Anything else?

Thanks for your answers

Aurelien

..............Anything else?.....I still miss that redhead from Pittsburg back in '91.. Why that woman could.....well never mind.

 

[HerrBremerhaven]

Well, I have one already that I miss, which is Polaroid TimeZero SX-70 film. However, there is a sort of substitute, even if the old manipulations are no longer possible in the same ways.

On gear, I honestly don't consider missing anything. I have a working camera from 1937, so anything I have newer should be no problem to keep working. I might miss Dead Link Removed or EBAY, should either one stop being a source of good used gear.

Films are a tougher issue. I use some Polaroid pack films (peel apart). While there are a couple Fuji Instant choices, it would be tougher if some of the Polaroid peel apart films (like 669 or 690) disappeared. The Fuji FP100C would work okay for proofing, but this does not hold up to manipulation like some Polaroid films.

In large format, either Fuji or Kodak getting rid of Quickload or Readyload systems would really be inconvenient. While I could go to regular film holders, I am really hooked on the ease of use of packet systems.

I only use labs, so I would not miss particular papers. I would miss having a pro lab in the same city I am shooting. Sometimes that happens when I go on location, so I need to send my film back to the lab I usually prefer to use. Again, this is more a convenience issue. If there were better B/W labs available to me locally, I would shoot more B/W.

Mostly I shoot colour transparency. I really like the look and feel of Kodak E100VS, and don't like the Fuji alternatives. I also enjoy Fuji Astia 100F for some subjects, though maybe I could substitute Kodak E100G. My favourite night imaging film is Kodak E200, mainly for the great reciprocity performance, and extreme push capability. I don't know any substitute, perhaps the new Fuji Provia 400X, though strangely the Kodak reps suggested a colour negative film Portra 800 (didn't really like the results).

I miss AGFA APX100, even though I still have a few rolls. There is Rollei Retro 100, but I know that at some point in the far future this will be gone. Every other choice I might use today in B/W I could probably find a good substitute or alternative . . . basically no worries.

Ciao!

Gordon Moat
Dead Link Removed

 

[mikebarger]

If it came down to the very end, the last thing I'd want to go would be 120mm Tri-x and decent paper.

Yes, I like my 4x5 Sinar, but not as much as 120. 35mm, I only have it around for the wife now anyway. I haven't put an eye to the Nikon in over a year.

If film and/or paper goes away completely, I'm gone too.

Mike

 

[Roger Hicks]

PrintFile neg sleeves. The best in the world for 35mm and 120.

www.printfile.com

And I've just seen that it's their 40th anniversary!

Cheers,

R.

 

[DBP]

Kodachrome. And the next generation would miss having any legible pictures from childhood. That probably will happen to many kids growing up today.

 

[Brac]

What would concern me is if in years to come there were few or no skilled repairers to keep cameras operational. With manual cameras if you're prepared to pay well, parts can sometimes be fabricated but that doesn't seem likely with electronically controlled cameras. What happens too when the LCD screen goes blank? I've just had the alkaline AA batteries overheat in an early autofocus Nikon SLR which seems to have turned it into a paperweight. Will this be a common fate for this type of camera?

 

[Black Dog]

Yes, that worries me too-luckily my stuff is all pretty lo tech. Materials wise I'm not majorly worried as I know I can make my pictures say what I want them to say whatever film/paper I'm using (sad to see the end of APX/ Ektalure though-at least I still have some).

 

[papagene]

If all analog materials disappear... I would go back to sculpture and painting.

gene

 

[John Bartley]

I would miss having access to the chemicals that I could use for making my own product. I currently cut down surplus aero film and mix my own developer. I build my own contact printers. I modified my old enlarger, a 5x7 Elwood to take 4x5 negs by making my own neg holder. I make my own picture frames. I haven't yet, but imagine that with some mental effort I could create glass plates for negatives and print onto albumen. I am as creative a person as needs be for the situation. When I am no longer legally able to buy chemicals, then I will have to find another hobby. And yes, given the current "over the top" state of paranoia that exists these days, I am afraid that the day is coming.

 

[Woolliscroft]

I already miss 220 Delta 400, Tech Pan, Scala, Panalure.

David.

 

[3Dfan]

I think the disappearance of 126 format has been a loss. Reasons I'd like to use 126:
1. I like square formats.
2. No time consuming manual rewinds
3. No noisy motor rewinds
4. No fumbling to spool the leader

 

[Charles Webb]

Hmmm,
I already miss J&C.


Charlie............................

 

[fparnold]

MF interchangeable lens cameras (hopefully my C220 and Seiko shutters will be repairable for a while yet).

MF color negative.

As I gradually add accoutrements to the C220 (flash bracket with handle), I find I like to take it out more than I do the 35mms (even the F2a, which really is the perfect camera. They should have frozen that design. I wish I had a 6x4.5 version)

I already miss APX 100 and Ektalure, and have some slides on old Agfa asa 50 slide film), which would be hard to duplicate. However, I still have better color film than ever before. What I really miss is my old repairman, 40 some years with 'blad, then opened his own shop in North NJ. Could fix anything and sold me my first F. Regrettably, he was probably 50 years older than me, and has been gone for years.