Firstly, It was me who took this very 'off topic' so I apologise.
In finishing sheet film, you cut the lengths off the the parent roll, so for 10 x 8 sheet you cut an 8" block x the parent roll length ( say 1,500 linear metres ), and other widths off the same parent rolls at the same time obviously, that block is then 'chopped' in a separate ( automated ) process into the 10" dimension ( and at the same time the notches are put in ). I would imagine ( but do not know for sure ) the edge signing would be done when its in the 8" x 1,500m state as an optical in line process from the big slitter. We have no such in line optical exposing device, we have never had one for sheet, nor would we believe we have any real customer value in adding one. So obviously if we did it, which we could, the cost would need to be passed on in a higher product cost...do not want to do that, do not think the customer needs it either.
Simon. ILFORD Photo / HARMAN technology Limited :
We have no such
you cut an 8" block x the parent roll length ( say 1,500 linear metres ), ....that block is then 'chopped' in a separate ( automated ) process into the 10" dimension ( and at the same time the notches are put in ).
I am surprised that no one has mentioned that the notch codes can be "read" in total darkness.
Badbadbad
This is not a practical thread way off topic
hehehe
But in a similar vein photogs who had six or more identical blad backs would nail file an additional notch in each so they could tell which back a film with eg a light leak or bad frame space came from... don't everyone do that with dark slides/film holders?
I had a couple of 4x5 holders that were a little wonky. I threw the worst one away, but put the other one (unmarked) back into circulation. I kind of like that John Cage randomness - knowing I'm in control of a lot of things... just not everything. (and I still get interesting prints from it, though sometimes I have to crop.)
I will say that I do occasionally see portraits that Fred Lum does for the Globe and Mail, he often uses a sheet of film with the makers name at the edge of the image to get a bit more eye capture effect. (sometimes sheet film and other times 120) so I can see where having the branding might be useful to some, and would remind folks that Illford is around and does make film. OTOH I can also see folks objecting to the "free Advertising effect"
Do you shoot chromes? I don't think you would like it so much then...
There seems to be a fashion in magazines, etc., for printing pictures (no doubt digital originals!) inside an artificial frame of the edge of a 120 or 35mm film complete with edge markings.
Only once a year? This better not be a classic you're neglecting.
But Fred Lum is actually one of us! I have seen him post on this board but I can't remember his screen name.
He has gone as far as using a Brownie Camera made in the same year as his subject was born to get the real effect.
1970. If it was in original spec (it's not) it would be worth a lot of money as it's not only a classic, it's a highly collectable Aussie legend. Unfortunately (in hindsight!!!) I bought a modified one!
Now what was the topic of this thread
Nice... but how can you only drive that once a year? Blasphemy! lol.
haha!
Edge Markings are SOOO cool... maybe it's just because every now and then I still get guys on here that think I somehow am a fake person who doesn't even shoot film haha. I swear I really shot this, it's real film too!
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so who took the selfie on your altar?
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