Kodak EPT Gone?

Discussion in 'Product Availability' started by wirehead, Feb 14, 2007.

  1. wirehead

    wirehead Member

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    So, Kodak EPT seems to be off the catalogs at all of the usual retailers in 120 format.

    Is it gone in the 120 format?
     
  2. donbga

    donbga Member

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    Call Kodak and find out.
     
  3. gr82bart

    gr82bart Subscriber

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    Why bother with the facts when speculation is more newsworthy? Besides, who here believes Kodak anyway?

    Regards, Art.
     
  4. ajuk

    ajuk Member

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    Why not just use regular film and an 80C filter.
     
  5. sergio caetano

    sergio caetano Member

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    Why not use anything except Kodak products ?
     
  6. jd callow

    jd callow Moderator Staff Member Moderator

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    and who is it that makes a 160 speed T balanced chrome? I love what I can do with EPT, but I think its time I lop off my nose to spite my face.
     
  7. ajuk

    ajuk Member

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    I don't understand, surly for a Tungsten film to be usefully it would need to be at least 400, 800 ideally.
     
  8. jd callow

    jd callow Moderator Staff Member Moderator

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    Why would a T balanced film need to be 400 or 800iso?
    I have never seen an 800iso T film. Kodak made at one time (and may still) an iso 320 T balanced chrome. Most T balanced films are iso 64-160, which generally makes them 1/2 to 1.5 stops faster then a comparable daylight balanced film when using a tungsten to daylight filter.
     
  9. ajuk

    ajuk Member

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    Because indoor lighting is dull, I need to use 800 maybe even 1600 speed film shooting indoors at night.
     
  10. PHOTOTONE

    PHOTOTONE Member

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    Low speed tungsten is desired.

    Not at all true. I have used extensively in the past low speed tungsten balanced color transparency and color negative films to produce product photography using a large variety of complex studio tungsten lights, similar to movie studio lights. This is the way it all used to be done. These 2000 watt Fresnel fixtures on roll around stands have very precise shape and control of the cone of light, and have barn doors and snoots and all sorts of light modifiers to creat a beautiful image with light. For this type of work, a low speed fine grain material is needed. This used to be the bread and butter photography of a Commercial Studio.

    You are thinking of applications totally different, such as available light photography in 35mm. I am talking studio photography in 4x5 or 8x10,
    or 11x14 transparencies.
     
  11. wirehead

    wirehead Member

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    Dono. I want it because I like to shoot it at night and then cross it.

    EPT crossed doesn't look a thing like Elitechrome 400 through an 80C and then crossed.

    Sure, I could get roughly the same results in Photoshop... but then I might as well be shooting digital. :tongue:
     
  12. sergio caetano

    sergio caetano Member

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    jd callow
    Use Fujichrome T64. Very good sharpness.
    Small inconvenience : 3100 K (instead of 3200 K).
    Do with Kodak what it did with us : forget it.
     
  13. jd callow

    jd callow Moderator Staff Member Moderator

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    Sergio. RPT is nothing like EPT and vice versa. EPT has a unique palette, wonderful grain excellent latitude and cross processes like no other.

    Kodak has forgotten us how; by offering more choice in excellent film than the market can bear; by updating their product; or is it because they are trying to keep the company from going belly up?

    Kodak is a company not a charity.
     
  14. ajuk

    ajuk Member

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    Yeah thats what I always thought 800Z and Portra 800 were for available light, and I would have thoguth that would be more than likely tungsten. FWIW I think tungsten lighting its self is probably going to be on its way out soon at least in studios as LED technology becomes more advanced.
     
    Last edited by a moderator: Feb 20, 2007
  15. wirehead

    wirehead Member

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    So? What about incandescent lights in the house that are much closer to tungsten than daylight... and most lighting intended for home use is going to match that, not daylight too...

    And remember that HMI, which gets a lot of use on the bigger movie sets, is closer to daylight balance. Phosphor-based and tri-color technologies (cold cathode, florescent, LEDs) can be set to whatever color balance you want. I suspect that they'll stick with tungsten balance until they stop using film and probably beyond, simply because that's what people are used to dealing with.
     
  16. DKT

    DKT Member

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    they'll stick with the tungsten simply because it's paid for & it's cheap. try figuring out how much it will cost a studio to upgrade to HMI lights, from a stable of mole-richardsons or arri's, and it wil become apparent pretty fast (I know--been there/done that). tungsten's not going anywhere anytime soon in terms of studio work, since it's also a great source for digital, and video--multimedia etc, where everything in the commercial world is headed. I think we'll be using our moles & lowells longer than the speedotrons to be honest.

    EPY, EPN--they seem like old-fashioned films compared to the newer stuff, but they're the tools of the trade for product, architectural & furniture work. anything for accurate color repro.
     
  17. ajuk

    ajuk Member

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    Yeah when I said Tungsten, what I meant was incandescent, like the lighting at wedding receptions ETC, its more likely to be closer to tungsten than daylight.
     
  18. wirehead

    wirehead Member

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    I finally called up Kodak.

    EPT (160T) and EPJ (320T) are both gone. They've been out of production for some months now.