Get it right, Rudeofus. Don't attribute things I never wrote to me. What's the point?
I live in Toronto and I would have thought that people in Toronto would be the last ones to complain about the inconvenience of shooting E6 film. There are still several labs in the city to process E6 film. Toronto Image Works still offers 4-hour same day turnaround for E-6 processing. Processing cost is only $6.20 per 120 roll if you prepay (who doesn't as you would have to pay in 4 hrs anyway). Slide film is available from B&H for 2-3 day delivery to Toronto with very reasonable shipping cost. Provia 100 is still selling for $3.79 for a 120 roll even when Japanese Yen vs US$ is at historical high. If this is deemed too inconvenient and too costly to shoot E6, maybe we set our expectation too high.
I guess it all comes down to whether one feels that he/she can produce the similar quality of work with other medium with less cost and hassel, whether it is negative film or digital. For myself, I will be willing to go through a lot more trouble to keep shooting E6, as, even after all these years of development in DSLR and negative film, I still don't feel that they catch up with slides in terms of color redition for landscape shooting, at least not to my personal liking.
Last edited by silentworld; 11-13-2011 at 12:39 PM. Click to view previous post history.
My sentiments exactly. As I said, "indicitive of a different set of problems, I think."
Originally Posted by silentworld
"There is very limited audience for the arty stuff, and it is largely comprised of other arty types, most of whom have no money to spend because no one is buying their stuff either. More people bring their emotions to an image than bring their intellect. The former are the folks who have checkbooks because they are engineers, accountants, and bankers—and generally they are engineers, accountants and bankers because they are not artists."
— Amanda Tomlin, Looking Glass Magazine, 2014
I managed Colourgenics in the late 80's, Colourgenics and Steichanlab were the two go to labs in Toronto GTA for E6 .There were many other options but these two labs were well above the cut of others. Both these labs stopped E6 due to lack of volume plan and simple, Controlling a high end E6 plot is not for the faint of heart, minimum 8 control strips per day, while I was there we started at 6 am and ran till midnight, Shin Sugino , Westside , and others would book time and run through the night.
You can not imagine the volumes of film clips and runs that would go on. Sadly The Refrema's require film to keep clean process control,, The major players of this service are dropping it and leaving to one or two per City to hang on as long as there is people wanting to use slide or transparancies in their cameras.
In Toronto I would only use Toronto Image Works for E6, otherwise ship to New York to a refrema that is busy, not slow.
I love TIW--no complaints whatsoever. Fact is, though, they're about it for speed, cleanliness, and consistency in the GTA. I buy from B&H, thanks. But if TIW folds, I likely won't go mail order for E6 processing, especially to the US. They are only 34 million of us in Canada and transparency shooters aren't exactly multiplying, so Canadian labs aren't either.
Originally Posted by silentworld
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Like what? Not agreeing with you? I have great local E6 processing but won't go chasing it all over N. America when it vanishes here. I'll buy and shoot transparency materials as long as it doesn't involve heroic processing measures. Too many other capture media at hand.
Originally Posted by Ken Nadvornick
Try reading a little closer.
Last edited by CGW; 11-13-2011 at 01:15 PM. Click to view previous post history.
Originally Posted by Bob Carnie
A local lab uses a Refrema dip and dunk processor,there running between four to five hundred rolls of film through every week. Do you think it's possible they can keep clean process control?
Tell me if I'm wrong, but are the reasons for shooting transparency film are usually...
1. Project it
2. Used in commercial work in the old days because art directors like see a positive.
Transparency film has always been a challenge to shoot because of it's limited exposure latitude. Since most commercial shoots I imagine are done digitally and people rarely project slides anymore due to computers and data projectors, why not just let the process and the film die? I know I'm going to get some heat for this. BTW, there's nothing more beautiful than looking at an 8x10 chrome on a light box.
Is it a large or a small Refrema? Are they running multiple control strips? Is the operator experienced in quality control issues?
5 hundred rolls equals around 100 rolls a day which from my background not very much but then again it all depends upon the above issues.
I am sure under this amount and the quality control can be hard to manage.
Originally Posted by bishy
Joe Cornish used trans up until a year or so ago, like a lot of other photographers they live and die with this material and believe the colour gamut in the right lighting situation is unparalleled.
I have clients that only shoot trans in studio with any source of light but always a controlled lighting setup.
Personally I prefer colour negative film over transparency but for still life with soft light its hard to beat a good trans.
Yes two of the reasons you listed are correct, I would add the colour gamut and archival attributes of some trans material is quite good. Also
in the day colour separators liked transparency as there was an immediate colour reference .
I do imagine that this product E6 film has the greatest chance of becoming extinct. There will always people able to process it so if you like it stock up, and correction filter as it ages.
Originally Posted by Mainecoonmaniac