POP, Tintypes, Glass Plate... and digital. What's the issue... Ease? only for those who CAN do something else w. themselves... for those who can't... well... no issue. You do what you have to do. Period.
When I learned film, digital was already hot and happening.... digital was ALREADY easier.... same goes for learning alt techniques today .. .. . those who want to -DO- those who only think they want to.. . .. they mumble...
Did all paints and oils, and dyes for canvas painting go away and was no longer sold 20 to 30 years after the film emulsions was invented?
Did newpapers and magazines disappear 10 years or so after the internet was created?
Did Manual Transmission cease to exist in cars decades after auto transmission was placed in cars?
Also if it was as bad as that, someone like myself who has shot digitally for a straight 5 years, and never even gave thought to film, developing, or printing probally would have not gone 95% film for nearly a year and a half now this late into the digital 'revolution'?
Last edited by kb244; 10-07-2006 at 11:38 PM. Click to view previous post history.
Color Film always existed. It's just the world was always black and white till recently.
Go back to drawing and become a rambly old man who throws stainless steel dev tank spools at anyone who walks on my lawn.
That will be great business chance to start a new film and paper factory.
Originally Posted by Photo Engineer
You are of course right, especially about the accuracy and reliability. But let's take baryta paper as a simple example, where the real choice today is Felix Schoeller or Mitsubishi -- and I don't know anyone in Europe who buys from Mitsubishi. I am however told that the old Guilleminot baryta paper coater is still in use, slightly modified as it is not being used for baryta coating.
Now, barium sulphate is not hard to source, and nor is paper base, and I believe it would be possible to put together a consortium to coat baryta; but it would obviously be easier to keep Schoeller coating the stuff. It's that kind of thing -- and of course film base -- that I was referring to. Arcane chemicals can usually be synthesized (at a price, barring environmental objections) but film base production is another matter. I believe (though I do not know) that there are enough other applications for film base that it is not endangered; but I have also heard assertions to the contrary. Another endangered species is roll-film backing paper.
Plates can be coated on an artisanal basis, again at a price, but roll-film is more of a problem, and if any film goes, I fear 120 may be the first casualty. I don't think it will happen, but unlike 35mm and LF and plates, I am prepared to accept that it might happen.
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OK, here's what I will do.
I will collect, dry, and arrange leaves and flowers.
Mount them onto board, present them in a shadow box, and call the portfolio
Then I will retire into my darkroom and print like hell, until my slides are all faded...
Roger, unfortunately there appears to be enough evidence in posts here on APUG that Schoeller baryta paper quality is varying a bit. I have experienced that myself. It is hard to make, and the rollers suffer a lot of wear due to the heavy pressure needed during the calendaring operation.
Originally Posted by Roger Hicks
Again, this contrubtes to product variability at the end of the emulsion coating operation.
Film base in the required thicknesses and paper base are suffering from having few sources of supply, and you are right that 120 and 220 paper backing is becoming hard to get.
Yes, we may all end up coating our camera speed emulsions on glass plates. Maybe Dave Parker will be able to make them and the plate holders for the different cameras.
I would simply convert to shooting digitally. I'm a photographer. I don't have any special fetish for what the materials are for that art/craft.
I use analog now because it's what I like the look and feel of. If it was no longer available, I would use what is available.
The process is only a means to an end.
I couldn't think of anything witty to say so I left this blank.
Oddly enough, I find myself agreeing with Michael. I make my living with photography, quite happy with film results, as are my clients. The only way this could get too difficult is when processing turnaround gets too slow, as became the case with Kodachrome. I get E-6 done locally in under 3 hours, but I could live with a two or three days turnaround if needed.
The hypothetical situation is completely unrealistic. As long as some company can make money off producing and selling films, they will be made somewhere by some company. Bostick & Sullivan undoubtedly profit from selling unusual alternative process materials, and either they or some other company will follow that lead, if that time ever comes.
Consider also that as a painter, I can still buy oil paints from several different suppliers. None of them are cheap. I can easily imagine that there are vastly fewer people doing oil paintings today than there will be photographers using film in 2015. I keep reading this same crap about five years from now, ten years from now, twenty years from now . . . honestly, if people are that stressed out about it, they should give up today . . . and don't look back.
A G Studio
I might actually break down and get a credit card, to buy what I needed to do the wet plate stuff, and digital.
But I am in no hurry to get a credit card. No credit cards anymore has been a blessing.
Technological society has succeeded in multiplying the opportunities for pleasure, but it has great difficulty in generating joy. Pope Paul VI
So, I think the "greats" were true to their visions, once their visions no longer sucked. Ralph Barker 12/2004