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#21
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Uncertainty of availability
I have been toying with the idea for several months now and unless the situation regarding the availability of C41 film improves and I mean a certainty that it will be permanently readily available I will have to let the materials I have taper off.
I will miss being able to use my darkroom so will continue with B&W as this shows little sign of fading out of existence like colour. I can always use D*%tal and convert what I photograph into images I can project which would be in colour but that is not the same so long may B&W continue. I can always pretend they are slides(but not as good!) I have enough film, developer and paper to last perhaps 6 months so it may improve, I can but hope. |
#22
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Yes they have closed. I rang their 'phone number after reading this to see if there was any response and yes they have closed permanently as advised on the answer phone message. Any films sent to them prior to the closure will have been processed and returned to the sender
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#23
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That’s a great pity about Peak Imaging, or Peak Processing as they once were. They were a reliable source of colour processing services.
Alex Sent from my iPhone using Tapatalk Pro |
#24
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Where does that leave those now who depended upon a pro service for E6 and C41 developing. The only one that comes to mind is the processing side of AG Photographic in Birmingham.
Any more to add to that and make a list. There are sure to be people who will ask. |
#25
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What do you include in a "pro service" John?
Out of curiosity I just had a look at Max Spielman, a name from the past that happily is still going today. They develop B&W, E6 C41, 35mm, 120, 126. No mention of pushing and pulling film etc. No idea nowadays as to the quality of their output, but it's not the end just yet.
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It will all be over by Christmas. |
#26
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Pro quality must include reliability, and consistency. I have always thought of the Max Speilman company as a an 'also ran' not pro.
In the earlier days of the company (1970's) there used to be a large number of complaints of inconsistency, poor colour balance and an indifferent service when sending films to be printed. My wife (ex) waited several weeks for an envelope of pictures from them even denying they had ever received the film. The company originated I think somewhere in Liverpool in or around 1951 but is now owned by Timpson's the shoe repairers. It is not a dedicated processing company like Peak or AG. Last edited by John King; 3rd October 2022 at 12:32 PM. |
#27
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I have decided to abandon darkroom colour printing.
My Nova Trimate 12"x16" heated print processor is up for sale on eBay and I am selling my refrigerated stock of Fuji Reala - both 35mm and 120 roll. I may hang on to my Bronica ETRSi for B&W for a while. I still have some rolls of 120 Rollei infrared film. Tempus Fugit. There seems little point in hanging on like King Canute when the tide is around our ankles. Last edited by BrianMK; 11th October 2022 at 04:34 PM. |
#28
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Quote:
There are alternatives I know, but after such a long time with Kodak chemistry and paper, I just cannot get on with what there is. |
#29
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This topic has gone from lack of chemistry, then paper, c41 film and eventually professional processors.
Apart from the professional processors alternative products are out there. Bellini chemistry is readily available and a lot cheaper than most of the others. I have not seen a shortage of Fuji paper. The familiar films are missing, but I have seen excellent prints from Kodak Vision 3 film, and it seems readily accessible. Quite a few here seem to be of an age to have used black and white commercial developers and papers that are now no longer available and reminisced about in posts here and elsewhere. I doubt many contemplated packing it all in when black and white material choices decline.. Unless you are in photography having to deliver the product to a paying customer I find it's an interesting varying voyage having to adapt.
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It will all be over by Christmas. |
#30
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Nat, you have missed my point. My preferred paper - Kodak is no longer readily available and when it is sold out almost immediately. The price now for a 88m x 12" roll is now listed around £120+. Compared to Kodak paper, that sold by Fuji is markedly thinner, something less than the old single weight B&W bromide. It is flimsy and kinks to easily, nor do I like the tones rendered by the Fuji paper.
My preferred RA4 developer was and is Kodak Ektacolor in the 20Ltr concentrate kits. They are no longer available and like the paper they are very very expensive. Yes you can get 40 litre kits of developer only but the starter chemical is still not available. The saving grace was when it was in a 12 x 16 NOVA and replenished correctly it lasted almost indefinitely. Non of the others I have used previously, be it Tetanal, Adox and in my early days, Agfa did not have the working life, even with replenishment of that of the Kodak version. Pre Covid (and I am not blaming that). You could buy a 36exp colour neg film for around £3.50 depending where you bought it. Even Fuji 200 when it is available now is priced close to or even above £10. It is getting just too expensive for my use. So apart from the uncertainty of regular supplies at a reasonable price I do not feel it is worth it to carry on colour printing, but will continue whilst I have still got materials and chemicals to do so. In the meantime, if it all changes I may reconsider. |
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