Polaroid to launch a new Now camera and I-Type frames design in collaboration with Thrasher skate mag this Tuesday.
A legendary skateboarding publication got its mark in the lineup of new instant cameras with dip-dyed paint designs on Polaroid Now Generation 3 – Thrasher Edition (polaroid.com/pages/thrashe…) and rad new frames (11 designs): polaroid.com/pages/thrashe….
Both will be available starting September 16. $150 for the camera and $22 for the film.
Kodak Flexicolor (now, Kodak Colour Negative Chemistry) is back! — in Europe.
Dupli is an official distributor of Kodak film development chemistry that’s been gradually returning to the market following a hiatus due to supply and other challenges.
The US distribution resumed last year by Dupli in collaboration with CineStill. Starting today, the European Dupli store and local suppliers will begin selling Kodak’s colour negative development chemistry (previously named Flexicolor, rebranded to Kodak Colour Negative Chemistry).
Dupli describes Kodak Colour Negative Chemistry as “trusted… used by generations of photographers to produce vibrant, true-to-life colour prints. Designed for both minilab and professional operations, Kodak Colour Negative Chemistry offers the consistency, reliability, and image quality that analogue photographers expect.”
On the website, it adds: “This new kit is an excellent replacement for the now defunct Tetenal Colortec C-41 Kit. Perfect for fast and hassle free home development of your colour films.”
The instructions sheet with the developer lists 3:15 as a development time (with a temperature range of 37-39℃) and 6:30 for both bleach and fixer. You can download it here: dupli.co.uk/product/attach… or find all the product listings on the Dupli website: dupli.co.uk/dupli-shop/ana…
The chemicals are available in various configurations, including giant, 40-litre replenisher packs for lab use.
Analogue Amsterdam just posted an update about their new point-and-shoot film camera, teasing a reveal on September 30th.
Making film cameras, particularly the high-end automatic point-and-shoots, is so difficult that any new business entering the space is often met with strong skepticism. That is still the case for Analogue Amsterdam, a European business that has found a factory capable of building a brand-new, fully featured point-and-shoot camera in 2025.
The skepticism is understandable, given the current track record of zero such cameras produced in the past decade that could match the pinnacle of the Minolta TC-1 (analog.cafe/r/minolta-tc-1…) or the ultra-thin design of the Ricoh GR1 (analog.cafe/r/ricoh-gr1gr1…). Even simpler designs, such as that of the Olympus Mju I (analog.cafe/r/olympus-mju-…), haven’t had the chance to return to the shelves yet.
Analogue aF-1 is like the Mju I in many ways: a €399/$412 camera with a six-element 35mm 𝒇2.8 lens, a Lidar autofocus, autoexposure, motorized film transport, shutter speed up to 1/1000, flash, and a DX-code reader.
The difference between Olympus in the 1990s and Analogue Amsterdam is that the former is a famous multinational Japanese corporation that’s been making film cameras for decades, whereas the latter is a relatively unknown photography shop and a design agency. That’s where the skepticism came for Analogue, with the doubts rising as the company missed their self-imposed deadlines by five months.
So far, Analogue has released a handful of very short video clips, some of which were taken on a factory floor and others highlighting the internal workings of their camera.
Their newest post, instagram.com/p/DObKah5jH_f, is a teaser of an upcoming demo unit that we may see on September 30th.
This doesn’t mean that the camera will be available for sale on the same day (or even that the final product will look and work the same). Still, that would be a huge boost of confidence in the project that I would love to see.
RETO launches a tiny KODAK CHARMERA digital 1.6MP keychain camera.
This is the first digital product for RETO, who’s been selling film and making film cameras since 2019. CHARMERAs are Kodak-branded, pendant-sized, and sold in blind boxes (so you’ll never know which of the 7 designs you’ll get). Or you can get a set of all six (minus the limited edition one) for $180. Singles are $30.
RETO says that CHARMERA’s design is inspired by Kodak Fling, which was Kodak’s first 110 disposable camera, released in the 1980s.
CHARMERA’s quarter-inch CMOS sensor uses a 35mm 𝒇2.4 lens to store 1.6MP 1440x1080 JPEGs or 30 fps AVI movies on a Micro SD card, powered by a USB-C rechargeable 200mAh battery. The entire thing is 58mm × 24.5mm × 20mm and weighs 30g. You will need to supply your own memory card (1GB-128GB).
I’m attaching a few nice samples I received from RETO below.
Love how small and colourful these things are. RETO has certainly taken the good parts of the vintage Kodak packaging/print design.
I don’t need another tiny digital camera right now, so I am very proud of myself for resisting this one (it’s so tempting!) But if I did, I’d probably immediately start playing with filters and borders until settling on the default.
Besides, I’m still playing with RETO PANO (analog.cafe/r/reto-pano-re…), which has proven to render some excellent images, particularly with high-contrast black-and-white films.
A new film scanning project, several new film cameras, and some news about Kodak and Lucky colour films surfaced recently.
Something happened at home, and I couldn’t write about any of these projects in time; this video summarizes all of the above, plus the sad news of the Epson flatbed scanner line discontinuation:
Metal Fingers and others have praised the new Adox Color Mission batch, which, I must agree, looks great. Still, I’m bothered by the lack of availability and the sudden jump in quality, compared to last year’s results (analog.cafe/comments/1l0n).
Two years ago, Adox released a limited run of Color Mission, which I was able to test and review (here: analog.cafe/r/adox-color-m…). The company clarified then that this was what they had left in stock from the acquisition of a defunct film producer and that they had more to release later.
So, *is the new Color Mission batch coming from the film stocks Adox purchased previously,* or is it a dramatic jump in quality in their effort to replicate the original formula on their existing machinery?
Jason used Negative Lab Pro to invert his scans with some editing after the fact. While that makes it harder to compare its colours to other films, it appears to have a great dynamic range and good grain control.
As it says on the package: 14 layers in the emulsion. (Jason adds that Kodak Portra films use 16 layers.)
Harman Phoenix is the newest colour-negative film on the market from a factory that isn’t Kodak. Made by the same company that sells the famous Ilford black-and-white film, Phoenix is their massive investment into a medium they haven’t worked on since the 1960s.
Harman Phoenix II features substantial upgrades to the dynamic range/contrast, grain, and colour over the original.
Since I published the original review, I’ve shot many more rolls of the old and the new Phoenix, staged a few experiments with that film (like turning it into slides), and compared it to other emulsions.
The updated review features updated facts, samples, and a fresh polish on the language so that it’s more fun to read:
Commodity fetishism lands Leica in hot water on Threads.
The brand drew fire to its social media account of over 96 thousand followers today with a post that romanticized ownership of their gear more than their followers were willing to take:
“Leica is not just a brand — it’s a lifestyle.
“It’s the reason why people love to take our cameras out on the town.
“It’s the camera that you want to sit next to you in the passenger side of your car.
“It’s the only piece of jewelry that is reciprocal to others because you can give an image as a present.
“It becomes a part of you.”
Leica makes famously expensive lenses and cameras that can fetch well over $10,000 new and more than most other cameras when bought used as well. Their price is usually justified by the quality of the design, assembly, and materials that make their tools durable, fun to use, and capable of capturing very sharp photos.
Leica is also celebrated for its history (famously, the company helped hundreds of Jewish people out of Nazi Germany in 1938-1939, en.wikipedia.org/wiki/Leic…). The company has recently celebrated 100 years with the addition of (reasonably priced) 35mm photographic film to its roster of products: analog.cafe/r/film-photogr….
Leica is not shy of lending its name to numerous other companies, which over the years have generated a large ecosystem of accessories, clothing, and more.
However, the social media team’s post that dressed up the Leica brand as a “lifestyle” has struck a nerve with the photographers.
“This kind of pretentious nonsense makes me want to sell my Leica.” — @fredrikplam.
“When the camera itself gets romanticized more than the work it creates, when the priority becomes posing with it, showing it off, or treating it like an accessory or ‘jewelry,’ that’s when the tool starts overshadowing the art. And that’s not the kind of ‘lifestyle’ I’m interested in.” — @illkoncept.
“As someone who’s been shooting with Leica’s for almost 2 decades and has been published in LFI Magazine, I just don’t have the words to express how cringey this post is.” — @dezfoto.
“This is not the flex you think it is…it makes Leica owners seem like a bunch of posers more concerned about how they look rather than the art itself.” — @denizdemir.photos.
And it keeps going (so far, there are nearly 600 responses on the original post: threads.com/@leicacameraus…).
Leica’s social media team has been exceptionally active on Threads since they came online, one of the fastest large camera brands to reply and post their takes on the Meta-owned app.
In an attempt to respond to some of the posts, the company attempted to double down:
“Ramon from the marketing team 👋
I wrote the post so let’s talk about it. Two things can be right at once. It can be an instrument and a part of your daily routine. I’ve been to Wetzlar to see how these products are made and you’re right — they are engineering marvels.
But let’s be honest, I’ve never heard someone refer to their camera as ‘my precision instrument’. But a camera is your lifestyle if you carry it daily to make photos.”
That effort appears to have fallen on deaf ears, as the comments condemning Leica’s original thread are in the hundreds and continue to multiply as more people are becoming aware of it.
Update: Kodak issued a statement regarding “Misleading Media Reports.”
The news of Kodak’s financial report that dunked their stock price 25% scared not just investors but also others who depend on their product. Here’s Kodak’s response in full (also found on kodak.com/en/company/blog-…):
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Statement Regarding Misleading Media Reports
August 13, 2025
Media reports that Kodak is ceasing operations, going out of business, or filing for bankruptcy are inaccurate and reflect a fundamental misunderstanding of a recent technical disclosure the Company made to the SEC in its recently filed second quarter earnings report. These articles are misleading and missing critical context, and we’d like to set the record straight.
The most important things to know are:
Kodak has no plans to cease operations, go out of business, or file for bankruptcy protection.
To the contrary, Kodak is confident it will repay, extend, or refinance its debt and preferred stock on, or before, its due date.
When the transactions we have planned are completed, which is expected to be early next year, Kodak will have a stronger balance sheet than we have had in years and will be virtually net debt free.
The “going concern disclosure” is a technical report that is required by accounting rules.
We will continue to meet our obligations to all pension fund participants.
Pension Fund Transaction
Kodak has been preparing for the pension plan termination for some time and expects to receive approximately $500 million of assets – after meeting our obligations to all pension fund participants – in December 2025 when the transaction closes. Approximately $300 million of the funds are expected to be cash, and approximately $200 million are expected to be investment assets that will be converted into cash.
Kodak’s Debt Position
To provide context, Kodak currently has $477 million of term debt and $100 million of preferred stock outstanding. Kodak is required by its loan documents to use the $300 million of cash expected to be received in December to repay term debt. Kodak can then address the remaining $177 million of term debt and $100 million of preferred stock.
Kodak’s Ongoing Operations
In addition to our focus on reducing debt and interest payments, we believe our business is stable and self-sustaining. In Q2 2025 we used only $3 million in cash, primarily to invest in growth initiatives, a significant improvement compared with Q1, and we do not plan to rely on cash from the pension fund transaction to fund our operations.
In short, Kodak is confident in its plan to meet all its obligations and optimistic about its future.
For more detailed information about this topic, please review Kodak’s Form 10-Q filed with the SEC on August 11, 2025, including the cautionary language about forward looking statements in such filing which are incorporated by reference herein.
The company’s shares plummeted 25% today after their report revealed a half-billion-dollar debt due within a year with an unclear payoff plan, along with hits to profits and higher costs.
The report (published in full here: finance.yahoo.com/news/kod…) demonstrates lacklustre growth and some considerable slowdowns in parts of the business. Pull quote:
“We expect to have a clear understanding by August 15 of how we will satisfy our obligations to all plan participants, and we anticipate completing the reversion by December of 2025. For the second half of the year, we will continue to focus on reducing costs today and converting our investments into long-term growth.”
In a statement to PetaPixel (petapixel.com/2025/08/12/k…), Kodak explained some of the language in their recent report and their plans going forward:
“The ‘going concern’ language in Kodak’s 10-Q is essentially required disclosure because Kodak’s debt comes due within 12 months of the filing. Kodak is confident it will be able to pay off a significant portion of its term loan well before it becomes due, and amend, extend or refinance our remaining debt and/or preferred stock obligations.”
“To fund the repayment, we plan to draw on the approximately $300 million in cash we expect to receive from the reversion and settlement of our U.S. pension fund (the Kodak Retirement Income Plan, or ‘KRIP’) in December. However, the KRIP reversion is not solely within Kodak’s control and therefore is not deemed ‘probable’ under U.S. GAAP accounting rules, which is what triggered the ‘going concern.’ Once the KRIP reversion is completed Kodak will be virtually net debt free and will have a stronger balance sheet than we have had in years.”
This reads like Kodak is cutting very close to their deadline but may still make it by the skin of their teeth.
One tangibly positive piece of news in that report is the nearly complete pharmaceutical facility — but that’s not a guarantee of any additional income in time, nor is it a commitment to producing film products in the future.
Part of the reason for the revenue drop stated in the report is the considerable investment into the facility upgrades Kodak performed last year (analog.cafe/comments/rq8i) and the eight-year development project that culminated this year in the release of remjet-free Vision 3 film (Daren and I discussed it at length in our recent podcast episode: analog.cafe/comments/198v).
Of course, film is only part of the company’s still a large business; despite the growing interest in this medium, it won’t be able to save the company alone.
@RompingBronco on YouTube sat in on the earnings call with Kodak in his recent #video🍿 post: youtube.com/watch?v=uFO3ut…, where the CEO, Jim Continenza, suggested that the US tarifs may benefit Kodak (a US company) in some ways domestically but have also contributed to the higher cost of aluminum, a raw material likely imported from Canada (the tariff negotiations between the two countries are still ongoing).
With all that in mind, it’s helpful to remember the context of the company that has so far emerged from multiple bankruptcies, still making film.
Getting ready to develop film at home just got a little faster if you track your chemical use and expiration with Chem Log.
Analog.Cafe v3.30.84 adds a handy Dilution Calculator button to the Film Log app (analog.cafe/app/film-log) to help figure out precise chemical ratios and shows all selected chemicals’ stats/reuse calculators front-and-center when you need them.
Though you still should test your chemicals (here’s how: analog.cafe/r/how-to-test-…), Chem Log (a plugin for the Film Log app) can help you avoid issues by giving a quick reference to mix dates. If something’s very old, you’ll know to avoid using that bottle.
Chem Log also helps extend the life of your C-41 chemicals by showing you adjusted development times based on the volume of your developer and the number of rolls that went through it. I’ve used this app to extend the life of my 1L (quart) Arista kit to 28 rolls — 20 beyond the recommended total — which added up to about $1/roll — without any significant issues in colour or grain. Article & samples: analog.cafe/r/arista-c-41-….
More app updates:
#film Q, a web app for inverting film negatives in the cloud, received a small bug fix. Previously, switching the “Autostart” setting ON would undo the “Fix Base Fog” mode. That could be annoying for anyone attempting to fix colour shifts on positive scans in batches, but it’s now fixed.
New #video🍿 and podcast comment tags now feature a special design to make viewing and listening to analogue photography content easier. I’ve also revamped how the comments appear and expanded the maximum amount of characters per comment to 4,000.
Please reply to this comment or get in touch if you have any feedback or problems using the Analog.Cafe website!
Lomography refreshes their experimental LomoApparat camera with the silver Alexanderplatz edition.
Though I haven’t tried either, the LomoApparat cameras generated a lot of positive feedback at launch and years later, thanks to their ultrawide 21mm lens, appealing design, and a generous pack of experimental filters.
The “Apparat” part of the camera’s name likely originates from Russian use in reference to cameras (spelled “аппарат,” short for “фотоапарат”) — although the origins of the word itself are in Latin and German languages. Alexanderplatz is a square in Berlin named after a Russian czar (this I learned from Wikipedia: en.wikipedia.org/wiki/Alex…). In case you didn’t know, Lomography got its name from another Soviet camera brand, LOMO (short for “Ленинградское Oптико-Mеханическое Oбъединение,” romanized: “Leningradskoye Optiko-Mekhanicheskoye Obyedinenie,” or translated “Leningrad Optical Mechanical Association”), which was the source of their first commercial sales back in the 1990s.
I like that this camera’s name offers a little glimpse into its maker’s origins, or at least sets the mood if you allow it.
LomoApparat has a fixed f/10 aperture and 1/100s shutter — ideal for ISO 200 film in full sun. For other light conditions and film speeds, see the Sunny 16 Calculator: analog.cafe/app/sunny-16-c….
CineStill’s new calibrated light source — CS-LITE+ SpectraCOLOR™ — for digital camera scanning rigs.
A poor light source can cause issues when scanning film using a digital camera. The colours may appear muted or show a colour cast that isn’t easily or completely correctable. Best results come from sources that use a fine-tuned combination of colour LEDs to render light as close to the natural, full-spectrum illumination as possible.
Today, CineStill is offering a new light source design, which they have rebuilt from the ground up to produce an improved colour specifically for film scans made with digital cameras:
“The CS-LITE+ transforms the light from ultra-bright single-band LEDs into specific multispectral wavelengths, powered by a standard 5V/1.5A USB cable with a single dimmable on/off switch, and can be used in three different modes: for Color Negative, Black & White, and Slide film.”
CineStill says that their product will yield results that are better than those you can achieve with high-quality light sources already on the market:
“Most light sources currently available aren’t originally created for film scanning and, even at a high CRI, fail to get the job done due to lack of control and generic design. These light sources produce color cross-talk, resulting in poor contrast, reduced saturation, and color casts in the image. The CS-LITE+ delivers light that has been spectrally-optimized to produce only the precise, ultra-narrowband wavelengths required for scanning color negative film — something unachievable with traditional LED technology. This uniquely matches the color channels of digital capture to the separate color layers of film, finally making true-to-film scans a reality.”
In addition to the light source, the box will include several filter gels (to further optimize for either black-and-white/colour-negative/colour-positive film) and a mask to help reduce reflections that can bleed in from the sides while scanning film. The light source is compatible with film carriers from VALOI, Negative Supply, Lomography, and others. As expected, it will work with your favourite film negative inversion software, such as film Q (analog.cafe/app/filmq).
It took the company three years of experimentation and research to design this new light.
CS-LITE+ is available today for $89.95 (an introductory price) at cinestillfilm.com along with further details and examples.
The rest of the retailers will start shipping by Fall 2025.
10ARTCC is working on a foldable Instax Square film camera based on the iconic Polaroid SX-70 design.
The Polaroid SX-70 camera is a holy grail of instant film that was akin to the first iPhone when it was released in the 1970s. The world’s only foldable SLR with a high-quality glass lens, a unique aperture and unsurpassed image quality on a nearly 4x5 integrated film format. Several manufacturers tried to replicate the success of this camera — around the time it was released and in recent times — but they always came short.
Even Polaroid’s I-2 camera, with all its modern technical advances, does not fold and has a range of issues that the company has only recently solved (analog.cafe/comments/z0ow).
Fifty-five years later, there’s still nothing that can match the SX-70. If you want that experience, you’ll need to find a vintage copy and load up some SX-70 film — an emulsion the new company is making specifically for those remaining old-stock cameras (film review: analog.cafe/r/polaroid-sx-…, vintage SX-70 review: analog.cafe/r/polaroid-sx-…).
But the renewed interest in instant film is too strong for just a single company’s re-birth (see today’s Polaroid history and how it emerged from the ashes of the original Polaroid: analog.cafe/r/a-brief-hist…). So, in spite of the brand’s odd reluctance to allow others to innovate on their platform (I discussed with Daren their prohibitive policies that forbid others from making cameras that work with their film in last month’s podcast episode: analog.cafe/comments/40ib), many small businesses turned to Fujifilm Instax.
Fujifilm, as it turns out, does not mind others making cameras for their film. MiNT has famously went from modifying the SX-70s to building their own rangefinders and TLRs for Instax film. I even used the Instax Square platform along with Jollylook’s processor to build the world’s first edible instant film camera: analog.cafe/r/building-the…. In fact, there are tons of options for Instax film out there, and it appears that we may finally get an option that approaches the genius of the SX-70.
10ARTCC is a Shenzhen-based business that had previously built Instax backs for Hasselblad cameras and several other accessories (see their store here: shop.10art.cc/en/store). Late last month, they announced their new project: POCKET FOLD 66 — an SX-70 look-alike with full SLR capability that uses Instax Square film.
The preorder for the first batch of cameras has already sold out (at $633 a piece), although the public release date and the final price are still not known.
Some details can be found on this page: 10art.cc/en/10design-en/17…. You can switch the page to use English in the top nav, although it appears that it gives a machine translation. Still, that’s enough to glean the full specs of an upcoming unit:
Body size: 16cm x 10cm x 4.5cm (folded with the viewfinder).
As you may or may not know, Kodak sells a huge amount of film to cinema studios. This footage is branded Vision 3, which is different from all other Kodak emulsions we put in still cameras. The main difference, until now, has been the remjet layer — a black carbon deposit on the back of the film that has to be washed off before development (or risk ruining the chemicals and the film itself).
This month, Kodak announced that they’ve reformulated their motion picture films to no longer require remjet, meaning they can be developed like any other colour-negative (in either C-41 or ECN-2).
Together, we unpack this technology, what it means for film photography and photography in general. Daren and Dmitri also touch on related subjects, like grain simulations, what it takes to stand out in the crowd photography space, and why we love the analogue process.
We also chat about our own efforts to replicate CineStill 800T at home.
“We’re always going to have sick people, why can’t we also have sick film?”
— Dmitri, on why Fujifilm should start investing in film again, a product that’s been sidelined by the company in favour of the more profitable medical research.
Updated: Fujifilm Neopan Acros (I & II) Film Review.
Fujifilm Neopan Acros is the only film that the company has brought back from discontinuation in recent decades. Based on what we know, it’s still manufactured in Japan and packaged in the UK (presumably by Harman/Ilford).
Acros II, which is the current name for the film, extends its sensitivity range to panchromatic (from the original orthopanchromatic) but retains its remarkable reciprocity characteristics and consistency across developers. The new version also renders a bit more contrast, but overall, today’s Acros is nearly identical to the product we’ve been using since the year 2000.
I wrote about this film three years ago. Today was the time to update that review (I completely rewrote it, added new samples, and corrected all the mistakes of the previous post).
Lomography launches Joseph Petzval Focus-coupled Bokeh Control Art Lens Series.
The new 55mm f/1.7, 80.5mm f/1.9, and 35mm f/2 lenses offer creative swirly bokeh control using Joseph Petzval’s original 1840 portrait lens formulas, recalculated and redesigned for modern cameras with full-frame and crop sensors.
The 27mm and 135mm lenses will shortly join the lineup.
“Each lens features stopless aperture and focus control rings, plus a distinct chrome bokeh ring for intuitive control. This launch also marks the first time the Petzval 80.5 mm focal length is available for full-frame mirrorless cameras.”
These new lenses are designed for still photographers and videographers: “With a 180° focus throw, follow-focus compatibility (MOD 0.8), unified gear positions, and focus-coupled bokeh control, this series is equally at home in a photo or video setup.”
The lenses, along with technical info, can be found at the Lomography store today:
Analogue AF-1, a point-and-shoot camera in development by Analogue Amsterdam, has just sent an update on their progress.
The brand shares the details of a ready lens prototype, autofocus testing setup, LCD menu with animations (there’s a short clip that demonstrates that), and mechanical updates (battery and lens cover) in their Instagram post (you’ll have to click the next button a few times to get through all of it): instagram.com/p/DMUnXmYCB7P
Analogue Amsterdam promises to share “first images” in August (I’m assuming this is first images taken with the lens and the photos/videos of the prototype itself, which has never been seen by anyone but the select few).
The production stage is to begin in October and deliveries by the end of the year.
Harman updates Phoenix 200 (II) with finer grain, improved colour accuracy, and wider dynamic range.
Ilford/Harman’s first colour film since the 1960s, this emulsion is a significant departure from the portfolio of black-and-white films, papers, and development chemicals at the UK factory plant.
Here’s how the reformulated Harman Phoenix II 200 compares to the original emulsion (reviewed here analog.cafe/r/harman-phoen…), according to their datasheet:
“Compared to the original Phoenix film, Phoenix II has a more normal contrast, colour balance and finer grain. It also has a wider exposure latitude and is more flexible and less radical than original Phoenix, yet still offers a different look and feel to mainstream colour films and should still be considered a creative, experimental film.”
This new film still renders halos (which appear to be a deliberate choice). The negatives are still purple, although, according to the characteristic curves, they should be less dense (possibly easier to scan).
Samples and discussion about grain, colour accuracy, and dynamic range up next.
***
New on Analog.Cafe: Develop Phoenix 200 as a positive (slides), no E-6 chemistry needed! Just add Rodinal: analog.cafe/r/harman-phoen…
Retailers are struggling (and failing) to keep Harman’s “Blue” release a secret.
Several online stores published the product photos, name, description, and price ahead of the launch date. I’ve been hearing about the leaks since Sunday, but even more shops seem to have mistakenly published all the details ahead of time.
Many of the listings that leaked onto Google Search pages have been taken down, although some remain up, and one will even let you add it to the cart.
This is not new. I’ve seen brands and publishers I respect make the mistake due to the complexity or bugs in the scheduling software. As you can see in the screenshot, one of the indexed Google Search titles spells in all-caps “DO NOT ENABLE!!!” — perhaps a stern instruction that the machine or an employee ignored?
The actual release date of the “Blue” product is not public, although Harman has teased that it will be “soon” in their social media post today: instagram.com/p/DL-I2N1tngC.
I tried to cover up a few obvious giveaways in my screenshot, but a keen-eyed reader will have no trouble figuring this out (or you can just ask me). I am not bound by anyone to keep Harman’s products a secret; this is just for fun.
***
Speaking of Harman and secrets, I’ve been working hard on a related project that I will try to release around the same time “Blue” comes out. Watch this space. #noSecretsSpilled
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