Light Lens Lab outlined ambitious goals for 2025 and shared more samples of their newly formulated black-and-white film.
“This emulsion reflects the heart of our film project: to create film materials without historial [sic] baggage, third-party patent entanglements, or manufacturer dependency. It is built from the ground up — powered by creativity and user feedback. Our prototype assembly line is set to begin operation in June 2025, with V3 emulsion production following shortly thereafter.” — @lightlenslab.com/blogs/upc…
Light Lens Lab (located in Shangrao, China) is on the cusp of releasing a newly-formulated black-and-white film which, according to their blog post, would feature “the widest colour sensitivity range among civilian black-and-white films, achieving a range of around 380-700nm.”
The new film should be available in 135, 120, and sheet formats. But there’s more:
In an unconfirmed announcement published by Memorylab on Instagram (instagram.com/p/DKQpkdhS6EF), it appears that Kodak may be forgoing the remjet layer in their future products.
Technically, this would mean that unmodified Kodak Vision 3 films will be suitable for normal C-41 development, although the ban on bulk purchases remains in effect (analog.cafe/comments/up67). The remjet layer’s anti-static and anti-halation properties will be integrated using another technology: Anti-Halation Undercoat or “AHU.”
Cinema Shorts and other brands that sell repackaged Kodak Vision 3 film warn that those films can not be developed in normal colour chemicals.
Updated: Analog.Cafe v3.29.78 fixes a previously hidden bug that may’ve caused recent service disruptions.
A memory leak in the application router crashed Analog.Cafe last night. There’s been a steady increase in traffic to the website which caused a minor bug to suddenly become a serious issue.
I spent today’s afternoon debugging Next.js router events (which were the ultimate cause of the issue, although it took a while to figure that out).
Analog.Cafe should now feel a bit faster and it’s ready to receive more visitors. Welcome, new readers!
The challenge of a small panoramic film camera with a 22mm lens is making sharp images, particularly when the lens is made of plastic. Minolta P’s (Riva Panorama), mentioned above, had a glass lens, and its images often looked soft, particularly in the corners.
This is because a panoramic mask cuts part of the image, effectively reducing the overall resolution. Plus, a lens that is this wide is particularly complicated to make sharp.
Previously, I reviewed another plastic panoramic camera, Vivitar IC 101 (analog.cafe/r/vivitar-ic10…), which was a lot of fun but not particularly sharp either.
Still, the samples RETO sent in the press package look promising:
RETO PANO is a new film camera with a switchable panoramic mask, an “ultra-wide” 22mm lens, and a built-in flash.
RETO’s line of seemingly simple plastic cameras is more ambitious than they may lead on. RETO PANO is not an exception.
One of RETO’s first entries into the market was RETO 3D, a 2019 Kickstarter project and a fresh take on a cult-classic Nishika N8000. On this blog, I reviewed H35N, a half-frame plastic camera with a glass and an aspherical lens element, which I think made it the sharpest camera in its class: analog.cafe/r/kodak-ektar-…
RETO PANO adds a switchable mask to the full-frame exposures to produce panoramic images, similarly to how Minolta P’s does it: analog.cafe/r/minolta-ps-r… — but in a slightly lighter package, weighing just 93g/3⅓oz.
First, an update to the earlier posts about @aymenfilmm, an account that shares AI-generated images and labels them as film. They have disabled comments and quotes on their account.
I don’t know who’s behind @aymenfilmm, but it seems understandable, given that many of the comments call them out for posting AI images and tagging them as film. Some of those comments are mean, though their previous actions suggest that they simply do not want to reveal how their images were created. Still, this community cut-off hasn’t stopped @aymenfilmm from sharing; in fact, they’re posting more often.
Meanwhile, another post came across my Threads stream where @scanmyphotos used an AI-generated image to promote their services (of scanning film). The camera in that image has no take-up spool chamber, the film canister has a very strange font and no branding, and the whole scene concept is ripped off from the One Hour Photo film by Mark Romanek, starring Robin Williams.
Thank you so much for writing. You’re absolutely right: the Olympus PEN system truly was a unique and tremendously capable professional half-frame system. Your thoughtful approach to negatives and enlarging with a half-frame mask really highlights its strengths. I’m delighted that my review encouraged you to share your insights.
Updated: film Q v1.0.0-beta.10 adds support for lossless TIFF output in 16-bit colour.
While the low-compression full 4:4:4 chroma JPEG files that film Q outputs have enough data for significant edits without distortions, there may be a time when more colour data is needed.
For example, if you need to make significant corrections to exposure, contrast, saturation, or colour balance of your scans, working with a lossless 16-bit per channel TIFF file can make a big difference.
High bitrate files can help reduce noise and prevent banding, but they require a true 16-bit colour processing pipeline, which film Q now supports.
Yeah, that account appears to be built on tricking people and then controlling their reputation with Facebook’s social media tools.
I think there’s a more ethical way to sell tricks like this: simply say that this is AI-generated content. They would have a different audience, but I think that their images are compelling enough to attract people anyway. I may even be interested in seeing how the technology and its usage advance.
But they want *this* audience for some reason, thus such an annoying effort to peddle lies.
I wrote about AI and film photography last year, which is when I examined some of the seeds that may have inspired accounts like this: analog.cafe/r/shot-on-film….
Still, creating images that aspire to have a certain look is not the same as passing them off as film by tagging them suggestively and telling lies about their origins.
A Threads/Instagram account is trying to pass AI-generated content as photos shot on film.
I believe that the manner and the tools used to create images matter. It’s why we celebrate film photography, marvel at the technique/timing, and shun ill-gotten content.
This belief is the reason I felt deceived and disappointed to learn that one of the accounts I follow hides behind plausible deniability to present their work as if it was shot on film.
The images the account is posting are edited to look like they were shot on film, which in itself is impressive. Unless you zoom in on every photo, examine their portfolio, and find some shots where the physics don’t quite make sense (like in the image attached here), you may, like me, assume that the poster is genuine.
Jollylook completes its range of hand-cranked instant film development units with an Inxtax Wide back.
Jollylook is a Ukrainian cameramaker known for their instant film cameras made of mostly wood and paper. But the company also has a following of DIY enthusiasts who enjoy Jollylook’s self-assembly camera kits and their film development units, which can be adapted to any camera.
I used one of these hand-crankable devices to make the world’s first functional instant film camera out of gingerbread: analog.cafe/r/building-the…). In fact, the whole camera was built around the Square development unit’s frame. I also have the Instax Mini version that’s been waiting to be used in another camera idea of mine (more on that later).
New film, Kentmere 200, and the state of BW film manufacturing 🌅.
Ilford released a new budget-friendly ISO 200 black-and-white film, Kentmere PAN 200. This is their first addition to the monochrome film range in a long while.
The challenge in marketing and selecting BW film is that it’s hard to visually identify. A survey of nearly 600 analogue photographers revealed that most of us can’t tell our BW films apart: analog.cafe/r/photographer… ¹.
However, there are consequential differences between black-and-white films, even if they’re hard to see, which can make or break a photo: analog.cafe/r/how-to-choos….
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