Another thing that surprised both Kodak Alaris and us at Studio C-41 is the overwhelmingly positive response from the film community with this change. We’ve even dug through our own collections and found some Ilford film canisters (the irony is not lost on us) that date to the mid-1960s that bear a striking similarity to the ‘new’ Kodak canisters. Upon first seeing these new temporary film canisters with the ‘panda’ styled two-tone look with silver and black, the first thing that struck us at Studio C-41 is the return to a more historical appearance of these temporary containers. The new temporary film canister design is what many in the camera world call ‘panda’ style, with a two-tone black and stainless-steel.
Kodak c 41 film series#
Before being put into production, they underwent a series of tests to ensure they were light tight and meets Kodak standards of quality. But rest assured, the only difference is in the colour of the caps. The new temporary end-caps will be produced using Tin Plate Steel (TPS) and come in natural silver colour. The familiar black end caps are made using tin-free steel (TFS), but this TFS material is currently in shortage globally, and a fresh supply is not expected until September. These temporary replacements will be silver in colour rather than the black that most modern canisters feature. For a short, undefined time period, Kodak 35mm film canisters will have different end caps. However, it was another product that met a need that could be provided with little cost.Kodak Alaris announced yesterday that they would be making a temporary change to their 35mm film canister. From a prolab point of view it provided additional products using existing printers and processes.īW films for Process C-41 was not a big volume or success for any of the film manufacturers. This allowed prolabs to make monochrome prints on RA-4 paper. PORTRA 400 BW had the same color characteristics as otehr PORTRA Films so it could be analyzed and printed with other PORTRA Films.
Kodak c 41 film driver#
This was a major driver in making PORTRA Films a huge success for Kodak. This allowed labs to handle all PORTRA Films the same no need to segregate films. One of the advantages of PORTRA Films was that all the PORTRA Films could be printed using the same analysis and printing channels. It allowed the labs to provide and additional product using existing printers and processes. It allowed making b&w prints from color negatives using existing printers and RA-4 paper process. This was used in the school picture and commercial lab business. Rather than producing CMY dye imageįrom respective RGB records the print dyes were " mixed" to produce a near neutral print image.
This was an RC paper for RA-4 paper process. It could also be printed on b&w paper but required long exposure times.Īnother attempt at monochrome prints was EKTAMAX Paper. This required a special printing channel on automatic color printers. Later various b&w films for C-41 process were sold that could be printed to color papers producing almost monochrome prints. It competed successfully with Agfa VARIO PAN and ILFORD XP1 and XP2. This was intended to be printed on BW Paper using enlargers etc. Later, after higher priority projects were completed, T 400 CN was commercialized using more conventional dye-only technology. A major factor in never pursuing this was it was not reasonable to place future constraints on Process C-41 in order to make a performance improvement in a very small volume product. This technology was never commercialized. Even in retrospect this was the best decision. We had limited resources so we chose to pursue T-MAX Films. This was achieved by using a bleach restrainer in the emulsion. The film provided an image that was a hybrid dye-and-silver image. We had a 400 speed b&w Process C-41 film with grain that was much better than TRI-X or the other B&W C-41 films on the market. In 1981-82, prior to T-Max Film, we (Kodak) did some experimentation with chromogenic B&W films.
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