Old 01-08-2017   #121
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How much do you pay for processing in the UK? If you send your film abroad anyhow, you could as well send it to Eurocolor/Fuji in Gera, Germany. It's the official Fuji lab. They charge a modest € 1.95 (135) or €2.95 (120)/roll plus return postage (letter) and the quality is very good, so it is very good value.
Wow, sure those aren't legacy prices from 5+ years ago? Did a quick google and didn't see much E6 related.

In Spain, Interphoto lab which may be the only lab running dip and dunk in the country lists 8,25€ for 35mm and 7,50€ for 120.
For C41 I haven't seen dev only for less than 3,50 (can't recall where) being often around 4€. 35mm & 120 more or less priced equally.

Anyhow Germany does seem to be the country with a strong, if not strongest E6 network (Henning Serger praised slide and he was around often? long time no see). Spain doesn't seem to be in that bad situation lab wise.
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Old 01-08-2017   #122
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An important effect of such a production could be a widening of E-6 services by labs.
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Old 01-08-2017   #123
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What about home development of E-6? Does that work out a lot cheaper these days? I’ve done this in the past and am currently setting myself up for black and white home developing, so the question occurred.
E6 home development is very easy (especially with a Jobo processor) and cheap.
You can get E6 home development kits from Fuji Hunt, Tetenal, Bellini, Arista (AFAIK rebranded Tetenal).
Depending on the kit you are using, processing costs are in the 2-3€ range.
Jobo has even introduced new film processors. The CPP3 in 2012/13, and the CPE3 last year. Excellent machines.

With slides you already have your end product after the development: No need for scans or prints. Therefore also no further costs.
My overall costs for reversal film are lower than my overall costs for negative film, because for negative film always scans / prints are needed. A developed C41 film alone is worthless.

A slide on the light table under an excellent loupe looks much much better than any picture on a computer monitor (no matter whether digital files or scanned film).
With a slide I always have the full resolution.
My 35 MP digital cam is reduced to an only 8 MP cam because my monitor (4k) is limited to that resolution. The quality of the end result is always determined by the weakest element in the imaging chain.
The same is valid for projection:
Full, unsurpassed resolution with slide film, much much lower resolution with digital because of the extremely low resolution of the (overpriced) digital projectors.

I love Fujichrome Velvia 50 and Provia 100F. Best reversal films ever made (together with Provia 400X and Astia 100F). I will of course continue to shoot them!
But I will of course also test the new Ektachrome as soon as it is available (and the Film Ferrania, too).
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Old 01-08-2017   #124
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I actually have a good stock of e100g in 220, and am developing some right now as I type. It is amazing stuff. This buncha rolls is from my trip to Cuba
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Old 01-08-2017   #125
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As opposed to "people actually don't really want Ektachrome"?

I'm sure bringing back Kodachrome would be fantastic, but really, how realistic is that? With no home processing possible, one or two K-14 labs in the world would probably be the best we could hope for. How much are people prepared to pay to have Kodachrome back? How many photographers can afford it?
People like to moan about the death of Kodachrome, but the truth in your comment is that if it were still around people would be moaning about how it's too expensive and it's too much of a pain to get developed.

We should remember, for several years there was only one lab in the world that would develop Kodachrome, and the film itself wasn't cheap. It died because nobody was buying it, and it won't come back because nobody would buy it if it did.
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Old 01-08-2017   #126
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I was just looking at my Sensia slides from 2008- first time in years- and was amazed how great they looked. Way better than digital. But... I hope its affordable as shooting e6 costs about $30 a roll w/ processing around here. I will definitely try it out, though.
I hear you. It's great news, but I'm afraid to find out how much the film plus processing will cost. Can they price it for economic "sustainability"?
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Old 01-08-2017   #127
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I hear you. It's great news, but I'm afraid to find out how much the film plus processing will cost. Can they price it for economic "sustainability"?
I hope they are not counting on people abandoning digital and going back to film in large numbers. I hope their decision is based on current market (and the trend we see at Fuji).

This thread is a my proof that I'd still rather pay for slide film at the latest prices than take a chance with digital. The #/)%&@ that came out of that raw files is just unbelievable. There is absolutely no chance that the worst slide film (or negative film scanned in minilabs) wouldn't look ten times better than those poor attempts... Still, I don't expect much (if any) migration from digital to film.
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Old 01-08-2017   #128
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I too usually opted for Kodachrome when the light allowed, but I don't pretend it will ever come back.

Fortunately color film technology has come a long way since the cold tones of early Ektachrome.
I'd wager the new version will look more like Kodak's modern color negative films, i.e. Ektar and Portra.

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Old 01-08-2017   #129
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Though unlikely, I would really like it if Kodak offered a package of film, processing and mounting, and scanning for a reasonable price.

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Old 01-09-2017   #130
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It's a good sign and we're all excited, but how many of us will buy more than a roll or two, or none at all?

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Old 01-09-2017   #131
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Though unlikely, I would really like it if Kodak offered a package of film, processing and mounting, and scanning for a reasonable price.
That service would make total sense, as it did for Kodak before the Qualex debacle. My Dad sent Kodachrome II from all over the world to the States for processing, and the precious (mounted) slides were returned a few weeks later. I did the same for Kodachrome 25 in the 80s (135 and 120).
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Old 01-09-2017   #132
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Though unlikely, I would really like it if Kodak offered a package of film, processing and mounting, and scanning for a reasonable price.

- Murray
They might consider this since I think they are going to be doing this with their Super 8 stuff.
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Old 01-09-2017   #133
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Happy to see Kodak bringing this product back. Used a lot of their VS before, and at least we will now have more choice. In my photography I shoot 90% slide so I have a guaranteed back up control for ever.
You want Kodachrome for this. It has superb dark storage, but not so much in the projector. Ektachromes are the opposite.

There is no way to duplicate slides like there is digital. One keystroke actually.

The Chicago historical Society would only accept Kodachrome for their records. Only unmounted fiber prints also, no RC.

I have K two slides from 1960 that look as new. I have seen 4x5 Kodachrome that was very early that also looks as new as well as wedding photos from late 30`s. All my Ektachome is disappointingly faded out.
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Old 01-09-2017   #134
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There will be no pro use for fashion and catalog. With digital, a set need not be kept up until processing is done.

Art directors are used to seeing the image instantly. Even rush processing was 4 hours. And I will not even talk about messenger service and fees.

one can control the look of digital, color saturation and contrast, and color balance.
I do not want to go back to gelling windows or fluorescent lights.
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Old 01-09-2017   #135
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I can understand that sentiment. But the main use for Ektachrome this time around will be hobbyist and artistic. I was at Paris Photo in November (brilliant report of the atmosphere there here), and while the work was varied in form and content, it was almost all shot on film. Film still dominates the gallery scene.
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Old 01-09-2017   #136
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Now this is interesting...

https://petapixel.com/2017/01/09/kod...ck-kodachrome/

I wonder if it's more for them just to say they are "looking into it," for lip service and seem like they are intently listening to the customer base or if they actually ARE looking into making a film with that color balance at the very least. Either way, I'm on the edge of my seat.
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Old 01-09-2017   #137
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Would be cool if they brought back K200. Doubt that! Will Dwayne's have to process it?
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Old 01-09-2017   #138
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I'm going to buy a 35mm camera and shoot ektachrome to show my support. I'm going to be happy about it. I'm not going to complain and say I wish they did this, I wish they did that, and I'm tired of reading that as people's primary reaction. Good for Kodak.
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Old 01-09-2017   #139
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I'm going to buy a 35mm camera and shoot ektachrome to show my support. I'm going to be happy about it. I'm not going to complain and say I wish they did this, I wish they did that, and I'm tired of reading that as people's primary reaction. Good for Kodak.
+1. Although I got lots of cameras, will surely buy a bunch of Ektachrome. Personally, I always liked Ektachrome better that Kodachrome.


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Old 01-09-2017   #140
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Would be cool if they brought back K200. Doubt that! Will Dwayne's have to process it?
That would be awesome. Nevermind where I'd have to send it to process. Would be the only film I'd ever need. I never was an Ektachrome user, went to Provia 400X when I needed to switch.
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Old 01-09-2017   #141
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question from a newbie

wouldn't it be possible with the current technologies and R&D to develop a film/dia like Kodachrome? With a clean/easy process (E6)
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Old 01-09-2017   #142
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question from a newbie

wouldn't it be possible with the current technologies and R&D to develop a film/dia like Kodachrome? With a clean/easy process (E6)
This is what I think will happen if they do anything.
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Old 01-09-2017   #143
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Kodak could call anything they want "Kodachrome", even an E-6 film...

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Old 01-09-2017   #144
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The process is very different between Kodachrome and E6. Kodachrome is in essence a b&w slide film with 3 layers sensitive to different colours. After exposure the dyes are added during development to the film. In other processes, the inverse is done, the dyes are removed during development. (gross simplification) This is partly what makes that Kodachrome has such excellent archival qualities.

Honestly I do not believe that "cleanliness and environment" had anything to do with the demise of Kodachrome other than that in order to comply the plants would have to be redesigned/rebuild to comply. It isn't that the film or chemicals were so dangerous that it had become impossible to produce but that in order for the production process to comply with current requirements, the factories needed a large financial injection. This because during the years everything went well, they didn't invest in new, updated plants. So they ended with plants that would cost too much to bring into compliance and they closed down. Easier and with the changed market just as easy to justify.

The steel and industry uses cyanides and strong acids by the hundreds of tons on daily basis, the glass industry uses immense amounts of HF. Neither are very safe or healthy materials and neither industry makes very expensive products, yet we used those every day. But they keep in touch with reality and advance as needed.
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Old 01-09-2017   #145
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Very cool news. Maybe new film cameras might be made after all. I would have thought it would not happen, but I'm ok with being wrong.
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Old 01-09-2017   #146
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Very cool news. Maybe new film cameras might be made after all. I would have thought it would not happen, but I'm ok with being wrong.


I'm ok with you being not-wrong :-)


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Old 01-10-2017   #147
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The process is very different between Kodachrome and E6. Kodachrome is in essence a b&w slide film with 3 layers sensitive to different colours. After exposure the dyes are added during development to the film. In other processes, the inverse is done, the dyes are removed during development. (gross simplification) This is partly what makes that Kodachrome has such excellent archival qualities.
Concerning archival qualities of Kodachrome:
My Kodachromes from the 80ies have significantly faded. My E6 chromes from that time are still perfect.
The big problem with Kodachrome is that the colors keep only well if you store it in complete darkness. If you put it to light, on a lighttable and in projection, it fades much much more than E6 films.
But we are photographers! We want to see our pictures, expose them to light to enjoy them!
Pictures in dark cabinets are useless for us.
And due to the research of Wilhelm Imaging, E6 films can last more than 200 years. That is more than enough.
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Old 01-10-2017   #148
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Very cool news. Maybe new film cameras might be made after all. I would have thought it would not happen, but I'm ok with being wrong.
Nice to read that . And respect. You have always critized those here who have said new film cameras are a realistic option in the future.
I am convinced we will see new film cameras. But probably more in the mid term (3-5 years), not in the short term. Well instant cameras excluded, of course, as new models have been introduced for years. And further models will come.
By the way, the collapse of digital cameras sales has accelerated in 2016. Sales are now on a historical low, much much lower than former film camera sales. So the manufacturers will probably have a look to alternative options in the future.
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Old 01-10-2017   #149
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You want Kodachrome for this. It has superb dark storage, but not so much in the projector. Ektachromes are the opposite.

There is no way to duplicate slides like there is digital. One keystroke actually.

The Chicago historical Society would only accept Kodachrome for their records. Only unmounted fiber prints also, no RC.

I have K two slides from 1960 that look as new. I have seen 4x5 Kodachrome that was very early that also looks as new as well as wedding photos from late 30`s. All my Ektachome is disappointingly faded out.
I do like Ektachrome VS, and have never had a Agfachrome from the 60's or a Fuji Provia 100 fade in storage. I read this on here, but I sure would like more background on how some of these people are storing them, or is this a "internet hearsay again"? And I also have 4x5 stuff off the Linhoff from the 60's to, that is new as the day it was shot. All my equipment and a Slides are stored in an air tite Chubb Safe, 5ft high x28''x28''. Also Ron, you know this thread is about Ektachrome and not Kodachrome?
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Old 01-10-2017   #150
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By the way, the collapse of digital cameras sales has accelerated in 2016. Sales are now on a historical low, much much lower than former film camera sales. So the manufacturers will probably have a look to alternative options in the future.
Always good to have more options than fewer.
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Old 01-15-2017   #151
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And in other surprising news, vinyl records are coming back in a big way:

http://www.varietynewsclub.com/2017/...on-dollar.html
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Old 01-15-2017   #152
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Very cool news. Maybe new film cameras might be made after all. I would have thought it would not happen, but I'm ok with being wrong.
I feel like it will be inevitable. As the current lineup up newer film cameras that are in high demand, think anything by contax (t2, 645) begin to break, either someone will figure out they can make money rewiring and fixing the circuits, or the big guys like pentax/hasselblad will realize there is still a market for cameras wedding shooters may want.

I think it likely a new Point and Shoot will come out first, though, as they are just skyrocketing in price.
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Old 01-15-2017   #153
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Kodak could call anything they want "Kodachrome", even an E-6 film...

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Rather ridiculous comment.
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Old 01-15-2017   #154
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Vinyl doesn't have the difficulty of film manufacturing however. But, good news anyways.

I even have a friend who wanted a turntable just because it looked cool, dropped the idea when I told him to invest good money in it so it isn't just a novelty. There is a renaissance towards some analog media because of its characteristics. There was a book "revenge of analog" which seems to talk about it, and perhaps I should grab it to read.
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I feel like it will be inevitable. As the current lineup up newer film cameras that are in high demand, think anything by contax (t2, 645) begin to break, either someone will figure out they can make money rewiring and fixing the circuits, or the big guys like pentax/hasselblad will realize there is still a market for cameras wedding shooters may want.

I think it likely a new Point and Shoot will come out first, though, as they are just skyrocketing in price.
Indeed, just let the "natural" rules of the capitalist market do their think. Possible profit seen, company manufacturing to fill that niche.

As of MF. Cosina-Fuji did the Bessa III-GF670 series, the Mamiya 7 prices have increased from 1000 to 2000 in a couple years, Contax 645 always were up high. Perhaps soon some manufacturer may find feasible releasing a f2-2.8 medium format camera out there.
Thing is that some of these originally $3K cameras (M7) fell in value but returned to their prices when they were new.
35mm wise, Fuji had the Klasse until pretty recently, but doesn't seem to have the same value as the contax T. Took a look at ebay for contax T2-3 prices, yikes!

Then there are other corners, like midrange Af SLRs from 1990 which are pretty cheap.
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Old 01-15-2017   #155
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What REALLY needs to happen, is for some manufacturer to pick up the scanner technology where companies like Nikon and Minolta left off and give film shooters a really nice film scanning unit. My little Plustek model is "ok", but I'd spend on a really nice scanner if it was available and shoot more film.
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Old 01-15-2017   #156
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What REALLY needs to happen, is for some manufacturer to pick up the scanner technology where companies like Nikon and Minolta left off and give film shooters a really nice film scanning unit. My little Plustek model is "ok", but I'd spend on a really nice scanner if it was available and shoot more film.
I use the Pacific Image scanners (aka reflecta) and the quality is about what I got out of the coolscans when I used them. But I agree generally the market is ready for a known brand to invest real time and money into a scanner. Or for the prices of the Hasselblad scanners to come down to earth considering they're a decade old.

The hardware in my pacific image units is actually pretty good, software is a frustration though. There is a lot of room for refinement, sort of like when we first saw Aperture and LR and suddenly we were like....OF COURSE this is what we needed!
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Old 01-15-2017   #157
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What REALLY needs to happen, is for some manufacturer to pick up the scanner technology where companies like Nikon and Minolta left off and give film shooters a really nice film scanning unit. My little Plustek model is "ok", but I'd spend on a really nice scanner if it was available and shoot more film.
I'd just like Kodak to give us a software that would their magic on linear scans from existing scanners. Well, not exactly give us software, I'd pay good money for it.
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Old 01-15-2017   #158
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Vinyl doesn't have the difficulty of film manufacturing however. But, good news anyways.

I even have a friend who wanted a turntable just because it looked cool, dropped the idea when I told him to invest good money in it so it isn't just a novelty. There is a renaissance towards some analog media because of its characteristics. There was a book "revenge of analog" which seems to talk about it, and perhaps I should grab it to read.


Indeed, just let the "natural" rules of the capitalist market do their think. Possible profit seen, company manufacturing to fill that niche.

As of MF. Cosina-Fuji did the Bessa III-GF670 series, the Mamiya 7 prices have increased from 1000 to 2000 in a couple years, Contax 645 always were up high. Perhaps soon some manufacturer may find feasible releasing a f2-2.8 medium format camera out there.
Thing is that some of these originally $3K cameras (M7) fell in value but returned to their prices when they were new.
35mm wise, Fuji had the Klasse until pretty recently, but doesn't seem to have the same value as the contax T. Took a look at ebay for contax T2-3 prices, yikes!

Then there are other corners, like midrange Af SLRs from 1990 which are pretty cheap.
I own both GF670 models, and shoot weddings with a pentax 645n, and I'd love an update of that camera. I had a t2, and i sold it for 300, I wish never did as they are so much more, now. The Klasse series I've heard some "eh" about them, but they are nice.

Lets hope that someone begins to make a new medium format. I feel like pentax is the best option as most of their lenses still cover 645. Oh well, we will see.
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Old 01-15-2017   #159
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It should be said that you can still buy film backs for the Hasselblad H series cams, and yeah they cost an arm and a leg. But, for 10 grand or so you can have an H5 that shoots film.
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Old 01-15-2017   #160
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It should be said that you can still buy film backs for the Hasselblad H series cams, and yeah they cost an arm and a leg. But, for 10 grand or so you can have an H5 that shoots film.
I thought the h2 was the last hasselblad to be able to accept film.
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