[rollei_list] Re: [rolleiusers] Argomania
- From: Eric Goldstein <egoldste@xxxxxxxxx>
- To: rollei_list@xxxxxxxxxxxxx
- Date: Mon, 18 Jan 2010 15:29:30 -0500
5247 and 7247 may well be the most shot motion picture films in
history. They are notorious for fading, as were their predecessors, so
your negatives may not be in any better shape.
Eric Goldstein
--
On Mon, Jan 18, 2010 at 3:19 PM, Allen Zak <azak@xxxxxxxxxxxxxxx> wrote:
>
> On Jan 16, 2010, at 11:48 PM, Richard Knoppow wrote:
>
>>
>> ----- Original Message ----- From: "Eric Goldstein" <egoldste@xxxxxxxxx>
>> To: <rollei_list@xxxxxxxxxxxxx>
>> Sent: Saturday, January 16, 2010 7:00 PM
>> Subject: [rollei_list] Re: [rolleiusers] Argomania
>>
>>
>> Eastman 5247 was the name of the famous long-standing industry
>> standard 35 mm motion picture negative film. I shot my share, usually
>> in an Arriflex. I have no idea what Seattle Film works actually
>> spooled into 35 mm still cassettes...
>>
>> Eric Goldstein
>>
>> --
>> I couldn't remember the number. The same emlusion was available in 16mm
>> stock as 7247 but there were variations since 16mm film is made with both
>> single and double perfs and two different windings of single perf film. I
>> think each of these had a separate number but would have to look at an old
>> Kodak catalogue to be sure. Very confusing.
>> 5247 was balanced for 3200K tungsten but could be used for daylight
>> with the addition of a filter. The idea was that only a single stock was
>> needed and the speed would be optimised for the low level of tungsten where
>> usually daylight has plenty to spare to make up for the filter factor. I
>> think Seattle Film Works corrected the color in the printing because the
>> film did not need a filter to be used in daylight. This probably compromised
>> the color somewhat but one assumes that anyone really fussy would have used
>> dedicated still color film.
>>
>>
>> --
>> Richard Knoppow
>> Los Angeles
>> WB6KBL
>> dickburk@xxxxxxxxxxxxx
>> ---
>
> During mid 1960s until 1975, I used a lot of that stuff. At the time, it
> was an almost ideal color film for me. As a tungsten film, it could be used
> under all lighting conditions with an appropriate filter or let the lab do
> the correction (seldom, my lens usually wore an 85 B filter.) Is lower
> contrast was useful in Southern Calfornia's hard sunlight, and helped keep
> things tucked in when pushed up to 2 stops, if necessary. Duplicate slide
> sets would match perfectly, and best of all, it was much cheaper than
> conventional slide films.
>
> I don't know what kind of processing Seattle Film Works did, but mine from
> RGB Color Lab was usually okay. When I showed slides, viewers often
> commented favorably about the color quality. Also, I never had problems
> getting good quality 4X6 prints from whoever Thrifty Drug used for
> photofinishing, although I had to write frame numbers on my selections,
> since the negative strips were not frame numbered.
>
> Those were good times. Then came the bad. The stock used for slides was a
> product that held up well to strong light, as it was intended for theatrical
> projection, but didn't last long in storage. Before the passage of 10
> years, all my Eastman 5252/5254/5247 color slides had turned distinctly
> magenta-tinged.
> These slides meant a lot to me, and I can barely bring myself to look at
> them anymore. The only slides from my time in California that have retained
> their color is Kodachrome, whose passing I yet mourn.
>
> The last RGB roll I exposed was on my honeymoon in 1975, and although that
> one is still in progress, the one with Eastman 5247 has definitely come to
> an end.
>
> Allen Zak
>
> ---
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---
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