One Roll Review - Kodak Vision3 50D film

image courtesy of the FPP 

If you have been following the Film Photography Project or Cinestill, you have undoubtedly heard about the Eastman Kodak Vision films. The Vision3  films are ECN-2 process color negative films designed for movie-making.  Each film is designed for a particular need, and there are daylight (D) and tungsten (T) versions to impart the proper color palette and balance for the movie filming.  As they are designed to be used in cine cameras, the film has a remjet layer on the base side, to allow lubrication of the film in the movie cameras.  Remjet is a layer of mostly fine carbon.  ECN-2 process removes the remjet layer in the processing sequence.   There are subtle differences between ECN-2 and C-41 processes, and if you wish to process the Vision films you can do it yourself in a C-41 kit.  What you can’t do is send the film to a lab that does not do ECN-2.  Don’t try and trick your local lab, either. You will be persona non-grata when they realize that your roll of film contaminated their chemistry.  When you develop it yourself the best way to remove the remjet is before the processing steps, not after.  I use water at the same temp as the developer - 39°C.  I dissolve 1 tsp of Sodium bicarbonate in 500ml of water and presoak the film in it -- shaking it vigorously like a cocktail shaker.  Shake for 30 seconds, stopping to burp the gas released from the tank.  Pour out the water - it will be gray with the dislodged carbon from the remjet layer. Refill with water at the same temp and shake vigorously for 10 sec and pour out the water. Repeat until the water looks clear.  Then, continue with the C-41 processing. After the stabilizer step at the end, wipe the base side with a microfiber cloth to remove any remaining remjet.  You can elect to remove the remjet after processing, but you'll end up with more carbon in your chemistry than doing it beforehand.

Who sells it?
Cinestill has already treated their films to remove the remjet before you shoot them.  Of course, that figures into the price of their film.  The Film Photography Project Store  sells the Vision Films just as they are (in 24 exposure rolls), without any remjet removal.  That brings the price down, but you will have to send your film to an ECN-2  lab like Blue Moon Camera or do it yourself.

A while back, I picked up some Vision 50D from the FPP, and finally finished the roll in my Yashica FX-7 Super back in October.

My Results

Kodak’s Vision3 50D film is daylight-balanced for 5500K sunlight.  It’s a rather slow film at ISO 50, but the consequence of that is that it is practically grainless!  It’s a wonderful film that renders colors - especially the greens, in a very true to life manner.   I have used other Vision3 films - 100T, 500T, and 250D.  Of all of these, I like the results from the 50D the best.   There is a Flickr group for the Vision3 films.

If you look carefully at the images below, you can see some lines and markings where I didn't get all of the carbon removed before I scanned the negatives.  That can be remedied by using one the Pec film cleaning pads. Remember to only treat the base side, not the emulsion!

shade, at Knight's Restaurant

morning sun on chairs, Jones Mansion

Mural in Holly, MI

Holly, MI

Holly, MI

Bev, in shade

Adrienne, in shade

sunlit interior, Jones Mansion FPP meetup, August

window light, Holly, MI

Holly, MI

I asked Mike Raso about how the 50D fares in comparison to the other Vision films at the FPP store, and he said that the 50D doesn't get any love, as everyone seems to want the 500T.  Well, I love this film.   The Vision3 50D is a fantastic, nearly grainless color negative film with lovely color rendition. 

A Visit to Blue Moon Camera in Portland, Oregon

Jim Hair at the counter with customers

In late May, I was in Oregon for a week, and before I left, I set up an appointment to meet and interview the folks at Blue Moon Camera and Machine in Portland.  You may have heard of Blue Moon Camera (BMC) as a place to send in your film for development. That is one of the services that they offer, but the store is so much more than that.  Started in 2001, which of course, is about the time that digital started making inroads into general photography, Blue Moon Camera and Machine is a place that caters to lovers of analog processes.  Yes, they sell refurbished typewriters in the store, but their main business is film-based photography.  I spoke with Jake Shivery, the co-founder of BMC, and he is proud of their film-processing and production of optical prints for their customers.  The printing is so good, that professionals have chosen them to produce prints for gallery shows.  Of course, BMC does black and white, C-41 color, E-6 transparency film, and now, ECN-2 development for the Kodak Vision films. The Vision films (sold by the FPP store) are beautiful color 35mm cine films that have a remjet layer that must be removed during the development process.  Few commercial labs do this for the simple reason that the carbon in the remjet will contaminate the chemistry.  Cinestill has already removed the remjet layer before they sell it to you, but you pay more for their version of the Vision films because of that.  Blue Moon Camera is now one of the few labs that will process the Vision films in ECN-2 chemistry.

Jim Hair of BMC (now retired) told me how much the store and employees are involved in promoting analog processes and serving as a conduit for film photographers and the involvement in the local arts community.  It's no wonder that people in the Portland area come into the store for more than just film processing.  Jim likes to use a 4x5 rotating back Graflex SLR, and took my photo outside the store.  He's an extremely knowledgeable and likable fellow, and an excellent photographer.

BMC sells used and new film cameras and accessories, film, paper, and chemicals. No digital, period.  While I was there, I had to make sure that I didn't drool on the counter.  This is the kind of photo store that I remember from before digital became the driving force in camera sales.  One display case contained a number of well-crafted pinhole cameras from several companies. That may be the first time I have seen that in a camera store of any kind.  The used gear is usually sold on consignment, but it does some with a guarantee. Lots of different films for sale, including Polaroid. There was even short-dated film on sale, which I took advantage of, and I bought a bunch of Fomapan 100, Agfa APX 100, and some other oddball rolls of 35mm.

David Paulin

In talking with David Paulin, I found out that BMC is the sole place for your Minox film and developing.  If you are a subminiature shooter, you probably already know this.  They carry color and b&w emulsions loaded into Minox cassettes.  I should point out that all of the sales people dress professionally. The men had white shirts and ties.  In the photo here, BMC looks timeless as David Paulin stands at the counter, backed by shelves of film cameras.

While there, I also interviewed Bill Lee, a hobbyist photographer from Vancouver WA, which is just across the river from Portland.  Bill likes to use 120 film with older cameras, especially in 6x9 format.  We shared our experience with older cameras, and why we like to use them.  Bill especially likes to shoot city architecture, and the special look that the older cameras give the images is what makes them nostalgic as well as contemporary. Of course, he uses BMC to process his film.

Jim Hair with his 4x5 Graflex SLR!

Everyone that works at BMC is a photographer, and I have to say that I am quite envious that Portland has such a store.  When I stepped in, I felt that I was "with my people."  Furthermore, I like the way that they support and nurture film photography.  Sure, it is a niche business.  However, the way that film photography has been ascending in popularity is a sign that BMC will have continued success in what they are doing.

I greatly enjoyed my visit, and you can listen to the interviews on the Film Photography Podcast on Episode Number 206.  I thank Zeb Andrews for setting me up for the visit, and sorry that I missed him, as it was his day off.  Jake, Jim, and David were so very accommodating, and I thank them for their time and for the bag of BMC swag!  The Film Photography Podcast also received 3 gift certificates for developing and printing, which were given away at the August FPP Meetup in Findlay, OH.

Blue Moon Camera and Machine address: Blue Moon Camera, 8417 N. Lombard Street, Portland, OR 97203