With summer around the corner for many of us, we are reducing the prices of our daylight-balanced 120 film by 15% to give you more creative opportunities to use these vibrant color films in more situations.

These new prices will be for CineStill 400Dynamic and 50Daylight 120 medium format films. We have implemented this price reduction, effective immediately, and we expect it to be mirrored across all our affiliated film stores, camera shops, and labs worldwide as they get new inventory. This revised pricing reflects our goal to help make our high quality films more available and accessible to the analog photography community around the world.

We're excited to announce the arrival of the long-anticipated CineStill 400Dynamic 4x5 color film! Thanks to the support from the analog community, the dream of introducing this emulsion in 4x5 is now a reality. This is the first-ever production run of 400D 4x5, and we plan to make it a mainstay in our film lineup. We've heard your interest in having a new color film for large format photographers and we look forward to you experiencing it!

The Kodak Professional Photo Chemicals you know and love are back! Here with the original formulas and a brand-new look! Ready for you first is Kodak's legendary Black-and-White chemistry, starring the iconic XTOL, T-MAX, and everyone's favorite D-76. But that's not all! Kodak Color Negative and E-6 chemistry are lined up for release later this year!

Have we introduced you to our friend ADOX yet? Well, after over a decade of collaboration and partnership, CineStill is helping to bring the extensive suite of ADOX photographic products to North America, serving the analog community across the continent. We aim to amplify ADOX's brand presence throughout the U.S., Canada, and Mexico, ensuring swift access for labs, photo retail outlets, and avid photographers. You'll begin to see these great products more often — both from your favorite local shops and at cinestillfilm.com.

CineStill has made unique color films available for still photographers for over a decade now. Beginning with our small-batch beta films — making motion picture film compatible for standard photo lab processing and printing for the first time ever! Shortly followed up by the first factory finished versions of 800Tungsten & 50Daylight “Xpro C-41” — based on scaling our original “Premoval” process for expanded worldwide availability. And now to our further improved manufacturing of 800T, 400D and 50D — marrying advanced motion picture technology with professional photography components and specifications, in 135, 120 and 4x5 formats. We have always strived for consistency and technical excellence, while championing the unique characteristics and imperfections of film. But there still is a real difference between a predictable novel quality and a true deficiency. In this post-digital age, it is more important than ever for those who choose to shoot on film (whether amateur, professional, or anything in between) to get both their time and money’s worth. Ultimately, we encourage everyone to shoot more film, any film, and find what works best for you! However, it is our responsibility to manage what consumers can expect from CineStill film, and why their experiences may differ should they choose to go elsewhere.

Photo of a light table with some samples of imitation films processed together in the same tank with 800T as a control.

When searching for CineStill films have you come across any “brand new” color films “made by” random brands lately? Are their claims strikingly similar somehow? Have they cracked the CineStill code? No, they have not. We are not here to be nit-picky or point fingers and name names — which might get a little confusing — but some names may sound familiar to you by now. Those “800T” imitations and “400D” generics (repurposed from existing 500-speed or 250-speed motion picture film, respectively) are not representative of the original motion picture film’s quality nor the performance of CineStill films’ sensitivity and color fidelity. Although they may replicate the signature CineStill red halation glow, they are only somewhat comparable to expired film, in that they appear age fogged with shifted color-balance and exhibit a slower effective film-speed (200-400 ISO at best) resulting in a film not suitable for proposed use, let alone low-light photography; that is unless you like underexposed/expired film. For those looking for fresh film, we are fortunate to still have several other excellent high-speed color films available today (even with the recent unavailability of 400H and C200) — from UltraMax and Portra 400 to Lomo 800 and Portra 800 — but 800T is still the only tungsten-balanced, true 800-speed film made for still photography. Anything else, isn’t…

AVAILABLE NOW AT CINESTILLFILM.COM

The legacy of Italian cinema is set to explode once again with Film Ferrania's revolutionary new film...P33.

P33 is a revolution in black-and-white photography that fuses innovation with tradition for unparalleled results! Built from the ground up, this panchromatic film will have a sensitivity of ISO 160, giving photographers a smoother, more versatile photographic experience than ever before. Building upon the innovation and recent improvements made to the latest version of its predecessor P30, such as extended spectral sensitivity and dynamic range, P33 upholds unique features such as fine grain and crisp well-defined contrast. Whether you're a seasoned professional or a budding enthusiast, P33 opens up the world of black-and-white analog photography, making it more accessible for all!

The real secret to a workable camera scan is getting a good initial capture in camera so that you don’t have to push or stretch the file more than it's bit depth or the software can handle. This means getting an appropriate exposure and color balance at the moment of capture. 

With the new CS-LITE, there are 3 color modes built in: Warm for slides, White for black and white film, and Cool mode for color negatives. So for this post, we’re putting all 3 color modes to the test to show you the difference. 

Raw CaptureCool | White | Warm

Due to the orange mask which is present when scanning color negatives, using any other scanning light source (or our CS-LITE set to the White light mode), you will need to do more than just invert the negative with added contrast and adjust color temperature further for good color, resulting in the need to use the fringes of what the sensors is capable of recording, similar to underexposing or blowing your highlights by overexposing your capture, but only in one or two color channels. RAW files are fantastic if you miss exposure a little bit, but there are limits. For example, you don’t want to underexpose your capture too much or you will see a lot of noise and contrast and color will be hard to control.

Inverted with LR CurvesCool | White | Warm

It needed hardly any RGB midpoint correction to adjust for the Cool setting and likely only because this was 800T in open shade, otherwise I would have been able to correct color using only white balance if it were shot on 400D or with an 85 warming filter on the lens. It is very apparent that the White and Warm light modes require quite a bit more adjustment, even when adjusting the RGB midpoints in tone curves...

Here at CineStill, we make 4 different emulsions for medium format photographers — 3 color negative and 1 panchromatic black and white film. They are 50D (50Daylight), 400D (400Dynamic), 800T (800Tungsten), and BwXX (Double-X). For a limited time, both 50D and BwXX in 120 are on sale on our website — cinestillfilm.com! Check them out below!