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, even with the recent unavailability of 400H and C200, we are fortunate to still have several other excellent high-speed color films available today — 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…

Due to the long history of multiple bath processes being the only ones available, many may wonder, "What are the compromises with a monobath?" Well, we can tell you that it is not compromised quality with Df96. We are standing on the shoulders of giants, and the reason monobaths weren't popular before is most likely because of economies of scale and cost, in addition to shorter shelf life. In the past, there was more profit in just producing the large volume photochemicals for film to be processed en masse. After all, back then everyone had to process film to capture a photo. Now that craft film manufacturing is being tooled for smaller batches, lower volume products can be more viable. Small batch, on demand, chemical manufacturing works just like craft beer. Fresher product with more characteristics. Thus the modern monobath was born, formulated to be produced at a craft scale.

Df96 is very forgiving for all film speeds and different emulsion types. This is partially because of the advanced developing agents used. But also as chemical development self-completes, archival fixation takes over breaking down silver and allowing physical development to redeposit it in thin areas of the film, while diffusing the grain to be finer and smoother. As you can see in the samples below, it renders somewhere between the Ilfotec DDX grain structure and Kodak Professional HC-110 tonality.

Detail crop of BwXX processed at ISO 250 in HC-110 liquid concentrate, Df96 monobath, and D-76 powder chemicals.

Detail crop of BwXX processed at ISO 250 in DD-X liquid concentrate, Df96 monobath, and ID-11 powder chemicals. 

Df96 also works well with tabular grain films, like Tmax, but to fully eliminate residual color dyes in the emulsion we double the recommended processing time. This does not affect the image since all films complete development within the first 3 minutes. Below you can see the smoothness and crisp contrast Df96 pulls out of TMax100...

Out of all of the available processes we've had the pleasure of using, Df96 is possibly the most uniform and consistent with all emulsions. It's not only a single-step solution, it makes over processing virtually impossible. We decided to test processing over 16 different emulsions exposed at their box speed, in one bath, at the same time, at the same temperature. Df96 has terrific uniformity due to the simultaneous development and fixing of the silver, competing to reveal every detail, from the most subtle to extreme exposure.

Kodak TMax P3200 exposed at f/2 and 1/125, 1/60, 1/45 with a Summicron Dual-Range 50mm lens and processed normal. 

With so many choices currently available, it helps to have some understanding of when a particular film excels. Looking at CineStill 800T, it is necessary to understand where this film comes from and what it was originally designed to achieve.

CineStill 800T is produced from a Kodak motion picture emulsion originally designed for shooting in limited artificial, continuous, incandescent light. This film is known in the motion picture industry as Kodak Vision 3 5219, the 3rd generation of tungsten balanced EI 500 color negative motion picture film, and is the standard for movies shot on film in Hollywood. 5219, or "19" as it is commonly referred to, is optimized for a hybrid workflow, ideal for scanning, with literally futuristic features (from a still photography perspective)...

ROCHESTER, N.Y. February 23, 2018 – After 5 years of "darkness" for high speed black and white film emulsions, Kodak has proclaimed the end of the "Dark Ages" and onward to the "Film Renaissance" with the rebirth of one of the most unique films on the market! 

Tmax P3200 35mm available to ship in March, 2018

KODAK PROFESSIONAL T-MAX P3200 Black & White Negative Film ⁄ 3200TMZ is a multi-speed continuous-tone panchromatic black-and-white negative film that combines high to ultra-high film speeds with finer grain than that of other fast black-and-white films. It is especially useful for very fast action; for dimly lighted scenes where you can’t use flash; for subjects that require good depth of field combined with fast shutter speeds; and for handholding telephoto lenses for fast action or in dim light. It is an excellent choice for nighttime photography.

Features and Benefits:

• KODAK T-GRAIN Emulsion
• High to Ultra High speed
• Fine grain
• Superior sharpness
• Maintains subject detail in prints higher degrees of magnification than conventional films

To preorder this reanimated film stock simply add it to your cart from our product page.

“It’s no secret that we’ve been looking for opportunities to expand our portfolio” said Dennis Olbrich, President – Kodak Alaris Paper, Photo Chemicals and Film. “Darkroom photography is making a comeback, and B&W Film sales are clearly on a positive trajectory. Given these very encouraging market trends, we believe P3200 TMZ will be a great addition to our lineup”.

CineStill in MEDIUM FORMAT is here!!!