Show Notes
Greetings everyone, you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 440 for Thursday February 6th, 2025. In today’s episode Kodak Cracking Down on Respooled Motion Picture Film and other stories for this past week.
This week, Reflx Lab announced that it would soon no longer be able to offer some of its respooled 35mm motion picture stock because Kodak is more strictly “crack[ing] down” on respoolers. So, why is Kodak forfeiting the extra money made by selling to brands like Reflx Lab?
Reflx Lab describes itself as a photographic film and camera accessories company that is “dedicated to creating innovative products that stand out in the market.” Some of its most popular products are its 35mm film stocks and of those, its respooled Kodak cinema stocks are beloved for their color rendition as well as their approachable price. Unfortunately for fans of this combination of factors, that appears slated to be coming to an end.
Before getting into the situation at Reflx Lab, it is important to explain the situation quickly. The problem from Kodak’s perspective isn’t that its motion picture film is being respooled but rather how the respooler is acquiring said film. Kodak sells its motion picture film at two price points: one is for filmmakers who get a better deal because that industry is more susceptible to pricing changes and if the film price is too high, those filmmakers and studios may elect not to use film at all, which then would mean it is entirely possible that Kodak will no longer have enough volume to justify the price of production. In order to continue to allow filmmakers to keep using film, it is supporting the industry by keeping costs as low as possible.
For companies who want to sell this motion picture film for the purposes of still photography — respoolers — Kodak charges more, likely to offset the cost of producing it for motion pictures (the intended purpose of the stock) and also to bolster the health of its overall business.
Some companies are acquiring Kodak motion picture stock to respool but doing so without informing Kodak of that intended purpose, instead saying it is going to be used to produce movies. These companies are receiving the motion picture discount price and using that price difference to sell the respooled film at a lower price.
Kodak is trying to balance this problem by working to keep its motion picture film accessible while at the same time trying to prevent third parties from taking advantage. As a result, it is now cutting off access to suppliers that it believes were less than truthful about the intended use of that motion picture film stock.
“Over the past year, Kodak has implemented a policy restricting the sale of bulk rolls of motion picture film to individuals or companies that cannot prove the film will be used for shooting movies,” Reflx Lab writes in a blog post published yesterday.
“Kodak claims this change is a response to the growing trend of small businesses reselling respooled film—motion picture film repackaged into 135 film canisters for still photography. Ironically, the roots of 135 film itself trace back to 1895, when William Kennedy Laurie Dickson cut and respooled 70mm cinema stock to create the first 135-format film. This decision by Kodak raises significant concerns for the film photography community and threatens the innovation and creativity that independent photographers and small businesses contribute.”
Reflx Lab says that respooled motion picture film is loved for its color, tonal range, and film grain and as a result, these film stocks are highly prized by analog photographers.
“The demand for unique film formats—particularly those unavailable through mainstream manufacturers—has fostered a creative ecosystem where independent businesses and film enthusiasts collaborate symbiotically. For example, Reflx Lab bulk-loads Kodak Vision3 and Aerocolor film into 220 rolls, reviving a format abandoned decades ago and meeting the needs of film photographers who value shooting capacity. Reflx Lab also produces 127 color film, resurrecting another long-discontinued format that allows people to use heirloom cameras such as the Kodak Vest Pocket, the first 127 film camera. Kodak’s restrictions jeopardize not only the livelihoods of these small entrepreneurs but also the cultural and artistic richness of the film photography world,” Reflx Lab says.
Kodak’s stated concern for restricting access to these film stocks is that it undermines the company’s core business of selling motion picture and still photography film. Kodak likely sees respoolers as direct competitors for its own products — that is, at least, Reflx Lab’s feeling.
“Respoolers purchase bulk rolls from Kodak, which generates significant revenue, especially as demand for respooled film increases. Without these sales, Kodak forfeits that income entirely. If Kodak retains the film for direct consumer sales and maintains high prices, the market may not absorb the stock, resulting in diminished profits. Simply put, consumers drawn to respooled Vision3 and 5294 Ektarchrome are unlikely to transition fully to Kodak’s still film. They may just shoot digital or black and white film.”
Looking at it from Reflx Lab’s perspective, its stance sounds completely reasonable. But from where Kodak stands, there are issues with what Reflx Lab is doing.
Photographers should understand the differences between taking what is a singular product and selling it for different rates — think, photo licensing. Licensing an image for non-commercial use (personal/educational/editorial/entertainment/artistic) is worth much less than doing so for commercial or retail use. Just because a photographer sells a photo to a family to display in their home doesn’t give them the right to then use that photo to advertise their business or reproduce it and sell it for a higher price. This is especially the case if the photographer is retaining the rights to sell those photos as a stock photo, which would then put the client and the photographer directly in competition with one another.
This is especially the case if the photographer is retaining the right to sell stock photos commercially and reproduce those photos themselves, or granting those rights to another client at a premium.
Kodak’s stance is, therefore, likely one of intellectual property protection. To understand this, it’s better to use another metaphor: a brewery. If a brewery were to sell discounted kegs of beer for events — beer that is only sold in kegs to special clients — which were intended to support the local culture and increase brand awareness, it would not be happy to find that the beer it was selling was getting repackaged into cans or bottles and sold as new craft beer. It would be even worse if this was done by leveraging that brewery’s brand and marketing, calling the newly repackaged beer one that was done “in the style of” the brewery from which it was taken.
Since a business can’t copyright physical goods, they can instead can choose who they sell to and enforce their trademarks to protect the value of the goods they produce. In a free market, you have the right to sell to whomever you choose, and the right to not sell to anyone of your choosing. No one is entitled to any of it.
This leads directly into the discussion of where respooled Kodak motion picture film can be purchased, because Kodak isn’t cutting everyone off. If a brand continues to sell respooled film, it’s likely because they have an established, honest relationship with Kodak which allows them to continue. One of those brands is Cinestill.
“We do not respool film that has been packaged and produced for motion picture use. We legitimately source our materials at a premium — disclosing the intended use — to support the continued sustainability of film manufacturing. We have always been honest and transparent about the intended use of the materials that we source in order to collaborate to produce the highest quality products to fuel the analog renaissance. We are proud to support and contribute to both the analog photography community and the core manufacturers who make film photography possible,” Steve Carter, head of marketing and outreach at Cinestill tells PetaPixel.
As a result, there is no interruption in the availability of Cinestill film production.
Photographers are going to hate this because, on the surface, it just looks like something they like at a price they like is being taken away from them. Plenty of people will mostly just be upset that they can’t get what they want for the prices they want to pay. And I get it, that stinks. Shooting film is already expensive, and anything that makes it less accessible, even if we’re it’s only a matter of a few dollars, is a bummer. It doesn’t help that because Kodak Alaris was bought by Kingswood Capital Management last year, it looks like — yet again — a private equity firm is trying to squeeze all the value they can out of a business.
Reflx Lab’s long, impassioned blog post speaks directly to this, making it sound like the victim of a gross, greedy company that’s trying to keep film out of the hands of photographers. To quote it directly again, “This decision by Kodak raises significant concerns for the film photography community and threatens the innovation and creativity that independent photographers and small businesses contribute.”
Questions on what is innovative or creative about respooling existing film aside, the point remains that if a business is honest about what it intends to use something for, it affects the value. Much like a company selling something for “educational use only” at a lower price, it is perfectly fair for companies to choose to sell things for a specific industrial use or for resale at different prices than they would for retail. Some pricing strategies may have just enough margin to keep the lights on and the equipment running, while others may help afford payroll for entire departments. If a business is honest about the intended use when sourcing something it may end up costing more but that business maintains a good relationship with their supplier in exchange.
If a business isn’t honest about that use and leverages that to obtain a price advantage in the market, they might do so but eventually suppliers won’t want to sell to them anymore and instead choose those customers who are using the products as intended or paying a higher price based on use or exclusivity.
“…the respooled film market does not undermine its core business of selling motion picture and still photography film,” Reflx Lab says. “Respoolers purchase bulk rolls from Kodak, which generates significant revenue, especially as demand for respooled film increases. Without these sales, Kodak forfeits that income entirely.”
This ignores a major factor: what if Kodak sells its film that is designed to be used for motion pictures at a reduced rate because raising the price would upset filmmakers, decreasing the volume ordered by them and therefore decreasing volume to the degree that it could no longer be made? And if people only bought repackaged 100D motion picture film — rather than E100 for still photography — there may not be enough profit to justify making it.
Reflx Labs says it is doing its best “to maintain our film inventory and avoid price increases,” which sounds as though it does not want to pay for the increased cost of officially licensing Kodak motion picture film for respooling — either that or it isn’t being given the option by Kodak. That should tell you all you need to know about how the company has been acquiring the motion picture stock and why it has upset Kodak.
Photographers who love customizable mechanical keyboards are in luck, as Akuko Labs’ latest keyboard caps honor photography in style.
The dark-themed PBS Aperture Priority kit features a Leica-inspired custom font and many keys with photography-themed designs and text. For example, the tab key features a 1/100 shutter speed icon, while the caps lock key says “ISO 400.” The shift key is an exposure compensation bar, the function key is a flash icon, control is an aperture dial, and the option key is a daylight white balance icon.
All the keys are black with white and yellow text, save for the enter (return) key, which is yellow with an “Aperture Priority” mode logo on it. Top-row function keys include a splash of green, similar to the color photographers find in illuminated analog and DSLR camera viewfinders. There is also a two-piece artisan keycap modeled after red recording buttons created in collaboration with Salvun available separately.
“Aperture Priority is inspired by the timeless craftsmanship of analog photography, with legends designed to mirror engraved lens markings,” Akuko Labs explains on its website. “The modifier keys represent essential settings like aperture and ISO, while a custom Leica-inspired typeface brings precision and elegance to the design.”
“Every detail pays tribute to the art of photography, capturing its legacy in a modern, tactile form.”
PBS Profile — the “PBS” stands for “Penguin Belly Slide” — keycaps feature a uniform profile, meaning every row has the same shape. Cannon Keys has much more information about the profile, its size and shape, and how it compares to other keycap standards on its blog. Although PBS keycaps can be almost entirely flat, the PBS Aperture Priority kit sports a convex shape “for a unique aesthetic and feel.”
The Akuko Labs PBS Aperture Priority keycap set is available in two configurations: a base kit for $79 and an Ortho/40s Base Kit for ortholinear keyboards for $74. The separate red Salvun cap is $65. The Aperture Priority keycaps are expected to arrive in late Q2 or early Q3, and preorders are open until February 10. Complete keycap specification information is available on Cannon Keys’ website.
While Cannon Keys sells the Aperture Priority kit in the United States, it is available through other retailers in other markets, including Keygem in Europe, Prototypist in the United Kingdom, and Yusha Kobo in Japan, among others.
60 Year History of Image Sensors
Three significant figures in the history of digital image sensor development collaborated on a new research paper that reviews nearly six decades of sensor evolution, detailing pivotal moments and technologies along the way, while also looking ahead to the future of camera tech.
As highlighted by DPReview, the collaborators, Eric R. Fossum, Nobukazu Teranishi, and Albert J.P. Theuwissen, detail across nearly 30 pages the progression of digital image sensors, their vital role in capturing human culture and experience, and where digital cameras go from here.
“Capturing images has been a human activity since prehistoric times, and camera capture has been a part of human culture for almost 200 years,” the researchers explain. “Image sensors are the microelectronic silicon chips that sit at the heart of every digital camera and convert light into electrical signals suitable for transmission, storage, and processing by computers, for use by machines and humans alike.”
Many modern-day photographers know about charge-coupled device (CCD) image sensors. This early digital sensor technology powered many early digital cameras and even persisted in consumer models until well into the DSLR era. The authors discuss the earliest implementations of camera-image pickup, including through cathode ray tube (CRT) tech (yes, like the super heavy television of old), and the major CCD milestones that followed.
“The 1960s saw the real emergence of integrated semiconductor devices, and the light sensitivity of semiconductors was well-known by then,” the authors write. A Honeywell photosensitive junction device in 1963, an IBM scanistor array the following year, and a 1966 Westinghouse 50-element phototransistor array were among the early examples. These devices had an output signal “proportional to the instantaneous optical input signal without intentional integration, and thus, the signal was weak and required gain inside of the pixel for amplification. In essence, these were the first active-pixel sensors.”
While these early devices were fairly described as extremely noisy, clunky, and inefficient photosensitive semiconductors, it did not take long for significant progress to arrive.
In 1969, Willard S. Boyle and George E. Smith created the charge-coupled device (CCD) sensor at Bell Labs, work for which they won the Nobel Prize in Physics in 2009. Not all were pleased about the award, but that’s mostly a story for a different day.
Whoever should be considered responsible for the 1969 creation of the CCD sensor, the invention set off a flurry of research and development in solid-state image sensors. Fossum, Teranishi, and Theuwissen detail the key advancements, including the frame-transfer CCD image sensor in 1971 (created in part by Mike Tompsett, who claimed he should have won the Nobel prize for the original CCD in 2009), the interline-transfer CCD in 1973, and pinned photodiode technology in 1982.
Pinned photodiode technology, created by one of the paper’s authors, Teranishi, in 1982 and further advanced by Fossum and Hondongwa in 2014, significantly improved CCD image sensor technology and laid the groundwork for major components also used in CMOS image sensor technology, the types of sensors used in all consumer digital cameras today.
Complementary technologies were developed adjacent to the digital image sensors themselves, including the Bayer filter (Bayer, 1976), sensor stitching (Rominger 1988, Monma and Yuzurihara 1993, Kreider et al. 1995, Monma and Yuzurihara 1998), and large sensor wafer fabrication (e.g., Lesser et al. 1997, Ay and Fossum 2006, Zacharias et al. 2007, Yamashita et al. 2011).
Despite continuous advancements, CCD sensors demonstrated numerous limitations. No sensor technology is perfect for everything, after all. CCD sensors struggle with charge transfer efficiency, readout rate, power, manufacturing yield, and integration.
With these limitations in mind, CCD sensor improvement nonetheless led to widespread adoption. By 1990, nearly all digital cameras used CCDs, including models made by Sony, Matsushita (Panasonic), Toshiba, Sharp, and NEC in Japan and companies like Philips, Thomson CSF, Kodak, and Texas Instruments elsewhere. There were other smaller CCD sensor players, too, just as with CMOS image sensor technology today.
CCD cameras were still huge at this time — some of the digital cameras sent into space for scientific work were “the size of a small refrigerator.” Unsurprisingly, researchers were looking at alternative technologies, including complementary metal-oxide semiconductor image sensors, or CMOS.
There was research into CMOS before the 1990s, but the need for more efficient, smaller, and easier-to-produce digital sensors spun the wheels of progress into high gear at this time. The authors discuss two primary CMOS research efforts, one focused on efficiency, low-cost single-chip imaging systems, and the other developing compact, very high-performance cameras.
The high-performance CMOS development was led by NASA’s Jet Propulsion Laboratory at Caltech in the United States and laid the groundwork for significant advancements to come in digital cameras.
“This effort resulted in the invention of the CMOS active-pixel image sensor with intrapixel charge transfer and represented the opposite end of the performance spectrum compared to the focus of VVL and IVP,” the researchers write.
With the aid of microlenses and backside illumination (yes, backside CMOS tech is not that new, it was created by Fossum in 1994, more than a decade before it was widely adopted in consumer cameras), CMOS sensors addressed many of the shortcomings of CCD. Not long after, CMOS would become the dominant digital camera sensor technology in the marketplace.
The authors then discuss 21st-century improvements, including mass production of backside-illuminated image sensors, continued shrinking of pixel size, 3D stacking technology, pill cameras, and much more.
Although digital cameras today are incredible and getting better all the time, that doesn’t mean that research into brand-new digital imaging technologies has stopped. Scientists continue to push the frontiers of solid-state image sensor technology, including through quanta image sensors, sensors that can detect single photons, and Single Photon Avalanche Diode (SPAD) image sensors.
“Solid-state image sensors have evolved continuously and are ubiquitous in our daily lives,” the researchers conclude, extolling how digital image sensors impact people’s lives, cultures, and science.
However, they also note how image sensor technology is used to cause harm by facilitating criminal activity and violating privacy.
“For a technology intended to benefit personal well-being and society at large with light and truth, it is indeed unfortunate that we must also reckon with, and control, the dark edge of the sword.”
The lengthy and detailed paper, “Digital Image Sensor Evolution and New Frontiers,” was published in the Annual Review of Vision Science. Once again, the paper was written by Eric R. Fossum, Nobukazu Teranishi, and Albert J.
Drone Pilot Attempts to Avoid Prison
The co-founder of an influential video game company has pled guilty to flying his drone into a firefighting aircraft operating above the Los Angeles wildfires last month.
Peter Tripp Akemann admitted to flying his DJI Mini 3 Pro drone into a Super Scooper water dumping plane that was actively fighting the Pacific Palisades fire near Santa Monica.
In a court hearing on Friday, Akemann pled guilty in a bid to avoid prison and receive 150 hours of community service instead. He has also offered to pay for the repairs of the plane which is at least $65,000.
“This defendant recklessly flew an aircraft into airspace where first responders were risking their lives in an attempt to protect lives and property,” acting U.S. Attorney Joseph McNally says in a statement, per Courthouse News Serivce. “This damage caused to the Super Scooper is a stark reminder that flying drones during times of emergency poses an extreme threat to personnel trying to help people.”
Akemann’s defense attorneys Glen T. Jonas and Vicki Podberesky say he is “deeply sorry.” In future proceedings, his legal team will argue there were several mitigating factors including his reliance on the DJI’s geofencing which allegedly failed. DJI recently said it will no longer enforce “No-Fly Zones”, also known as geofencing, putting the onus on pilots to ensure they don’t fly in restricted areas.
Akemann, it turns out, is an influential figure in the video game industry having helped to co-found Treyarch Invention LLC, a major developer in the Call of Duty series. According to GameRant, he would later serve as president for VR games developer Skydance Interactive
Akemann’s drone caused serious damage to the Super Scooper’s left wing. The aircraft landed safely but it was out of commission for several days while the fires raged. It was only one of two Super Scoopers available.
When the incident happened, the Federal Aviation Administration (FAA) had issued Temporary Flight Restrictions that prohibited drone operations near the wildfires.
It’s a federal crime to fly a drone during firefighting efforts and Akemann could face up to 12 months in prison.
Badger Wins People’s Choice 2024
A serendipitous photograph of a badger looking up at a graffiti of a gun-toting badger has won the Wildlife Photographer of the Year People’s Choice Award 2024.
Photographer Ian Wood beat off stiff competition to take the crown after he captured the double badger photo in St Leonards-in-Sea, EnglandThe people’s choice award received a record number of votes with over 76,000 wildlife photography and nature fans from around the world voting for their favorite image.
“Ian’s flawlessly timed image offers a unique glimpse of nature’s interaction with the human world, underscoring the importance of understanding urban wildlife,” says Dr Douglar Gurr, director of the Natural History Museum which develops and produces the photo competition. “His exceptional photograph serves as a powerful reminder that local nature and wildlife, often just outside our homes, can inspire and captivate us.”
The photo came about after residents of St Leonards-on-Sea began leaving scraps of food on the pavement for foxes. Wood noticed that the morsels also attracted badges from a nearby sett and so decided to set up a small hide on the edge of the road for this picture. His only light source was a lamppost above the ambling creature.
“The outpouring of badger love since my photo was nominated for the People’s Choice Award has been beautifully overwhelming,” Wood says via a press release. “Finding out that it has won is truly humbling. However, there is a darker side to this image. I live in rural Dorset where I’m on a re-wilding mission to enhance habitats for a huge array of wildlife. The badger cull – which is still ongoing – has decimated their numbers and I fear that unless the cull is stopped, we’ll only see badgers in urban settings in several parts of England. My hope is for this image to raise awareness of the damaging effect of the badger cull and help push for change.”
Four photographs were awarded “Highly Commended” status which can be seen below. The four pictures and the winning photo were selected from a shortlist of 25 images chosen by the Natural History Museum.
A flagship exhibition of the images will be open until Sunday, June 29 in London. Details for which can be found here.
As Leica celebrates the 100th anniversary of the legendary Leica I 35mm camera, the company has been busy doing many collaborations. The latest is not for teddy bears or jewelry, but instead for a very nice, albeit pricey, Shackleton field jacket.
Developed in collaboration with Leica Camera and photographer Levison Wood, the Shackleton Frank Hurley Field Jacket is a waterproof hardshell field jacket designed for diverse use cases. As a field jacket, it has a utility aesthetic and is designed to withstand adverse conditions.
Built with photographers in mind, the Frank Hurley Field Jacket has a few distinct features. Besides affording a wide range of motion, it also includes an insulated battery pocket to keep batteries warm and effective, large cargo pockets with double folds for added security and protection, and a branded lens cloth attached to a retracting lanyard that has its own dedicated compartment.
The jacket includes extensive waterproofing, including all seams, and features Aquaguard zippers to keep pockets dry. A pack-away hood extends far enough out to keep the wearer’s head dry and a camera dry when held up to the eye. The jacket includes reinforced abrasion-proof panels at the elbows, seat, and shoulders to accommodate backpacks and harnesses.
The Frank Hurley Field Jacket is Leica Camera and Shackleton’s second collaboration. The companies worked together in 2019 for the Frank Hurley Photographer’s Parka, a robust down jacket designed for extreme winter conditions.
Both jackets’ namesake, Frank Hurley, knew much about extreme conditions. The Australian adventurer and photographer (1885-1962) documented many remarkable events, including Sir Ernest Shackleton’s ‘Endurance’ expedition to Antarctica. Launched in 1912, the expedition turned disastrous when the ship sank in November 1915, although all crew members, including Hurley, survived and were rescued months later in 1916.
A dedicated photographer, Hurley took an extremely dangerous dip in the freezing Antarctic waters to rescue his pictures before the damaged Endurance ship dipped beneath the surface. Shackleton said the rescued plates were too heavy to put onto their lifeboat, so Hurley filtered through his 600 plates, smashing over 400 into oblivion. Fortunately, he was able to salvage about 150 of them.
Besides this harrowing adventure, Hurley was well known for his pioneering use of color photography techniques, World War One photography, which included novel composite images (Hurley argued that the scale of the war could not be captured in a single frame), and World War Two documentary work. He was also an accomplished filmmaker.
As for the Shackleton x Leica Frank Hurley Field Jacket that honors the late adventure photographer, it is available to purchase now for $950 directly from Shackleton. It comes in small, medium, large, and extra-large sizes and is only available in black. The new field jacket is not much more expensive than the photographer’s jacket that Leica made alongside Aether Apparel last October. That $795 jacket sold out hours after its debut.
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