You can probably get a good idea of what type of film you find in those SFW cassettes merely by looking at the sprockets. So, at minimum, the film will be 20 years old. Be aware that by the mid-1990s, Seattle Film Works switched to regular C-41 films (and still with the SFW-XL process on the label), and if they have Photoworks labeling, then they are definitely C-41, and not ECN-2.
With any long-expired color film, you will get color shifts and loss of sensitivity.
#KODAK C 41 PROCESS ISO#
Yes, you could develop them in the home-brew ECN-2, but why waste your time? If you do decide to shoot them, rate at ISO 50 and maybe you'll get something. So, you found some old rolls of the Seattle Film Works in a box? Who knows how they have been stored for the past 30+ years? I'd say use the film for testing if a camera is advancing the film properly. The FPP has a podcast episode that discusses the SFW film.Ī bunch of expired SFW films. Don't judge a film from 30-year rolls that sat who knows where. However, properly exposed fresh SFW film produced excellent negatives.
The slides were not very good, as they were copied from the negatives, and faded after about 10 years. I did use SFW in the mid-90s for a while, and they offered both prints and slides from the same roll of film. I'll link here to the Wikipedia article on SFW, and you can read more about their business and its demise. Due to the remjet coating, ordinary photo labs would not accept the film, because it would contaminate their chemistry. The film was surplus cine film stock, and could have been made by several companies, as we were not told anything other than it was Seattle Film Works film, ISO 400 or 200. The use of color cine film in 35mm cameras goes back into the late 1970s, when Seattle Film Works sold their cheap color negative film that “only they could process.” Touted as the SWF-XL process, it was actually ECN-2, which uses slightly different chemicals than C-41, and also involved the removal of the black remjet layer (more about this later). However, cinema color films are what this post is about. Note that the C-41 still film has rectangular sprockets, whileĬine-films have rounded sprocket ends. There are other b&w emulsions that are made for cine use, but that's another story. It's an excellent b&w emulsion with great latitude and is very pushable. I still don't understand why Kodak has not offered the 5222 as a still film. As more people started using it, it became popular enough for resellers (such as the FPP, Cinestill, and Ultrafine) to buy the big reels of fresh 5222 and re-spool into 35mm cassettes and market them. Small quantities typically were about 70-200 ft, and the price was pretty cheap. At one time, the only way to get small quantities of it was to buy the unused "film ends" from an outfit in New York. If you have used Kodak Double-X or Eastman 5222 film, it's a b&w ISO 200 negative film made for cinema. Yes, we still-film shooters have been putting cine-film in our cameras for quite a while. Over the past decade, as color film (C-41 and E-6) choices became more limited, I have seen a lot more attention paid to those cinema film emulsions offered by Kodak and Fujifilm.
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