Analog Abduction 50D in 120 is a daylight balanced emulsion, with fine grain , producing rich and natural colors.
Cut from Eastman 5203 65mm then spooled onto 120 backing paper for medium format cameras. The 120 format allows the ability to choose aspect ratios, allowing more depth-of-field, more color depth and tonalities rendering a more true-to-life capture. Each roll uses recycled Kodak backing paper and contains a sticker tab for sealing when done shooting the roll that clearly indicates to be processed as ECN-2.
The particular reels we have abducted are leftover from, “The Odyssey”.
Because these are taken from reels that have already been in production cameras , and then manually cut, slit and spooled (by three-fingered aliens nonetheless) , the emulsion may result in tiny emulsion flakes, tension marks, or scratches either on the emulsion or back. Please be aware these are not spooled by machine in a factory.
As seen in the examples, perforations are visible in the viewing area.
Analog Abduction 50D in 120 is a daylight balanced emulsion, with fine grain , producing rich and natural colors.
Cut from Eastman 5203 65mm then spooled onto 120 backing paper for medium format cameras. The 120 format allows the ability to choose aspect ratios, allowing more depth-of-field, more color depth and tonalities rendering a more true-to-life capture. Each roll uses recycled Kodak backing paper and contains a sticker tab for sealing when done shooting the roll that clearly indicates to be processed as ECN-2.
The particular reels we have abducted are leftover from, “The Odyssey”.
Because these are taken from reels that have already been in production cameras , and then manually cut, slit and spooled (by three-fingered aliens nonetheless) , the emulsion may result in tiny emulsion flakes, tension marks, or scratches either on the emulsion or back. Please be aware these are not spooled by machine in a factory.
As seen in the examples, perforations are visible in the viewing area.