As one of the last film production facilities on the planet, Eastman Kodak Co. is stepping up to restrict the use of its film stock by resellers. In recent weeks, respoolers like Reflx Lab announced 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. Respooling is the practice of taking long rolls of 35mm film, usually originally intended for the cinema industry, and fashioning 35mm cassettes out of them. Because long-roll film can be purchased in bulk, respooled 35mm cassettes can usually be offered at a discount price. It also offers the opportunity for alternative branding to Kodak.
The practice goes back decades, including when brands like Signature Color and Seattle Filmworks would sell ECN-process film as a closed-loop alternative to C-41 process. (Which could wreak havoc on
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.
Eastman Kodak Co. representatives didn’t comment for this article. We asked Bob Shanebrook, longtime Kodak film production executive and author of the book “Making KODAK Film, for his insights. (Both editions of the book are now back in print).
“The market conditions have changed in recent years,” says Shanebrook. “In 2010, it was unclear if the film market was sustainable. Kodak continued to make film but it was unknown if there would be future demand. They had excess sensitizing and long-roll finishing capacity, so they sold 2,000 foot rolls to anyone who wanted it to pay the bills. This fostered the growth of respoolers for several years.
“In 2025, the long-term prospects are that film is sustainable with at least a 5-year horizon,” added Shanebrook, noting predictions beyond five years are folly. “With this in mind, Kodak invested in improving sensitizing and finishing capacity and I expect efficiency. With this ability in place, they are wisely choosing to use their capacity to supply films that provide the highest Kodak profitability. Kodak, through Kodak Alaris, can provide products to dealers that are accessible to enthusiasts and pros, so they don’t need the re-spoolers. I also expect the photographers will enjoy the high quality (both performance and manufacturing conformance) film that they obtain directly from Kodak.”
Respoolers like Reflx argue the practice allows them to offer emulsions to enthusiasts that Kodak does not offer in 35mm format (or, in the case of Reflx, 127 film cassettes).
“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, ” according to the Reflx blog post. “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.”
The lack of Kodak product won’t put Reflx out of business, the company says, adding “we can still respool film from other manufacturers, such as Foma, Lucky, and ORWO”. Currently, Reflx Lab appears to offer 11 different films in their online shop that have been spooled from Kodak cinema films. The Kodak Aerocolor IV aviation film that Reflx Lab uses to make their Pro100 film is not among the affected films, it says.
