【翻譯】底片/數位的混血終究是條死路 Why the film/digital hybrid is a dead end
文章來自 KOSMOFOTO，最近推出新款乳劑的100度黑白底片，一位認為底片和數位帶來不同體驗的人。
簡單翻譯，帶有高度個人色彩。
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「看起來取得商業成功的相機製造方向有點扭曲，」 底片攝影部落格 35mmc，Hamish Gill這麼說。
「一開始的時候，由於我們有了巨幅成長的拍立得攝影市場，這市場大部分還是由富士所推動的，一間多次清空底片庫存，並且告訴大家這是一個退出底片市場的好機會。
之後，有些人想使用傳統底片攝影(具有潛像而非即時影像)，並且想買台新相機，卻只剩下買台LOMO塑膠相機或3.7k英鎊的LEICA。
其餘的市場則全然被那些因為日益減少而漲價的二手相機所支持，例如Olympus mju-ii 從2013年的30英鎊到現在2017年的150英鎊，不過就算如此，仍舊沒有大型製造商願意冒險生產新款底片相機。
相反的，我們反而被yashica Y35這種沒有意義的偽物給逗弄，我一看到它名字裡頭數字有3和5在裡頭就怒了。唯一與35mm底片攝影有點模糊關係的就只有他的外觀是70年代Yashica RF相機的外觀。
這玩意兒並沒有提供底片或數位的任何優點。沒有螢幕，沒有數位的即時性也就算了，它甚至做了一個宣稱有底片體驗的片匣，強迫拍照者得在相機插入片匣，並且得傳進電腦才能看到影像。
它沒有底片的quality，因為它根本不是底片，它也無法提供數位攝影的潛在quality ，因為感光元件小的可憐。然而，募資卻飛也似的上升，是哪些人買了這玩意兒？
Steven Lloyd，一位攝影師及相機發明家，對Y35也抱持著懷疑態度。「身為類比攝影師和客製化相機師傅，我真的希望Y35會如同廣告宣稱的一樣好，但是完全沒有手動控制，Y35試著擁有底片/數位的綜效，但最終會落的底片/數位兩頭空。他沒有數位的即時滿足和彈性(沒有螢幕，沒有辦法操作過程中不更換偽物片匣就調整設定)，也沒有金屬材質的底片RF相機觸感。」
努力經營底片市場的EMULSIVE站長EM，底片攝影者被現況混淆了，但這並不因為他們被過去給困住。
「那些底片或類比攝影的用戶，整體而言被描繪成盧德主義者(19世紀英國民間對抗工業革命、反對紡織工業化的社會運動者)。但是這些用戶其實不抵制數位技術進入生活，也不拒絕普及技術的好處。他們只是了解數位攝影並不是他們最佳的呈現結果，這是基於對最終成果的希望而做出的選擇。」他說。
"'Film has feeling', 'film slows me down', 'film describes my world', 'film provides me with an intrinsic connection to my entire creative process'… 過去兩年來，這些EMULSIVE網站的訪談詞彙，都是底片攝影者試著描述底片媒材對於他們的意義，除了一些少數，幾乎每個攝影人都是底片/數位都有使用。
簡單翻譯，帶有高度個人色彩。
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| 給底片相機使用的數位機背 I'm Back |
In 1996, I was reporting for the NME's website at that year's Reading Festival, one of the biggest events in the UK's music calendar. We had a Portacabin backstage, where reviewers and bands doing webchats would troop in and out of.
1996年，當時我正為NME網站報導Reading Festival，英國最大的音樂盛事之一。我們有個組合屋後台，評審和樂團總是魚貫的進進出出。
Most of the NME's photographers were shooting on high-end Nikons or Canons. Couriers were on hand to take bags of films back to London for overnight developing. There was, however, one photographer doing something a little different.
當時多數NME攝影師都使用高階 nikon或canon相機，總是交付快遞若干袋底片回倫敦徹夜沖洗。不過有一位攝影師不太一樣。
Steve Double was one of the paper's leading snappers, and he was sporting something that looked like a Nikon with a black-coloured house brick underneath. It was a Kodak DSC, a film SLR with a special digital back that allowed it to take 1.4 megapixel shots.
Steve Double 用著一台裝著黑色磚塊的nikon相機，那是kodak DSC，底片單眼相機，但裝著能夠拍攝140萬畫素的影像。
It cost something like £20,000. Steve had borrowed one for a few days to see what it was capable of.
那玩意兒大概要2萬英鎊，Steve 借來把玩幾天想看看它有什麼能耐。
This, I realise now, was my first glimpse into the future of mainstream photography. No more films to buy and load, no more costly processing. A click of a button, and you have a picture – no trip to the photo shop, no waiting for the prints to come back. No money, and no mucking about.
這就是我窺見未來的攝影主流的第一眼。不再需要購買或安裝底片，不再有花錢的處理。幾個按鍵按按就能獲得一張照片，不需要前往沖洗店，不再需要等待實體相片回來。不用錢，也不再會有搞砸的事情。
These giant hybrids died out by the turn of the century, camera makers having solved how to miniaturise the sensors needed to take a pic so they could fit inside the body of an SLR. No longer did you have to cart around something that looked like a prop from a 1980s sci-fi film.
這些巨大混血產品在世紀交接時被淘汰，相機製造商將感光元件縮小到能夠塞進單眼相機裡頭，你不再需要拖著一堆像是從九零年代科幻電影裡出來的器材出門。
Now, all that stuff that helps take a digital image is so small it can fit inside a mobile phone. Which makes it odd to see that, more than 20 years after I first saw those bottom-heavy Kodaks, we're seeing the re-emergence of the film/digital hybrid.
時至今日，所有用以拍攝數位影像的工具已經小到可以塞進一台手機裡頭。這其實有點詭異，畢竟二十年前我才第一次看到重到靠北的kodak機背，我們看到了底片/數位混血的消失。
These hybrids come in myriad forms. Only this week came the launch of I'm Back, a digital back that can be bolted on to a whole range of film cameras (provided you take the back door off first. It is, essentially, the same concept as those monster Kodaks from the 1990s.
這些混血的形式很多種。不過只有本週開始銷售的I'm Back數位機背，只要你拆掉相機背蓋就能夠裝上所有類型的底片相機。基本上，這和20世紀初的kodak數位相機是一樣的概念。
The images posted on I'm Back's site are certainly interesting – they have a decidedly retro feel that evokes the early days of Instagram filters of Hipstamatic (the one at the bottom of this story on PetaPixel is particularly atmospheric). They look like film pics too, but pics from decidedly low-fi cameras like the Halina 35X or the Smena cameras made in the USSR. The cameras that they have been shot on, however, are much higher up the price scale – I'm Back's site includes an image of a Nikon S rangefinder attached to the device.
刊在 I'm Back 網站上的影像很有趣，它們確實有種早期 IG Hipstamatic 濾鏡的 fu，看起來也像是底片拍出來的，不過是由那些低階相機，例如前蘇聯生產的Halina 35X或Smena。但是那些被用來安裝相機的本身價值卻是很高的，網站甚至拿了臺Nikon S rangefinder來拍。
I'm Back comes hot on the heels of the Yashica Y35 announced earlier this month – a digital camera that evokes the classic rangefinder models made by Japanese camera makers Yashica in the 1960s and 70s. The Y35, however, is a plastic compact with a digital sensor. The wheeze with the Y35 is that you 'load' its digiFILM plug-ins – essentially jpg presets that process images to look a particular way, like black and white or high-ISO colour film. Despite the tactile qualities – you even wind on the camera to ready the next shot, and you load the plug-in like you would a roll of film – the Y35 is a fully digital camera. (When this story was published, it had raised over $1m in 11 days through Kickstarter.)
而本月出發表的Yashica Y35，一台有著60-70年代由yashica生產的rangefinder外觀的數位相機。不過Y35是一台搭載著數位感光元件的塑膠輕便相機。Y35讓你可以安裝數位底片匣，基本上就是預設的jpg特效，像是黑白或高感度彩色底片，儘管有著要拍下一張你得過片的操作方式，Y35骨子裡就是一台數位相機。(本文發布時，在kickstarter上11天就已經募資超過百萬美元)
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| The Yashica Y35, complete with digiFILM (Pic: Yashica) |
No doubt, these projects have been created by people passionate about photography. But they also seem to have tried to find a solution to a problem that doesn’' even exist.
毋庸置疑，這些計畫都是由熱愛攝影的人們所提出的，但他們看起來像是試著解決不曾存在的問題。
“It seems to me that the perception of what is commercially viable within the area of camera manufacturing is a little twisted,” says Hamish Gill, who runs the film photography blog 35mmc.
「看起來取得商業成功的相機製造方向有點扭曲，」 底片攝影部落格 35mmc，Hamish Gill這麼說。
“For a start, we have the massively growing instant photography market. A market that's been largely regenerated by Fujifilm, a company that has on many occasions – despite their name – ditched film stocks and told us there's a good chance it's going to exit the film market.
「一開始的時候，由於我們有了巨幅成長的拍立得攝影市場，這市場大部分還是由富士所推動的，一間多次清空底片庫存，並且告訴大家這是一個退出底片市場的好機會。
Then we have traditional film photography – the latent rather than instant image stuff. Those who wish to partake in this sort of photography and wish to buy a new camera are lumped with either Lomography plastic fantastic cameras, or a £3.7k Leica.
之後，有些人想使用傳統底片攝影(具有潛像而非即時影像)，並且想買台新相機，卻只剩下買台LOMO塑膠相機或3.7k英鎊的LEICA。
“The rest of this market place is entirely supported by dwindling stocks of ever more valuable second hand cameras – with cameras like the Olympus mju-ii seeing a used value increase from £30 in 2013 to up to £150 in 2017. Yet despite this, none of the big manufacturers have taken the plunge and brought a new film camera to market.
其餘的市場則全然被那些因為日益減少而漲價的二手相機所支持，例如Olympus mju-ii 從2013年的30英鎊到現在2017年的150英鎊，不過就算如此，仍舊沒有大型製造商願意冒險生產新款底片相機。
“Instead, we are teased with pseudo film nonsense like the new Yashica Y35 – a camera that angers me instantly just by including the numbers 3 and 5 in its nomenclature. The only thing that this camera has to do with 35mm film photography is a vague nod in its design to when Yashica (the real Yashica, not the modern company that owns the rights to the brand) made a similar-ish looking camera in the 70's.
相反的，我們反而被yashica Y35這種沒有意義的偽物給逗弄，我一看到它名字裡頭數字有3和5在裡頭就怒了。唯一與35mm底片攝影有點模糊關係的就只有他的外觀是70年代Yashica RF相機的外觀。
“This thing offers none of the advantages of either film or digital. It doesn't have the immediacy of digital through its lack of a screen on the back. Instead it offers a claimed film-like experience by forcing the photographer to insert pretend film cartridges into its backend and a need to wait to see the images when they are loaded onto a computer later.
這玩意兒並沒有提供底片或數位的任何優點。沒有螢幕，沒有數位的即時性也就算了，它甚至做了一個宣稱有底片體驗的片匣，強迫拍照者得在相機插入片匣，並且得傳進電腦才能看到影像。
“It doesn't (can't) have a film like quality, as it's simply not film, and it won't offer the potential quality of digital as the system is to be based around a minute sensor. Yet somehow, its Kickstarter has flown. Who are the people buying it?”
它沒有底片的quality，因為它根本不是底片，它也無法提供數位攝影的潛在quality ，因為感光元件小的可憐。然而，募資卻飛也似的上升，是哪些人買了這玩意兒？
Steven Lloyd, a photographer and camera inventor, is also skeptical. “As an analogue photographer and custom camera builder, I really wanted the Y35 to be as good as the marketing hype around it but, coupled with the complete lack of manual control, the Y35 ends up trying to be a synergy of analogue and digital but ends up dropping the best parts of both. It has neither the instant gratification and flexibility of digital (no screen and no way to change settings on the fly without switching out a faux-film cartridge like an idiot), nor the tactile handling and excitement of a true metal-bodied film rangefinder.”
Steven Lloyd，一位攝影師及相機發明家，對Y35也抱持著懷疑態度。「身為類比攝影師和客製化相機師傅，我真的希望Y35會如同廣告宣稱的一樣好，但是完全沒有手動控制，Y35試著擁有底片/數位的綜效，但最終會落的底片/數位兩頭空。他沒有數位的即時滿足和彈性(沒有螢幕，沒有辦法操作過程中不更換偽物片匣就調整設定)，也沒有金屬材質的底片RF相機觸感。」
EM, who runs the film website EMULSIVE is another film community stalwart struggling to find the market for these products. He says film photographers has reacted with confusion to this return to a halfway house – and it’s not because they’re stuck in the past.
努力經營底片市場的EMULSIVE站長EM，底片攝影者被現況混淆了，但這並不因為他們被過去給困住。
“Contrary to popular belief, practitioners of film photography, or analogue photography if you include instant film, wet plate and other alternative processes are not, on the whole, the luddites they have been portrayed to be. They do not resist the encroachment of digital technology in their lives, nor to they deny the benefits of pervasive technologies. What they do understand however, is that digital photography is not the best expression for their creative output. It’s a choice based on a desired end result,” he says.
「那些底片或類比攝影的用戶，整體而言被描繪成盧德主義者(19世紀英國民間對抗工業革命、反對紡織工業化的社會運動者)。但是這些用戶其實不抵制數位技術進入生活，也不拒絕普及技術的好處。他們只是了解數位攝影並不是他們最佳的呈現結果，這是基於對最終成果的希望而做出的選擇。」他說。
"'Film has feeling', 'film slows me down', 'film describes my world', 'film provides me with an intrinsic connection to my entire creative process'… These are just a few of the ways film photographers have tried to describe what the medium means to them over the two plus years I have been conducting interviews on EMULSIVE and with only a handful of exceptions, each and every photographer I have spoke to is a hybrid shooter."
"'Film has feeling', 'film slows me down', 'film describes my world', 'film provides me with an intrinsic connection to my entire creative process'… 過去兩年來，這些EMULSIVE網站的訪談詞彙，都是底片攝影者試著描述底片媒材對於他們的意義，除了一些少數，幾乎每個攝影人都是底片/數位都有使用。
EM says there is a space for new camera technology that could marry analogue and digital.
EM 認為那確實有台新相機能夠結合類比與數位的空間。
"There is a huge untapped space waiting to be filled with hybrid devices and technologies that will take advantage of the best of both worlds. There will be inevitable missteps as we edge toward this unified future and I believe that we exist in a period where these missteps are not only common but they will get worse before they get better," he says.
(這段懶的翻，反正這位老外就覺得未來一定會統一，只是統一前的黎明會最黑暗)
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| Not all film cameras have risen in price so steeply – and film is plentiful and some of it still inexpensive (Pic: Torange.biz) |
"It is apparent to a moderately serious photographer that there is a need for digital camera manufacturers to innovate into the thriving (not to mention growing), film photography space… A good example are the film scanning features and hardware found on Nikon’s newly-announced DSLR, and devices that make the process of digitising film easier without dedicated scanners. These are both welcome and a sign of things to come."
很顯然的，對於一個相對認真看待攝影的拍照人來說，數位相機製造商必須以他們為中心進行創新，以底片攝影領域來說，nikon新近發表的可以直接拍攝底片，無需要苗器的數位單眼器材，這些都是受歡迎且具有指標性的事情。」
"But for every step in the right direction there are wrong turns, endless circles and dead ends. The recent digiFILM announcement by the Hong Kong based company that manages the Yashica brand is a fantastic albeit sad example of this. It is a mediocre device that seeks to emulate the "actions" of shooting film with none of the results. It misses the point of film photography altogether. It is at best a gimmick and at worse, an opportunistic cash-in on nostalgia without a single thought being paid to the untapped desire for some meaningful differentiation and innovation in the digital film marketplace."
「但是，正確方向上的每一步都有錯誤的轉彎、無盡迴圈和死胡同。最近香港公司管理的yashica品牌最近推出的Y35就是讓人最近推出的Y35就是讓人傷心的例子。一個平庸的器材試圖模擬用底片拍照的『動作』。它錯失了所有底片攝影的特點。從好的一面來看，他就是個手法，從壞的一面來看，就是大家沒想過為了一些有意義的差異或創新付費，而只是讓機會主義大賺懷舊財。
Over the last decade, some of the attempts to make film cameras live on in the digital age have focused on trying to make a sensor fit where the film would usually go. Concepts like Pseudo Film imagined a film-shaped sensor could be dropped into any film camera – even mechanical models that didn’t need a battery. The sensor would carry its own rechargeable battery. You could drop it into you camera. Take it out and upload the pics, charge it up again and shoot once more.
在過去十年，讓底片相機能夠繼續活在數位時代的主要嘗試就是以感光元件取代底片所在的位置。就像Pseudo Film那樣，有個能夠放進任何相機裡的底片狀感光元件，甚至不需要電池，這個感光元件自帶電池，你能夠將它丟進相機，拿出來並傳輸影像，再次充電並繼續拍攝。
But this seemingly wonderful idea has several issues. How does the sensor make sure it’s operating at the same time as the camera shutter? How could it be sure to capture the image in focus when the distance between film plane and lens can differ so widely from model to model? How could you make it the strip behind the shutter robust enough?
很顯然的，對於一個相對認真看待攝影的拍照人來說，數位相機製造商必須以他們為中心進行創新，以底片攝影領域來說，nikon新近發表的可以直接拍攝底片，無需要苗器的數位單眼器材，這些都是受歡迎且具有指標性的事情。」
"But for every step in the right direction there are wrong turns, endless circles and dead ends. The recent digiFILM announcement by the Hong Kong based company that manages the Yashica brand is a fantastic albeit sad example of this. It is a mediocre device that seeks to emulate the "actions" of shooting film with none of the results. It misses the point of film photography altogether. It is at best a gimmick and at worse, an opportunistic cash-in on nostalgia without a single thought being paid to the untapped desire for some meaningful differentiation and innovation in the digital film marketplace."
「但是，正確方向上的每一步都有錯誤的轉彎、無盡迴圈和死胡同。最近香港公司管理的yashica品牌最近推出的Y35就是讓人最近推出的Y35就是讓人傷心的例子。一個平庸的器材試圖模擬用底片拍照的『動作』。它錯失了所有底片攝影的特點。從好的一面來看，他就是個手法，從壞的一面來看，就是大家沒想過為了一些有意義的差異或創新付費，而只是讓機會主義大賺懷舊財。
Over the last decade, some of the attempts to make film cameras live on in the digital age have focused on trying to make a sensor fit where the film would usually go. Concepts like Pseudo Film imagined a film-shaped sensor could be dropped into any film camera – even mechanical models that didn’t need a battery. The sensor would carry its own rechargeable battery. You could drop it into you camera. Take it out and upload the pics, charge it up again and shoot once more.
在過去十年，讓底片相機能夠繼續活在數位時代的主要嘗試就是以感光元件取代底片所在的位置。就像Pseudo Film那樣，有個能夠放進任何相機裡的底片狀感光元件，甚至不需要電池，這個感光元件自帶電池，你能夠將它丟進相機，拿出來並傳輸影像，再次充電並繼續拍攝。
But this seemingly wonderful idea has several issues. How does the sensor make sure it’s operating at the same time as the camera shutter? How could it be sure to capture the image in focus when the distance between film plane and lens can differ so widely from model to model? How could you make it the strip behind the shutter robust enough?
但這個看似美好的想法有著幾個問題。這個感光元件如何確保與快門同步作動？如何確保在不同相機與焦平面上合焦？如何確保那條狀感光元件夠強韌？
Problems like these sank concept after concept, ever since the first, SiliconFilm, was unveiled in 2000. This was meant to give a new digital lease of life to modern film SLRs like the Nikon F100. But the SiliconFilm was soon buried by the pace of digital progress – it soon became clear that photographers would rather trade in their expensive film gear for a digital SLR.
這些問題就像一個接一個沉沒的概念，SiliconFilm在2000年推出的產品，就是為了讓近代底片單眼如nikon F100能夠繼續在數位時代使用，但這公司很快的就被數位技術發展進程給淹沒了，事情很快的變得清楚：攝影者寧願把底片器材賣掉換成數位器材。
Concepts like these also presumed that film would become increasingly rare and hard to find – you'd want to buy something like this on your Leica III or Minolta SLR because Kodak and Ilford would be names from the past. Here's one major problem with that – film has not only survived the digital revolution, but film sales have started to rise again. Old films that had been pulled are even returning.
而這些概念也假定了底片會越來越稀有，你會想買這些底片替代品給leica III或minolta相機用，因為kodak和ilford已經是過去式，但這有個主要問題，底片不只從數位革命活了下來，而銷售量卻也開始再次上升。老牌底片也曾被回復生產。
People who want to use their parents of grandparents film cameras can still buy film – perhaps no longer from a store in their town, but film on the internet is a couple of clicks away. If you want to shoot on something that harks back to the golden age of film photography, you don't have to shell out for something digital that's trying to evoke it.
想用祖父母的相機的人們仍然可以買到底片，或許不再是他們鎮上的商店，而是得在網路上點擊幾下，如果你想用些底片攝影黃金年代的媒材，你不必為了搞這些而想出個數位東西出來。
"All of these faux-digital…figital developments do have one important consistency, however," says EM. "They miss the point. Film as a medium provides something that most digital cameras are unable to produce and it’s not dynamic range, in case you were wondering. Film photography provides the photographer with a connection with the medium, a connection and involvement with the process and the feeling of having created something real. No amount of fake film cartridges or "winders" are going to come close to matching that, and therein lies the problem."
「這些數位偽物發展都有個重要的一致性，然而」EM說，「他們忽略了一個重點，作為一個媒材，底片提供了數位相機做不到的，這不是在說動態範圍。底片攝影讓媒材與拍照者有所連結，一種創作真實的過程裡的連結和參與感。沒有假片匣或過片桿可以匹配這些，這就是問題所在。」
Lloyd says there is plenty of room for film and digital photographers to shoot as they wish, without having to confuse things with a third format. “Personally, I shoot film because I like the mechanical feel of ‘pre-EOS’ systems in all sizes; particularly medium/large format, as well as the flutter that I still get when I pull a roll of film out of the developing tank or wait for my processed film to return in the post. Essentially, I know that if I didn’t get the result I was hoping for, it’s most likely my fault because a film camera is generally a light-tight box with a lens on the front. However, I’m also a digital shooter and strongly believe that both systems play their part in my hobby.”
(懶的翻譯，反正就是老外說，他喜歡用底片，但其實也都在用數位)
Japan Camera Hunter's Bellamy Hunt is one firm film fan who believes a hybrid camera could work – but with a caveat. Hunt has already unveiled plans to try and make a high-end 35mm compact camera, and at its launch last month said h intended it to have a digital sensor aswell.
JCH，底片粉，最近說在設計一台35mm相機，同時也有數位感光元件。
“I think the concept of a true hybrid camera is a good idea, after all that is what I am currently working one,” he says. “What I think is damaging to the market is the cameras being called hybrids, when they are clearly not. The Yashica camera is not a hybrid, it is a digital camera with a gimmick that is designed to play on the sentiments on people who revere the Yashica brand.
「我想一台真正的混血相機是個好點子，畢竟我正在做啊，」他說，「我想會摧毀市場的是那些美其名混血，但實際上不是的相機。Y35不是混血，那只是玩弄對於yashica尚有情懷的人的手法。」
"I am also opposed to the idea of making a unit that can ‘convert’ a film camera to digital. The fundamental idea of this is flawed in my opinion. Film cameras and the lenses were designed for film and would perform quite poorly with a digital unit. If you want to get the film look shoot some bloody film."
「我也反對那些想將底片相機轉成數位相機的想法。這些想法在根本上就有缺陷，底片相機和鏡頭是設計給底片使用的，在數位上表現必然很差。如果你想讓底片拍起來就像些鳥爛底片一樣。」
Hunt believes the effort would be better directed at helping keep the film cameras we do have going as long as possible – as well as introducing new models that will keep the format alive for those too young to have lived through its golden age.
Hunt相信製作一台真正的混血相機，才能讓底片相機盡可能存活，甚至讓這些媒材存在到那些來不及參與黃金年代的年輕人身邊。
"It is a retrograde step, it is not solving any problem or helping to advance the use of film. It is a shame as there are some clearly talented people working on non-issues, when their expertise could be put to better use in say, making a completely new camera for example. If we want to help bring film to a new audience then we should be working in this direction together. If you want to make a digital camera then make a digital camera that looks like a classic camera.
「Y35是走回頭路的，那並沒有解決任何問題或推廣底片使用。對於那些才華洋溢的人們來說，針對不是問題的問題工作，根本就是恥辱，他們完全有能力做更好的事情，比方說做一台全新的相機。如果我們想要推廣底片給新的一群人，那麼我們就應該在同樣的方向上努力。如果你想要做一台數位相機就做一台數位相機看起來像一部經典相機。
"Old cameras do not need to be made new. We should be working on ensuring that the classic cameras we have can be used for generations to come. And that new cameras and systems are coming onto the market to ensure a new generation of photographers."
「老相機不需要被翻新。我們應該做的是確保那些我們擁有的經典相機在未來的世代裡還可以使用，而新相機和系統也將會來到市場，給新世代的攝影者使用。」
FILM HAS NOT ONLY SURVIVED THE DIGITAL REVOLUTION, BUT FILM SALES HAVE STARTED TO RISE AGAIN
這些問題就像一個接一個沉沒的概念，SiliconFilm在2000年推出的產品，就是為了讓近代底片單眼如nikon F100能夠繼續在數位時代使用，但這公司很快的就被數位技術發展進程給淹沒了，事情很快的變得清楚：攝影者寧願把底片器材賣掉換成數位器材。
Concepts like these also presumed that film would become increasingly rare and hard to find – you'd want to buy something like this on your Leica III or Minolta SLR because Kodak and Ilford would be names from the past. Here's one major problem with that – film has not only survived the digital revolution, but film sales have started to rise again. Old films that had been pulled are even returning.
而這些概念也假定了底片會越來越稀有，你會想買這些底片替代品給leica III或minolta相機用，因為kodak和ilford已經是過去式，但這有個主要問題，底片不只從數位革命活了下來，而銷售量卻也開始再次上升。老牌底片也曾被回復生產。
 |
| The pioneering Silicone Film Concept (Pic: Silicone Film) |
想用祖父母的相機的人們仍然可以買到底片，或許不再是他們鎮上的商店，而是得在網路上點擊幾下，如果你想用些底片攝影黃金年代的媒材，你不必為了搞這些而想出個數位東西出來。
"All of these faux-digital…figital developments do have one important consistency, however," says EM. "They miss the point. Film as a medium provides something that most digital cameras are unable to produce and it’s not dynamic range, in case you were wondering. Film photography provides the photographer with a connection with the medium, a connection and involvement with the process and the feeling of having created something real. No amount of fake film cartridges or "winders" are going to come close to matching that, and therein lies the problem."
「這些數位偽物發展都有個重要的一致性，然而」EM說，「他們忽略了一個重點，作為一個媒材，底片提供了數位相機做不到的，這不是在說動態範圍。底片攝影讓媒材與拍照者有所連結，一種創作真實的過程裡的連結和參與感。沒有假片匣或過片桿可以匹配這些，這就是問題所在。」
Lloyd says there is plenty of room for film and digital photographers to shoot as they wish, without having to confuse things with a third format. “Personally, I shoot film because I like the mechanical feel of ‘pre-EOS’ systems in all sizes; particularly medium/large format, as well as the flutter that I still get when I pull a roll of film out of the developing tank or wait for my processed film to return in the post. Essentially, I know that if I didn’t get the result I was hoping for, it’s most likely my fault because a film camera is generally a light-tight box with a lens on the front. However, I’m also a digital shooter and strongly believe that both systems play their part in my hobby.”
(懶的翻譯，反正就是老外說，他喜歡用底片，但其實也都在用數位)
 |
| The plans for Japan Camera Hunter’s new film compact, unveiled last month (Pic: Camera Ventures/Japan Camera Hunter) |
JCH，底片粉，最近說在設計一台35mm相機，同時也有數位感光元件。
“I think the concept of a true hybrid camera is a good idea, after all that is what I am currently working one,” he says. “What I think is damaging to the market is the cameras being called hybrids, when they are clearly not. The Yashica camera is not a hybrid, it is a digital camera with a gimmick that is designed to play on the sentiments on people who revere the Yashica brand.
「我想一台真正的混血相機是個好點子，畢竟我正在做啊，」他說，「我想會摧毀市場的是那些美其名混血，但實際上不是的相機。Y35不是混血，那只是玩弄對於yashica尚有情懷的人的手法。」
"I am also opposed to the idea of making a unit that can ‘convert’ a film camera to digital. The fundamental idea of this is flawed in my opinion. Film cameras and the lenses were designed for film and would perform quite poorly with a digital unit. If you want to get the film look shoot some bloody film."
「我也反對那些想將底片相機轉成數位相機的想法。這些想法在根本上就有缺陷，底片相機和鏡頭是設計給底片使用的，在數位上表現必然很差。如果你想讓底片拍起來就像些鳥爛底片一樣。」
Hunt believes the effort would be better directed at helping keep the film cameras we do have going as long as possible – as well as introducing new models that will keep the format alive for those too young to have lived through its golden age.
Hunt相信製作一台真正的混血相機，才能讓底片相機盡可能存活，甚至讓這些媒材存在到那些來不及參與黃金年代的年輕人身邊。
"It is a retrograde step, it is not solving any problem or helping to advance the use of film. It is a shame as there are some clearly talented people working on non-issues, when their expertise could be put to better use in say, making a completely new camera for example. If we want to help bring film to a new audience then we should be working in this direction together. If you want to make a digital camera then make a digital camera that looks like a classic camera.
「Y35是走回頭路的，那並沒有解決任何問題或推廣底片使用。對於那些才華洋溢的人們來說，針對不是問題的問題工作，根本就是恥辱，他們完全有能力做更好的事情，比方說做一台全新的相機。如果我們想要推廣底片給新的一群人，那麼我們就應該在同樣的方向上努力。如果你想要做一台數位相機就做一台數位相機看起來像一部經典相機。
"Old cameras do not need to be made new. We should be working on ensuring that the classic cameras we have can be used for generations to come. And that new cameras and systems are coming onto the market to ensure a new generation of photographers."
「老相機不需要被翻新。我們應該做的是確保那些我們擁有的經典相機在未來的世代裡還可以使用，而新相機和系統也將會來到市場，給新世代的攝影者使用。」
