Kodak Ektachrome E100G Colour Slide Film ISO 100 35 mm 36 Exposures Transparent

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This step is carried out to completion. The developer contains CD-3 developing agent, and acts upon the chemically exposed silver halide that was not developed in the first developer to form a positive silver image. The metallic negative silver image formed in the first developer has no part in the reaction of this step. As the color development progresses, a metallic positive silver image is formed and the color developing agent is oxidized. Oxidized color developer molecules react with the color couplers and color dyes are formed in each of the three layers of the film. [6] Each layer of the film contains different color couplers, which react with the same oxidized developer molecules but form different color dyes. Variation in color developer pH causes color shifts on the green-magenta axis with Kodak E100G & E100GX and Fujichrome films and on the yellow-blue axis with older Ektachrome films. [12] Slide film is difficult to produce; it has more layers than colour negative film and requires specific processes and components. This unfortunate reality eventually led to the complete disappearance of all Ektachrome (and its Elitechrome rebrand products) from the shelves in 2013. The wide variety of film speeds, up to ISO 400, including the tungsten-balanced versions, were all suddenly gone. When you have a film that demands you get the light exactly right before it gives you decent results, using it to shoot street photography isn’t the most logical thing to do. Process history [ edit ] E-1 Initial Ektachrome process for sheet and roll film (1946 – c. 1950s) [11] [12] E-2 Updated Ektachrome process for roll film and 135 film (1955–1966). [13] [14] [15] A 1959 modification was called "improved" E-2. [16] E-3 Updated "professional" Ektachrome process for sheet film and Kodak EP professional rollfilm (1959 to 1976) E-4 Updated Ektachrome process for roll film and 135 film (1966–1996, see note) [17] E-4 was better at resisting fading than the earlier processes, with a life around 30 years. [18] E-5 Research project, only saw minor use in a revised form as the aerial film process AR-5 E-6 Current Ektachrome process used for all major color reversal films and formats, first released in 1977. The conditioner, bleach and stabilizer baths were modified in the mid-1990s to remove the formaldehyde from the stabilizer: This change was indicated by changing the names of the conditioner step to pre-bleach step, and the stabilizer step to the final rinse step; E-6P: Used for push processing of Kodak Ektachrome films in general, and particularly for Kodak Ektachrome EPH ISO 1600 film, [19] which has a speed of ISO 400 in normal E6, but is exposed at EI 1600 and push processed two stops in the first developer bath (10:00 @100.0°F) to achieve the ISO 1600 speed rating. (It is natural for a faster film to require a longer first development time. This is sacrificed in the case of most color processing for consistency in processing, especially in machine processing.)

Whereas the development process used by Kodachrome is technically intricate and beyond the means of amateur photographers and smaller photographic labs, Ektachrome processing is simpler, and small professional labs could afford equipment to develop the film. Many process variants (designated E-1 through E-6) were used to develop it over the years. Modern Ektachrome films are developed using the E-6 process, [6] which can be carried out by small labs or by a keen amateur using a basic film tank and tempering bath to maintain the temperature at 100°F (38°C). That said, slide film can be developed using the C-41 method if you want to do something called cross-processing. This will result in colour shifts and increased contrast, which some people love and others think is a waste of good slide film.When I walked out the doors of my local camera store holding an actual roll of new Kodak Professional Ektachrome E100, I was astonished. Those crazy folk from Rochester actually did it , I thought. They revived slide film .

To see what each film could do I tried to shoot Kodak Ektachrome E100 and Fuji Provia 100F in a variety of lighting conditions. E6 slide film is known to have limited latitude compared to colour negative films. As such it is more common to shoot slide film in subdued light where there is less contrast. Personally I love hard light such as direct sunlight so I put the films to the test. Spoiler alert Chromogenic photographic process An example of slide film requiring development using the E-6 process Two further things came out of that experience, the first was that I was sometimes getting more of a shift to blue than I expected – which I suggested at the time might be a combination of underexposure and colour balance. The film also seemed to have a very strong ability to recover shadows. On my first roll of film through the Nikon F5, I had accidentally set my exposure compensation to underexpose by 1.3 stops, rather than overexpose by 1.3 stops, compensating for the white snow/ice I was metering. So, as you can fully imagine, everything was drastically underexposed. I decided to go ahead and drum scan a frame from that roll to see what I could pull out, and the results surprised me. Despite its marketing as a professional film, Ektachrome is not the most capable, most accurate slide film on offer.”

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They've already produced some 'pilot coatings' that they are testing to ensure they're ready to mass produce Ektachrome that's up to snuff. I’m not sure that these digital representations really do the film justice. When I put any of the originals on my light table, they look far better than any of these. Perhaps that’s due to Ektachrome’s roots lying in projection of the images as slides, perhaps it’s subjective reactions. Either way, it’s an incredible film. Schwartz, Dan (March 8, 2004). "Why two step fixing is a Really Good Thing". Photo.net. Archived from the original on June 24, 2007 . Retrieved 2007-07-04. Note this Photo.Net discussion thread reprints the technical paper Post Development Processing by Dr. Michael J. Gudzinowicz (1998).

The 70+ year era of Kodak slide film was over. And while I wasn’t paying attention at the time, I imagine most people thought it was over forever. In a word, there’s just a lot more depth than I’ve gotten before from even the best colour negative films I’ve shot like Portra 400 or Ektar 100. Keep in mind that the results from slide films these days may vary both based on who’s developing them and based on how they’re scanned (or viewed). A slight difference in the developing procedure may change the characteristics of the film. A slight difference in scanning setup and parameters (or in the light used for viewing a slide) may change how the film looks after developing and scanning/viewing. There was a Kodachrome 200 and it did not do colors the same as Kodachrome 64 or 25. and had lower contrast than Kodachrome 64 or 25. (And it also may not have the long-term storage of 64 or 25; I have various stuff I shot on Kodachrome 200 a couple decades ago or so which has gotten a pinkish tint since, though I can’t tell whether it got worse over time or just shifted once.)

Note by the daylight, overcast line it says 7000k and by the cloudy day line it shows that the colour temperature can be as high as 8300 Kelvin. With Kodak E100 being daylight (5600k) balanced, no wonder I was getting such a blue shift from the parts of the day that were cloudy… Ektachrome E100 is one of the sharpest modern colour emulsions. The film resolves at an RMS granularity of 8 , the same as Fujichrome Provia 100F but significantly finer than Fujichrome Provia 400F ’s RMS 13. The most notable benefit for E100 for me was its overall sharpness. When using proper technique and with limited diffraction, the film does seem to be incredibly sharp. Particularly with images with a shallow depth of field, where your subject is in focus and you have a clear out of focus area, the prints resolve amazingly at 24×36”. While pouring through images, pixel peeping each drum scan at 100%, I couldn’t help but be wowed by the sharpness I was seeing with 35mm. Below is an example of a 100% crop from a drum scan of a 35mm E100 frame. After running several different reversal films in E-6 chemistry lately, I have a particular appreciation for Ektachrome’s behavior after drying. I’ve found that it’s relatively flat when dry, with no longitudinal curl whatsoever for me. Laterally, there’s a very slight curl, but the strips of film load and sits quite well in my Epson V800 scanner’s film holders. Contrast that to Fuji’s Provia, which has a dramatic lateral curl toward the emulsion side, making scanning a painful chore; the film has to be taped down to even stay in the film holder. I can say this with confidence: I’ll never buy Provia again for that reason alone. In short, I love how cooperative Ektachrome is to my workflow. As a slide film, Ektachrome is designed to be developed using the E-6 process, which has evolved from the original E-1 process of 1946 via the E-2, E-3, E-4, and E-5 versions.

To get closer, let’s first take a tip from St. Thomas Aquinas and define this film in terms of what it is not. Despite its marketing as a professional film, Ektachrome is not the most capable, most accurate slide film on offer. That title still belongs to Fuji Provia 100F. Provia is a more versatile film because of its wider exposure latitude, and for my money, it’s a more accurate film when it comes to color balance. If pressed for a job that required an accurate color slide film, I’d choose Provia over Ektachrome. Although the names sound similar, there are three different types of slide films that make up the current offering from Fujifilm, and each are distinct with their own specific strengths and weaknesses. Fujichrome Velvia 50In Adobe Photoshop — or any image editing software that has Curves or Histogram tool — select an individual colour channel, i.e., red. Then, move the Input/Output thresholds on the graph to match the points where the histogram terminates (see: Figure 2). Repeat the process for blue and green channels. Your resulting image should now have improved clarity and a much better colour rendition. For more details, see this article . Initially released in the 35mm form we’re reviewing here, the range has since been beefed up with a 120, large format sheet, and even a Super 8 movie film version too. Bunting, Roger K. (1987). The Chemistry of Photography (2nded.). Normal, IL: Photoglass Press. p.126. ISBN 0-9616724-0-4. Process E-6 Using KODAK Chemicals, Process E-6 Publication Z-119 | Chapter 10: Rotary-Tube Processors" (PDF). Kodak. Archived from the original (PDF) on February 5, 2005. While the faster ISO speed/1-stop advantage makes this a marginally more versatile film than its slower counterpart, you really have to be dead-on with the exposure as Velvia 100 has an extremely low dynamic range.