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

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Ektachrome Movie process introduced in 1971 (movies without movie lights). The process was later designated EM-24 This film also has vibrant color reproduction, and is the in-camera equivalent of dragging your saturation slider all the way up. Slide film, also known as reversal or positive film has all the colours looking natural immediately after development. This type of film was created to be projected on a screen (which wouldn’t work with negative film). The projection was useful for creating slide show presentations of yesteryear, as well as for screening movies. 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.

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.) In the introduction to this Ektachrome E100 review, I mentioned that its release was one of the best things to happen to analogue photography in the last few years and that anyone who shoots film should be happy with its return. So let’s go through a few reasons why. Other than resolution, dynamic range, and accurate colour rendition, Ektachrome E100 has a few modern features no other film can claim. One that stood out to me immediately after reading the spec sheet is its 80+ year storage stability in a fridge.

1996

Most B&W films have a generous ~5-stop exposure latitude, and most color films have a ~3 stop exposure latitude, which means that you can miss the mark and still come away with a great image. In my first post I talked about how I made the mistake of thinking I needed to underexpose this film slightly. In the comments and elsewhere it was recommended that I try using an incident meter rather than a basic iPhone meter and guessing. Regardless of the method of metering I was going to use moving forward, I concluded that I should stop concerning myself with hearsay about how to best expose reversal film, and just concentrate on exposing it accurately. My favourite image from my first roll Easy exposure with familiar cameras

That all sounds like things you can get with various colour negative films too, though. For me, with my limited experience of shooting it, what sets slide film apart is what I think comes from the sum of all the parts mentioned above. Here are some portraits shot in high contrast direct sunlight and metered for the mid greys (exposure). The Kodak Ektachrome image may have been shot just as the sun went behind a cloud as it was less bright vs the Provia example. Some of the Fuji Provia 100F film highlight detail was lost but the image was not terrible. 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. The magnitude of Kodak successfully rereleasing a film like Ektachrome is huge. It’s also a milestone that, frankly, many of us never thought possible. When the staff here at CP first heard whispers of an Ektachrome revival, we were happy, but skeptical. We’d been through this before with other film projects. Big promises on social media to #keepfilmalive, the flashy promotional campaign, the buzzworded crowdfunding, and the whole load of nothing that happens afterwards. For more than a year we heard just a few intermittent reports that Ektachrome was still coming. But we were entirely ready to be disappointed again.At the risk of making this a very short review, I’ll come right out and say that I completely agree with what they say. Kodak E100VS has super fine grain, great sharpness, rich colors and produces really vivid slides. I see people talk about the colours you get from Ektachrome E100. About how they’re rich and bright. And also the contrast, sharpness, and fine grain brought about by Kodak’s T-grain emulsion technology.

If Velvia 50 is Walt Disney, Velvia 100 is Roy Disney – the less popular version of its celebrity sibling. I’ve seen Velvia 100 attract a lot of negative comments, usually labeling it inferior in comparison to Velvia 50, but I think this reputation is undeserved and there are situations where Velvia 100 is preferrable. The praise lavished on slide film in this section was prefaced with when shot well, and that’s something else that sets it apart from negative film. The increased need to shoot it well. And when I say well, I really mean well-lit and well-exposed. What type of film is this? – Photo.net Film and Processing Forum". Photo.net. Archived from the original on September 29, 2007 . Retrieved May 14, 2015. The film photographer's best resource for vintage film and cameras". Film Photography Project Store. A film great for travel, landscapes and architecture (but not weddings and portraiture unless you wanted to enhance red complexions) E100VS was Kodak’s secret xpro weapon. I must admit I used to shoot this as a slide film – especially in winter light, where it enhances the naturally rich, red light – but when I cross-processed my first roll it was nothing less than a revelation.

1987

I just retired and am finally arching my Ektachrome 120 and Kodachrome images from when I was in the Air Force from ‘75-79. I shot the 120 with a Pentax 6X7 and a Yashica TLR. The Kodachrome with a Nikon. I was stationed in California for a little over a year and then Germany for 2-1/2 years. I was all over Europe and the Middle East. It just took me 3 weeks to sort through and semi-catalog each image. Even after discarding 40-50% of the images, I ended up with 800 of the 6×7, 100 of the 6X6, and 300 of the Kodachrome. Of those, I would say about half of each are ones that I am really happy with and worthy of display. I suppose that’s fitting – by all rights, Ektachrome shouldn’t even be here. Up until a few months ago it was all but certain that we’d be saying goodbye to E-6 slide film. Kodachrome fell in 2010. Fujifilm, though producing some of the best film in the game, keeps cutting film from their catalog like a bitter ex deleting every photo of you off of their phone. And even though film is experiencing a resurgence, it never looked like the difficult, strange pleasures of slide film would ever be attractive to new shooters, not to mention film manufacturers. I’m really happy with the outcome, but I can’t help wondering if the NEF raw files from my Sony A7R3 will give me a bit more room for manoeuvre and/or give me better control. Next steps