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

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I’ll confess that this perception is likely little more than the fact that you can look at a finished piece of reversal film and see the image in its finished form, whereas a color negative is a bit enigmatic. And in this age of hybrid processes resulting ultimately in a digital image, things like color palettes, color saturation, contrast, etc. can always be easily tweaked in Photoshop or Lightroom (not to mention outright faked), so this matters much less than it once did. But nevertheless, Ektachrome provides rich, perfectly saturated, authentic color reproduction that’s a joy to look at. In fact, it brings me joy simply to sleeve my medium format Ektachrome in PrintFile sheets, lay it on a light table, and admire the vibrant results. The main direct competitor to Ektachrome, Fuji’s Provia, is also quite nice, but I strongly believe Ektachrome provides superior color reproduction. Former Kodak Processing Plant Property: Voluntary Cleanup Program" (PDF). Mde.state.md.us. Archived from the original (PDF) on March 4, 2016 . Retrieved May 14, 2015. Perhaps the next time I shoot some Ektachrome, I’ll do all of the above. But for this one, I just wanted to shoot it as normal – and by that I mean as I would a colour negative film – and see how it turned out. Maybe like an experiment to set a baseline for my knowledge of what to do and what not to do with it. With slide film though, you don’t have that luxury. A shot underexposed by a stop will come out underexposed. A shot overexposed by a stop will come out overexposed. In truth, I find that easy to accept. If my exposure is off by that much, maybe I deserve a ruined shot.

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. Film prices often fluctuate a little depending on supply and demand. Fuji Provia 100F is currently slightly cheaper than Kodak Ektachrome E100 (at the time of writing). Kodak Portra 160 seems to be the cheapest option if you want to shoot medium format colour photos. In the past 120 Kodak Ektar was cheaper than Portra 160. The discontinuations began in 2009 – incidentally the same year as Kodachrome went – with Ektachrome 64T and Ektachrome 100 Plus being the first to go. This trend continued until the entire range was gone in 2013. What are the advantages of this troublesome film? Ektachrome’s technical data sheet notes a remarkable sharpness and a neutral, but rich color palette, which should result in a truer-to-life image compared with most C41 film. While this is objectively true, it only scratches the surface of what this film really is. Let’s dig a little deeper.I'm probably not Googling this correctly, but I'm confused about Kodachrome and Ektachrome. I love slide film myself and like to use it when I can afford to buy it! So the return of Ektachrome has peaked my interest. But I am a little muddled. All film is getting increasingly expensive, and seemingly the pandemic only made the pre-existing conditions worse. Kodak, in particular, however, seems to have raised prices more rapidly and to higher overall levels than its competitors; it’s been the subject of blog posts, forum conversations and podcasts throughout the film photography community for awhile now, so no need to rehash that here. To shoot Ektachrome, you really have to want to. For me, it’ll remain a choice that I’ll continue to justify, but it’s getting harder and harder to do so. 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. Let’s hope that the resurrection of EKTACHROME will turn the tide and create a whole new generation of film lovers. In the 1960’s and ’70’s I used K25 and K64, together with Ektachrome 64 and 100. In my ignorance, I’d always try and buy films with the longest use-by date, but this was governed by what was on the shelves of dealers. What I noticed with Kodachrome in particular was a distinct difference between the really fresh films compared to those with much later use by dates.

September 25: Kodak Alaris announces the public release of new EKTACHROME E100 in 35mm format. 8mm and 16mm to follow.

1976

These days it can be difficult to find labs that process slide film, let alone labs that process it in-house. Here at The Darkroom, it’s one of our specialties! We have been dip & dunk processing E-6 slide film in-house for over 25 years. The mighty Kodak also made the Elite Chrome range aimed at consumers alongside the pro-spec Ektachrome films. Like Precisa, these films were more wallet friendly than their professional grade brothers. And if there’s one thing that LOMOgraphers liked, it was cheaper film. 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.

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. 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.) If you have a petrol station or pharmacy or any other store near you that still sells a limited range of film, I’d say they’re probably not going to have any Ektachrome E100 next to their Gold and / or ColorPlus. When Ektachrome overexposes or loses detail in the shadows, it does so gradually and gracefully. There is no banding as you’d expect from a digital camera, and with a good scanner , a lot can be restored from underexposed areas. The fine grain of the E6 slide film is far superior to the detail captures than most colour negative films. Kodak Ektar 100 grain is finer than Kodak Portra and Fuji Pro 400H. Cinestill 50D (Kodak Vision3 50D) is also very fine grain but with it’s own colours. Personally I find 35mm Kodka Portra 400 often too grainy for my taste and I sometimes opt for the cheap Fujicolor C200 film that has less apparent grain. Film expsoure latitudeWhile I’m not exactly a wildlife photographer, I did enjoy photographing portraits of wildlife with 35mm, which probably how I would tend to shoot this film in the future. While I would be comfortable printing some of my images up to 24×36″, most of those images are from a telephoto lens with a shallow depth of field, which doesn’t require a ton of resolving power. It was used everywhere too, on this planet and off it. Ektachrome images were a staple of National Geographic magazine, Neil Armstrong shot it on the moon of all places, and it was also the film on which the iconic Earthrise photograph was taken. The image below is one that I pulled from the darkness, so to speak. Fortunately, the light was very flat, the tones were very even, and everything came out very clean. That being said, I think my results could be challenged with an underexposed image with more dynamic light, but I was still impressed with the information the film stored in the shadows.