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

Product Information

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.

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 Voigtlander 35mm f1.2 ASPH lens can focus to 0.5 meters but a Leica film camera rangefinder only works to 0.7m. That means if you don’t concentrate you can have the lens set to 0.5m-0.69m and the camera rangefinder set to 0.7m and it will mis-focus. Easily done during fast paced model photography. Tamron 45mm f1.8 In doing that, the main problem I found after seeing the results was what it means to have the light just right when shooting. It’s not enough for it to just be a sunny day. Fuji (despite entreaties by myself and many others) has made the corporate decision to exit the film business, and are surprised by the exponential growth of Instax films. Film comprises a very small part of their overall business, and I think their rational is that film is a dying business, or at the least becoming a niche one they do not view as profitable. That is despite the fact Instax film has become incredibly profitable for them.

Easy exposure with familiar cameras

Once you’ve found a lab that’ll process your Ektachrome, you’ll no doubt discover that it’s generally a bit more expensive than C-41 (color negative) processing. In large part, it’s due to the dramatically lower volumes of E-6 processing done by most labs, but if home chemistry kits are any indication, it’s likely a chemical cost factor as well, which brings us to… KODAK PROFESSIONAL EKTACHROME Film E100 delivers extremely fine grain (rms 8), a low D-min for whiter, brighter whites, and features moderately enhanced color saturation with a neutral color balance and a low contrast tone scale. This film is designed for exposure with daylight or electronic flash.

High Speed Ektachrome, announced in 1959 [3] provided an ASA 160 color film, [4] which was much faster than Kodachrome. In 1968, Kodak started offering push processing of this film, allowing it to be used at ASA 400. [5] The film photographer's best resource for vintage film and cameras". Film Photography Project Store. There is a good argument that the reason Kodachrome is gone is that the amateur movie film market just about dried up. The people behind those have done what they can with the resources available to them. Producing film is a massive operation and it’s nigh on impossible for an individual or small business to make a genuine brand new one from scratch. It needs someone like Kodak to do it. Or Ilford with their Ortho Plus. Or Fuji with their Acros II (kinda made by Ilford).

1978

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. When you shoot a negative film, being over or underexposed by a stop or two probably won’t matter. It’ll have enough exposure latitude to still give you a decent image. The only exception I’ve found to this was Adox Color Mission 200, for some reason. 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.

You’ve seen already the three best-exposed shots I got from this roll. The first one below is okay too, but then they’ll get progressively worse to show you how things can change when shooting slide film in just slightly different or sub-optimal light. In contrast, with the exception of the very last Kodachrome K-labs, the processing machines for Kodachrome were very large and processed large reels of film made up of many customers' rolls spliced together on to one large roll. The processing machine I am familiar with was the size of a city bus (and much louder) and the reels of spliced film consisted of about one mile of leader, one mile of spliced film and then another mile of trailer. In busy times of the year, it was run almost continuously throughout a 24 hour day - reel, after reel, after reel. 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.My own experience with E100VS tells me that the film is a great performer. It covers bright and even harsh sunlight with ease. It produces deep, rich shadow detail and whilst not as super fine as Velvia 100, EV100S has a lovely, smooth grain structure that’s good for high-resolution digital work and large format printing. I am sure Fuji film is terrific, but I encourage photographers to use American film. If you are scanning to use as digital, then you are going to use Photoshop to perfect it anyway. I decided the only way I could get full use of 500 images was to display them on a large (55”) TV. The Images of Ektachrome 120 looks terrific. I just bought SilverFast Ai Studio/HDR and have a big project ahead of me the rest of the year during Covid. 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.

In my experience, histogram equalization was only necessary for some of the frames, particularly if the entire scene was underexposed. Grain structure, resolution, and sharpness. The Ektachrome process differs significantly from the Agfa Process AP-41, used generally until 1983 to develop films such as Agfachrome CT18 and 50s Professional. Overall, we are really impressed with this film. The only negative being the price, which is currently at the top end of our film range. This is probably the biggest barrier to shooting a load of this stuff. Putting that aside though, we’d certainly recommend it to anybody looking for high quality images and accurate colours. Kodak Ektachrome can really deliver. E6 Developing KitI should also mention before I go on that everything I’m about to say is my fault. I could have done a better job. I could have used a warming filter. I could have used a separate light meter and not just the one in my decades old Yashica Electro that I can’t be sure of the accuracy of. While 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. 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. 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. Kodachrome was a specially-formulated K-14 process that couldn't be done at the High Street store offering other types of film processing.