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

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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. EDIT: Kodak is making slide film again. Say hello to Kodak EKTACHROME E100! Read the Kodak EKTACHROME E100 review at EI 100, 200, 400 and 800 here. In my 3rd post, which documented my 4th roll, I began my experiments with an incident meter. I am aware of the concepts of incident metering, but I’m not well-practised. As such, my feeling was that if I combined learning how to better incident meter when shooting reversal film I would increase my knowledge of how to expose Ektachrome E100 as best as possible as well as also bettering my incident meter skills.

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… The American film’s giant’s answer to Fujifilm’s super-contrasty Velvia films, E100VS (VS stood for Vivid Saturation) was aimed at landscape photographers when it was released in 1999. It remained one of the last slide films in Kodak’s roster until it pulled the plug on the Ektachrome films in 2012. As such, I thought I would write a bit of a post summarising my experiences and findings so far, as well as talking a bit about my latest 3 rolls and where I am going next. So just to bring you all up to speed… First experiences 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. LOMOgraphers across the world mourned the loss of this film when Agfa’s consumer film division went to the wall in 2005. CT100 was relatively uncommon in the US but a hugely popular ‘slide film for the masses’ in Europe.

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.

How will new EKTACHROME compare with the original? Well, images I have seen from film sent out for Beta testing certainly have that EKTACHROME look. Advice I see for shooting slide film is to do so at box speed in good light and meter for the mid-tones. If you need more guidance, read up or ask people more experienced than me on how to get the best out of it. But a lot of it was also down to the film. LOMOgraphy’s most dramatic colour palettes came when the cameras were used with cross-processed slide film (slide film developed in the C-41 colour negative process rather than the traditional E6 slide chemicals). The colours were more dazzling than traditional negative film, the colour shifts rich and impressive, the contrast bold and brilliant. Kodak Ektachrome 100D Color Reversal: Film 5285 / 7285 Discontinued" (PDF). Motion.kodak.com. Archived from the original (PDF) on November 2, 2013 . Retrieved May 14, 2015.

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E100VS Film also features KODAK T-GRAIN® Emulsions for very fine grain and an unsurpassed level of sharpness in a 100-speed film….E100VS Film is ideal for photographers who must create high-color transparency images that spring to life on the light box. It’s an appropriate choice for nature, scenics, wildlife, food, jewellery, and any subjects that call for brilliant, dramatic hues. 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). 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.

Ektachrome is perhaps one of the most legendary films of all time – if you grew up reading National Geographic magazines then chances are that you’ve already seen your fair share of Ektachrome images. Shah, Saqib (September 25, 2018). "Kodak's retro Ektachrome film arrives after a long wait". www.msn.com . Retrieved September 26, 2018.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. 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. 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. Today, slide film is kept alive by the most hardcore of hardcore film shooters who love it for its high-risk, high-reward nature. They’ll gladly trade hard work, mental toil, and untold amounts of disposable income for the rich, vivid, and true-to-life images only slide film can bring. I’d even say those same shooters enjoy the laborious process of shooting slide film because it is the very antithesis of the fast-paced, ephemeral nature of modern photography. If you like film photography, you’ll probably like slide film. 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.

In case you’re wondering, a transparency or reversal or slide film is a film that gives you full colour slides – hence that name – instead of the negatives you get from regular colour or monochrome negative film. Once you’ve shot your slide film, these are brilliant things to have and to look at. But as the massively-diminished ranks of film photographers began to replenish , Kodak had a change of heart. Less than five years after complete discontinuation, the company announced the return of Ektachrome.I 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. Would I shoot portraits on slide film again? Absolutely! I plan too. I really like the colours of slide film, specifically Provia and Ektachrome as featured here. Velvia can often be a bit too saturated for portraits but it is not impossible (again see below). Film grain