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. 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. Kodak Ektachrome E100 film is a professional-grade 35mm slide film that delivers vibrant and true-to-life colours. It is perfect for capturing stunning landscapes, portraits, and any other subject you want to preserve in the timeless colour positive format. The aforementioned movies, Three Kings and Inside Man, both used Ektachrome in their production purely because they wanted the stylised effects you get from cross-processing it. While the consumer-grade Kodak colour negative films are hardy enough that they don’t need to be cold stored, the company does recommend on the datasheet that you keep your Ektachrome in the fridge until you come to shoot it.

The film photographer's best resource for vintage film and cameras". Film Photography Project Store. 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. 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.Ektachrome’s specificity makes it hard to place among other color films. It’s not a do-it-all film like Kodak Portra 400 or Fuji Pro 400H. It’s not even the cream of the crop professional tool like Fuji Provia 100F. If I had to place it anywhere, I’d place it close to Kodak Ektar in that it’s a bit of a character piece, even though it features a better overall color rendition than that film. But if I really think about it, Ektachrome stands alone.

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… 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. There is a good argument that the reason Kodachrome is gone is that the amateur movie film market just about dried up. 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. Before Process AR-5 there was EA-5 for aero film. This is a hot version of E-4 and similar to ME-4 for Ektachrome motion picture film.

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Calhoun, John (April 2006). "The ASC – American Cinematographer: Cop vs. Robber". American Cinematographer. American Society of Cinematographers . Retrieved June 29, 2013. 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. 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.

Ektachrome E100 with Vitessa L3. This scene was photographed in broad daylight; Ektachrome rendered the concrete slightly cooler than I remember but otherwise fairly accurately, including the skin tones. Specs and development. 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. I hope I didn’t give a false impression about ageing a film. Unlike the artificial accelerated ageing processes to assess the life of digital ink prints, the procedure was simply allowing the film to mature naturally in storage. Samples of the film batches would be processed from time to time and their colour balance assessed. Once a film had reached its optimal point it was put into cold storage to arrest further “deterioration”. The film was then released to dealers as the “Professional” version of the film, and who would have the relevant cooler facilities in-store. This extra labour accounted for the higher price charged. However, in some situations, particularly in underexposed regions, your Ektachrome scans may show fogging and colour shifts. This may be an appealing effect for some, but if you’d like to restore your colours and clarity to their full potential, there’s a simple method that will not add or take anything away from your image. Being a 50 ISO film, you already know that the grain is going to be extremely fine, which makes the amount of detail you can squeeze out of Velvia 50 second to none.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. Unlike other films that met the same fate in recent times though, its demise wasn’t prompted by the rise of digital cameras. The writing was on the wall long before that thanks to its complicated and outdated processing method that could only really be done by trained technicians. Velvia excels as a daylight landscape film, but not so much for portraits since it tends to oversaturate skin tones.