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

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You'll want to listen to the discussion to really get the details of how the film is made, but here are a few of the most interesting tidbits about the revival process (for us anyway): 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.

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. 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. 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.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.

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. The rise of these new slide films, especially Fuji’s Velvia, combined with a general decline of slide film use throughout the 1980s and 1990s to see Kodachrome getting squeezed out. As far as Kodak offerings went, Ektachrome was the new reversal king. 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.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. 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 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. From what I gather, Ektachrome is a more modern film (with its associated process, E-6) and solves some problems Kodachrome had — while it introduces some other problems for some. It’s a more convenient and economical process, less prone to development errors and does not require a complex machine like Kodachrome did. 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.

Bunting, Roger K. (1987). The Chemistry of Photography (2nded.). Normal, IL: Photoglass Press. p.126. ISBN 0-9616724-0-4. 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.I think it’s time wrap this up with some more condensed statements. Kodak Ektachrome E100 is a high risk, high reward film. I had more duds exposure-wise from this one roll than I’ve ever had before. Perhaps across every negative film I shot added together. Chromogenic photographic process An example of slide film requiring development using the E-6 process 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. Ektachrome 120 is the fantastic E100 colour slide film from Kodak in medium format glory. Enjoy the unique experience of colour positive film, with the fantastic image area and resolution of medium format. Shah, Saqib (September 25, 2018). "Kodak's retro Ektachrome film arrives after a long wait". www.msn.com . Retrieved September 26, 2018.