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

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Other colour-shifted shots have a blue yet slightly cloudy sky and no shadows on the ground, which makes me think the sun had gone briefly behind an altocumulus at the time I took the photograph. 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. This bath prepares the film for the color developer step. A chemical reversal agent is absorbed into the emulsion, which is instantly effective. The reversal step can also be carried out using 800 footcandle-seconds (8.6 klx·s) of light—this variation is used by process engineers to troubleshoot reversal bath chemistry problems such as contamination and issues of low tank turnover as process volumes decline. [6]

The Super-8 version was exhibited at the 2018 Consumer Electronics Show, and was named Ektachrome 100D 7294.When shooting inanimate objects like these below, I don’t think I did too badly in that respect. They’re slightly duller and bluer than those three posted above, but they are a lot better than some of the bad ones you’ll see in the next section.

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. The transparency also features a clear base (low D-min) for “whiter, brighter whites.” This is relevant for projection and getting better results with initial scans — although the histogram equalization technique, outlined above , should take care of any fogging either way.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. 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 We knew that Kodak Ektachrome 100, and E6 film generally, are known for extremely fine grain, and clean colours. And it is the colours that are the first thing you notice when you see the photos. We are really impressed at how the film has handled colour tones. Bright colours like the reds really pop, and natural tones such as the blues and greens remain true to life. If colour accuracy is important to you, then you have to try this film. Kodachrome (PKR, PKL, depending on whether it was the consumer or professional emulsion) had irksome blue sky tones, while Ektachrome, while (mostly) faithful to the scene, suffered the usual problems of vainly trying to equalise tones in a high contrast scene (common with all E6 films), and it could be very, very blue. I’m really happy with the outcome, but I can’t help wondering if the NEF raw files from my Sony A7R3 will give me a bit more room for manoeuvre and/or give me better control. Next steps