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

Product Information

It’s also very forgiving for a reversal film, and has more dynamic range than most slide films, which makes it great for negative shooters who want to cross over to the positive side. 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. 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. 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. Ektachrome, initially developed in the early 1940s, allowed professionals and amateurs alike to process their own films. It also made color reversal film more practical in larger formats, and the Kodachrome Professional film in sheet sizes was later discontinued.

The Super-8 version was exhibited at the 2018 Consumer Electronics Show, and was named Ektachrome 100D 7294.

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. Elite Chrome EB: Often just called Elite Chrome 100. Kodak advertises this as “The daylight film is aimed at amateur photographers and amateurs”. There is no verifiable statements or information from Kodak, but it is widely reputed that EB was superior to EB3. Reportedly introduced to the market in 2003, 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.

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] 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. Elite Chrome EBX: Properly called Kodak EliteChrome Ext 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.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. My first time shooting and self-processing Ektachrome was a whopping four decades ago. Things have changed since my days trying to temper a water bath for the chemistry in the family bath tub; these days, I use an immersion circulator — sometime erroneously referred to as a “sous vide machine” — to temper the water bath in which my color chemistry sits while processing rolls.