In the end, I mostly soaked up the atmosphere of the busy streets and confined my photos to the incredible historic sights that the city has to offer. The four rolls covered here were made up of some EKTACHROME I purchased myself and some sent to me by the lovely folks at Kodak Alaris – cheers guys. I shot the four rolls in two pairs as follows: Pair one:Roll 1 – Nikon F100 + Nikkor 50mm f/1.8 AF-D (EI 100 / box speed)Roll 2 – Nikon FM3A + Nikkor 50mm f/1.2 AI-S (EI 200 / 1-stop underexposed), Pair two:Roll 3 – Nikon F100 + Nikkor 50mm f/1.8 AF-D (EI 400 / 2-stop underexposed)Roll 4 – Nikon FM3A + Nikkor 50mm f/1.2 AI-S (EI 800 / 3-stop underexposed). Bright highlights mixed with deep shadows are particularly challenging for this film.

Alternatively, you could just get some from any of the usual online places instead. Everything I’ve shot before on negative film seems a little flatter and more two-dimensional in comparison. You can see from the Majorelle photos that the skies (bright but overcast on the day) are pretty much blown out, as are some of the whites in the fountain. It may not look much being held up there by my pasty white hand, but that dog-eared cardboard box with a wonkily-placed cartridge on top of it is one of the best things to happen to analogue photography in the last few years.

Shadows went… https://t.co/g96FXnEKXe.

As far as Kodak offerings went, Ektachrome was the new reversal king. I’m sure some have and that more will in Tetenal, Unicolor and FPP kits. That said, they are close enough for my purposes and I hope are for yours. Both on screen and especially when looking at the slides. A chunk of my fourth roll of Kodak Ektachrome E100 was about experimenting with an incident meter. I used the slide film the way I would normally use Kodak Ektar on the people and locations I would normally shoot. How to Shoot Kodak Ektachrome 120 Slide Film, Rate the Kodak Ektachrome at box speed;– i.e. Even with the few rolls I’ve shot – and despite the mistakes and issues I’ve varyingly had – I’ve got to the point now that I now feel comfortable enough with E100 in the ways I normally shoot.

View all photographs taken by EMULSIVE on 120 format film – 6×6, 6×7, 6×9, 6×12 and 6×17. Neutral color balance, natural skin-tone reproduction. It was clear to me that film was still the quality king, and it’s what an experienced photographer that I respected named Nathan Matthews recommended to me. Join my mailing list to receive new blog post notifications.

It's vivid, but not surreal.

I think my best results came when the sun was shining fully and pretty much shining fully from behind me. Until, like Uncle Kodachrome before it, a new technology started to affect its sales and usage. If I can get two identical lenses I’ll probably give this side-by-side test another crack at the whip.

A deeper look into projects created by yours truly and members of the analogue photography community. EMULSIVE is bringing the photographic community and industry together, one Community Interview at a time. This has nothing to do with its ISO rating either. Could it be the camera?

Although we lose some saturation in the edge marking/rebate area, the push processed images are deceivingly more saturated and vivid than those which were not. I was super happy with the results. I tried a sample roll of Kodak Ektachrome 100G (ISO 100). A deeper look into projects created by yours truly and members of the analogue photography community.

My go to emulsions were the Elite Chrome variants (standard and extra color).

Specifically, a 1950s Rolleiflex Automat K4/50 I’d recently borrowed and was really keen to try out.

Slide films always had much less dynamic range and were far less forgiving than negative films.

All of this adds up to a film with a classic look that can’t be replicated elsewhere, and shooting this film is a quick way to differentiate your work from the crowd.

Shooting the film at EI 200 and push processing one-stop results in a slight but pleasant difference in colour rendition and almost zero difference to grain.

At one time, there was a huge range of it. However, whilst E100G obviously doesn’t have anything close to the exposure tolerance of Portra, I was impressed by how it handled the highlights and its relatively smooth transition to total white.

View all photographs taken by EMULSIVE on 65mm large format IMAX film. If my exposure is off by that much, maybe I deserve a ruined shot. I am really impressed with the pushed results, not grainy at 800! Things like portraits and fashion shoots or landscape and nature work, where you could control the light or just wait for it to be optimal.eval(ez_write_tag([[336,280],'myfavouritelens_com-leader-1','ezslot_13',118,'0','0'])); It being so exacting is definitely why I don’t recommend it as a regular street photography film today, though.

While far fewer movies have been shot on Ektachrome compared to Kodak’s Vision 3 500T film, which is what they make CineStill 800T from by the way, there have been some. With the huge demand during launch, let’s hope that the hype is lasting and consumers continue to buy E100 up. Written by EM and published on October 16, 2020October 31, 2018, Here’s a quick look at a recent shoot of new Kodak EKTACHROME E100 shot at box speed, then up to EI 200, 400 and 800 – one, two and three-stops of push processing. If you have a petrol station or pharmacy or any other store near you that still sells a limited range of film, I’d say they’re probably not going to have any Ektachrome E100 next to their Gold and / or ColorPlus.

cross-processed Kodak Ektachrome E100 images is here.

Obviously both are great lenses but your 1.8 shots seem to have a bit more kick to them, but as you point out, maybe that was due to metering differences etc.

The announcement of Ektachrome’s return saw a warm reception from the photography community.

When they first chose me and sent me the film, I was undecided on what to shoot and researched what people shot with slide film and thought about shooting some landscapes and capturing scenic Hawaii locations. I know it takes money and effort to do that. Unlike the Fuji Velvia 50 I usually shoot, Kodak E100G has far more natural colors. View all photographs taken by EMULSIVE on 35mm format film. Any cloud cover affected my shots, and too much of a sideways angle of the light seemed to also.