Kodak 6031330 Professional Ektar 100/36 Colour Negative Film

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At one time, there was a huge range of it. All types of speeds, formats from 35mm to 11 x 14 inch sheets, and use cases. Motion picture film as well. Too much to list here, although I have shot an expired Ektachrome 320T, so I’ll mention that one specifically. So with all things said, the image qualities of Ektachrome E100 really do depend on how well you shoot it. Nail the light and exposure and you’ll love it. Get either of those just slightly off and – as you’ll see if you read on – you might find yourself disappointed. For starters, the low film speed and fine grain lead to incredibly sharp images. Plus, the film speed isn’t usually of a problem since a tripod is regularly used in landscape photography. If there were flash output added to this scene, it would have looked far different. With that said though, you can still see how well it did with holding its tonality.

The first is the most basic and obvious one and is something that is true of anything that exists and doesn’t negatively affect anyone. In the simplest terms I can think of, having this new Ektachrome available to us is just better than not having it. That’s it. That’s the first reason. Maybe I’m easily pleased, or generally overly positive. Maybe I’ve been drawn to shooting mainly good films as they get talked about more and so have subconsciously grabbed my attention. In short, exposure latitude is the amount that you can over or under expose a film photo while still getting a decent looking image. Ektar has a low exposure latitude, meaning that it cannot handle much over or under exposure. I’ve been using Kodak Ektar 100 in 35mm format on-and-off for quite a while now, and I’ve gotten to know the film very well under a whole range of situations and environments. Over all this time, I’ve been keeping notes on my thoughts and I think it’s about time I gave my two cents. So, my thoughts and feelings on Kodak Ektar 100 35mm film, all bundled up into one complete review… My Complete Thoughts on Kodak Ektar 100But even when comparing cheaper, consumer-grade films that are made for general purpose, they often handle skin tones much, much better than Ektar. 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. 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. 1999’s Three Kings and 2006’s Inside Man are two examples. Even then, Kodak wanted its customers to know that Ektar isn’t a lens design (like the Sonnar ) but rather “ a performance index, a seal of quality, a sterling mark ” — source . And so, when it became again attached to a line of films in 1989, the nomenclature made sense. As with all Kodak films, Ektar 100 has a warm tone that leans more towards oranges and yellows. Bright colors in strong light will really pop in images taken on Ektar.

The problem with Ektachrome E100 and other slide films though is if your light or exposure is off but not by enough to give you crushed shadows or blown highlights, it still might be enough to give you some unwelcome colour shifts. Usually in the form of an overall blue tinge. Initially released in the 35mm form we’re reviewing here, the range has since been beefed up with a 120, large format sheet, and even a Super 8 movie film version too.Or maybe, if you like film photography, most films generally are good at what they do. Kodak Ektar certainly is. Those vivid colours, the sharpness, and that very fine grain are all there as advertised.