I’m not sure I do but if you’re okay with it, I don’t see much else that will cause any big issues.There’s always going to be nostalgia in analogue photography.
KODAK EKTACHROME E 100 (Daylight Color Slide Film)1 BRICK (10 Rolls) / 35mm / 36 exp ea / 100 iso (DX Coded for 100 iso) / E-6 Processing KODAK EKTACHROME 100D Color Slide Film is a 100-speed, color reversal motion picture camera film intended for photography under daylight illumination (5500K).
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It's nearly grainless, a one-stop push works great, the whites are white, has vibrant saturated colors without going over the top, performs well in harsh lighting. The gray cloudy skies turn a purple color with this film, and it scans bad. Putting on my MacGyver hat, I scoured the room for a solution and spotted a black table cloth. E100S was the answer to my problems. I also haven't tried 100SW, which is supposed to also be really great--and really discontinued as well. Though the film can handle some push/pull, it’s really not intended for these acrobatics.
Finally Kodak has made an E-6 film that is reliable and punchy without being over the top.Kodachrome 25, 64, Fugichrome Velvia, Elite Chrome 100 Extra Color.Grainless, tolerant of different lighting conditions, the saturation makes photos pop, pushes well.Superb reciprocity, colour balance, tonality, fine grain, gentle saturation, nice whites and blues, warm browns, greens and reds.This is a great slide film. Kodak's site says no correction in the 1/10,000 second to 10 second range, but I may be shooting much longer exposures... 5, 10, 20 minutes, perhaps longer.
I've always wondered why I can get pro print film for $2.00, but the equivalent slide film costs $5.00.I've just started using this film for stock photography --just starting using it after it was superceeded by 100G.
The grain is virtually undetectable, even at 16x20, and I've found the film to be more forgiving than most to under- or over-exposure in terms of shadow and highlight detail.
KODAK EKTACHROME 100D Color Reversal Film is a 100-speed, color reversal motion picture camera film intended for photography under daylight illumination (5500K). At first what I liked was the additional element of protection for the camera – against bumps and shocks, setting it down on a wet surface, etc. And don’t worry too much about reciprocity failure unless you’re getting really crazy long exposures (longer than 2 minutes). This happens when your shutter speed increases beyond the ability to compensate or counter with aperture.
These f stops work with almost any ISO 100 film when trying to capture slowly moving light trial.
I haven't tried 100G yet, but I hope it's as good.
There was very little casual food photography and nowhere to instantly show the world what you were having for tea.For many, photography was reserved for holidays and other special occasions where real memories are made. I guess one weakness would be the price of slide film. I also haven't tried 100SW, which is supposed to also be really great--and really discontinued as well.
This makes it ideal if you’re just starting with film photography yourself.For what these shots are, which is a bunch made on a casual afternoon walking around my neighbourhood, and for the price of the film they were shot on, I can’t be unhappy with how they came out.The only question to ask yourself when deciding whether to use Kodak Gold film for your street photography is if you want this look.
When I did so, the grain and contrast in the results were all good.Then there are the three I always see that don’t. Kodak Gold 200 is a 5500k daylight balanced, ISO 200, colour negative 35mm film that’s available in rolls of 24 or 36 exposures.
The wide exposure latitude made it hard to catastrophically under or overexpose a shot, and the signature warm Kodak tones were ideal for holiday snaps.You can check the current prices and availability through the links below.I think that’s the overriding feeling I get from this stock; that it will always have a connection to those who used to shoot it on family holidays but have since left film photography long behind.The colours are bright without being overbearing or unrealistic, and skin tones come out looking nice and natural.
It worked really well in those applications. These films feature KODAK T-GRAIN® Emulsions for extremely fine grain and very high sharpness, plus improvements in push, reciprocity, multipop, and process performance. When the normal reciprocity time of a given film is exceeded a breakdown in the relationship occurs and therefor must be compensated by adding extra time to the indicated expose time provided by your light meter. When less light is available, the silver halide crystals in the film are not evenly struck by photons of light, and the density of the resulting exposure is lowered.
Go get some and be amazed. For a number of reasons, a good percentage of these memories were captured on Gold 200.They also mention that wide exposure latitude from earlier, stating you get from two stops underexposure to three stops overexposure to play with.I don’t know if you’ve shot Kodak Gold 200, or plan to now having read this review.