Kodak Ektachrome E100 is BACK in 120 and 4×5 – Full Review

 

 

 

Today is a very exciting day! Kodak has just released Ektachrome E100 in both 120 and 4×5… how’s that for a holiday present?!

Sample images below: please note they are somewhat bigger files so they make take a moment to load.

Reimagining Transparency Film

By Stephen Schaub

When I was asked to shoot a few test rolls of the new Ektachrome 100 in 120 it just happened to be October, and I just happen to live in Vermont. Of course, New England is famous for these few short weeks each year when the light, crispness and color­ engages and captivates, turning all who experience it into artists who want to capture it. The timing could not have been better.

Although my current artworks are large, complex, in-camera collages on film, often employing cross-processing and alternative developers, I realized that work would not have been a suitable test for the few precious rolls of film Kodak sent to me. Rather, I revisited my earlier, more traditional methods of working and enjoyed returning to an earlier version of myself.

I chose to shoot familiar places. I really wanted to see how the color, dynamic range and sharpness of this reborn film in 120 would behave compared to my normal negative materials. I am pleased to report that everything I loved about the old Ektachome 100 is back in a big way: the color, the pop, and the sharpness are all there. The exposure latitude is extremely good, and scanning the film was easy.

SchaubIGFinalKodakE100Group_A

Working with the combination of my Linhof Technorama 612 PCII and lenses by Schneider Kreuznach provided a profound depth and clarity, and really brought out the technical best in this film. Coupled with scans from my Imacon Scanner the resulting files really know no limits of scale of reproduction.

As a vocal advocate of traditional film, I think and talk a lot about how our relationship to film has changed; this test got me thinking in particular how much our relationship has changed with regards to transparency film. Years ago I would have been juggling a color meter and every Wratten Gelatin filter imaginable in order to color-balance the film to the light source(s) for perfect accuracy. My concern for shadow depth and detail would have resulted in most cases in a pre-exposure to balance contrast. But in 2019, with 99% of film users working in a Hybrid Workflow of film capture and digital scan, all of that is changed. Transparencies that once would have been considered too light or too dark can in most cases be saved through well thought-out scanning techniques. Choices of appropriate color spaces during the scanning process are as important to the final image as masking and color corrections were to making a great print in days gone by.

SchaubIGFinalKodakE100Group_B

Transparency materials are unique: they have a pop, a micro-clarity and a feeling that is lost to color negative materials. The ability to edit work directly on the light table is significant. Moving forward, our relationship with transparency film is built on previous strengths but now with more advantages than ever. Kodak’s Ektachrome 100 is showing us that way.

Follow all fifteen photographers who are part of the launch on Instagram:

Stephen Schaub

Wendy Laurel 

Sandra Coan

Jesse Pafundi

Michael Strickland

Mariana Montrazi

Gabriela Olmeda

Victor Laborde

Timo Kerber

Ian Howorth

Eddie Otchere

F & R

Yao Keng

Haosen Jin

Mr. Koichi Akagi

Official Press Release from Kodak Alaris:

Kodak Alaris Announces EKTACHROME E100 Availability in 120 and Sheet formats

ROCHESTER, N.Y. Dec 10, 2019 – Kodak Alaris today announced the launch of EKTACHROME E100 in larger formats. A new 120 format 5-roll propack and a new 10 sheet 4×5 box will be available to order within the next 10 days, worldwide.

These new format offerings follow on the highly successful launch of EKTACHROME E100 in 135-36x size last year. “Our new E100 film is a big hit with photographers of all ages” said Dennis Olbrich, President – Kodak Alaris Imaging Paper, Photo Chemicals and Film. “The market response has been tremendous. Adding 120 and sheet films takes us to the next level.”

Sales of professional photographic films have been steadily rising over the last few years, with professionals and enthusiasts alike rediscovering the artistic control offered by manual processes and the creative satisfaction of a physical product.

KODAK PROFESSIONAL EKTACHROME Film E100 is a daylight balanced color positive film, featuring clean, vibrant colors, a neutral tone scale, and extremely fine grain.   Its distinctive look is well suited to a wide range of applications, such as product, landscape, nature and fashion photography.

We’ve posted images from some of the photographers who participated in our pre-launch activities. Check out their work on our social media channels.

 To learn more, please visit http://www.kodakalaris.com/go/profilms

Follow us on Twitter @kodakprofilmbiz and Instagram @KodakProfessional

Like us on Facebook http://www.facebook.com/kodakprofessional

 

Viva la Revolution- Steve!

 

 

 

 

Final Thoughts on Diafine Developer

Audio Blog Conclusion:

Viva la Revolution- Steve

UPDATE April 11, 2019

Just to be clear…. I still stand by my original processing technique outlined here in FR years ago which does not use the pre wet and has slightly more agitation than the technique outlined above (metal reels and tanks only for the older process). If the film and agitation technique is perfect without a pre wet then go for it but I have found most modern films do benefit from the pre wet… the only downside is developer longevity and about 1/3 stop loss in speed.

Let The Film Testing Begin

I am heading to the Cotswolds (UK) in just over a week and running one last set of tests over the next few days…. looking at chromogenic B&W films (and converted Portra 400) compared to traditional B&W films processed in Pyro 510 (stand development)… all for the purposes of scanning.

Stay tuned!

PS- and yes that is Fuji Neopan 400CN… very hard to get here in the USA as it is not imported… made by Ilford for Fuji, based on XP2 Super but it is a different film made to Fuji Specs… time will tell.

AERO-Liberator Camera

Stay tuned for a blast of posts on all things LF. I am very excited to get this camera tomorrow.

Viva la Revolution- Stephen

Color Negative film for B&W Hybrid Workflow

TESTS400
400 Film Tests
Portra400BWConversion
Portra 400 as B&W

Click on the audio play button to hear my thoughts.

Viva la Revolution- Stephen

The Fearless Leader Schaub 2014
The Fearless Leader
Schaub 2014

Rollei Retro 400s Film Review

Click on play button to listen to the review:

Images: click on each to view larger….

SchaubTest400sEI400Diafine4_4

Schaub400sTesting

Film Data Sheet: Click Here

additional reading: www.martinzimelka.com/pages/Rollei_Retro400s.html

Viva la Revolution- Stephen

 

Testing Delta 3200 in Diafine and PMK Developers

A quick example of Delta 3200 at EI 800…

Delta 3200 at EI 800 (example in PMK)
Delta 3200 at EI 800 (example in PMK)

A. Processed in Diafine 5 minutes in A and 5 minutes in B at 70F.

B. PMK 1:2:100 at 9.5 min at 75F. 30 sec inital inversion followed by 1 inversion at each 15 sec till completed…. and YES I do do the after bath.

For more information on PMK just do a google search or search here on Figial… same for Diafine.

These are crops from a 42″ x 42″ file. The PMK has finer grain but the Diafine is def nice as well.

CropDelta3200atEI800Compare

Viva la Revolution-

Stephen

Note: Test image made with a Rolleiflex Wide TLR with #2 Rolleinar focused at 11″ @F4.

 

 

News From Kodak on Film Production Materials

Kodak

So in case you missed  the hysteria: Kodak is no longer going to make acetate which is a base material for most roll films… HOWEVER!! this does not mean the end of film for Kodak. Kodak reportedly has several years worth of  material on hand, their sheet films are on ESTAR base material- which they still produce- and they are looking for additional vendors to fill their acetate needs when their supply runs does out… again not for several years. This is really not as big a deal as some would suggest. Other sources of acetate exist- there will be a lot more news like this in the coming years from all current film makers, so we as film shooters need to take it in stride and not freak out – yet! For now just go shoot some freaking film!

Link to article:

http://motion.kodak.com/motion/About/The_Storyboard/4294971668/index.htm

Viva la Revolution- Stephen

High Speed Films in Diafine Developer with a JOBO

So my testing has confirmed that with the 1:1 dilution of Diafine in a JOBO at Rotation P you need to extend your development time to 6 minutes in part A and part B and also run at a temp around 25 C. If you choose not to, you will find that films like 400TX die after about EI 800 (shadows get a bit too thin for me) which is about a stop lower than is expected with the Diafine/ 400TX combo. If you only want box speed to say 800 with 400TX then the standard 3 minutes in A and B is fine.

So today I ran a test to compare 1:1 and full strength Diafine also in a JOBO. Density as you would expect is a tad bit higher at the full strength but not by a lot… again I am extending the time to 6 min in A and 6 min in B. The contrast of the full strength is also a tad bit higher, but nothing a good scanner could not work with…. but the 1:1 is soooo nice.

My advice…. Diafine 1:1 at 25 C for 6 min in A and 6 min in B, rotation setting P. (Note: 1:1 with Diafine is a one shot developer!)

With regards to high speed films, Kodak TX400 works out to a usable E.I. range 1:1 (6 min A and B) from about 200/400-1600 with 3200 somewhat usable…. maybe! Ilford Delta 3200 is amazing with this developer and is nice from about 100/200 – 1600 with 3200 also quite usable in a pinch ( note: you have to love grain to love this film)! The now killed Kodak P3200 is still undergoing tests as it is still around in good supply and it looks like it will have a very solid 3200 but much more grain than the Ilford… which could be nice! I love grain!!

Ilford Delta 3200 and Kodak 400TX both Diafine Developer at 1600.
Ilford Delta 3200 and Kodak 400TX both Diafine Developer at 1600.

The Kodak 400TX has nice grain but wow the Ilford is just stunning…. The Ilford is only long term bet as of now – much lower contrast and very easy to scan across a wide range of EI. All the scans above are 100% crops from a very large 35mm scans at 3000 dpi on my Imacon Scanner (I decided not to do 6300 dpi on the scan just to save time and sharpening is off on the scanner, -120 setting).

Viva la Revolution- Stephen