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!

 

 

 

 

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

 

Bergger BRF 400+ Film Review

20140502-113110.jpg

Click on the audio play button to listen to my review of this great classic film!

Bergger BRF 400+ at EI 6400!!!!! A very low light test….. click on the image to see larger.

BRF400+@EI6400
Bergger BRF 400+ at EI 6400!!!

Development as outlined in audio:

1:100 Rodinal at 68-70F 2 Hour Stand Dev

Usable EI from 400-1600

  • Initial agitation for 30 seconds
  • Rest 30 Min
  • Swirl like wine for 10 sec
  • Rest 30 Min
  • Swirl like wine for 10 sec
  • Rest 30 Min
  • Swirl like wine for 10 sec
  • Rest 30 Min
  • Dump and finish process.. Stop/ fix/ clear/ wash/ dry.

1:50 Rodinal at 68-70F 2 Hour Stand Dev

Usable EI from 1000/1600 – 6400+

  • Initial agitation for 30 seconds
  • Rest 30 Min
  • Swirl like wine for 10 sec
  • Rest 30 Min
  • Swirl like wine for 10 sec
  • Rest 30 Min
  • Swirl like wine for 10 sec
  • Rest 30 Min
  • Dump and finish process.. Stop/ fix/ clear/ wash/ dry.

Another great alt developer is Caffenol CL… just google it and follow the directions exactly!!! Usable out to 3200 but the Rodinal version outlined above is better at the higher speeds. And you can see the grain is a bit softer but the tonal range is still crazy great!

Bergger BRF400+ at 1600 Caffenol CL Dev
Bergger BRF400+ at 1600 Caffenol CL Dev

NOTE: I meter my shadows for Zone 4 in most cases… with this film it is VERY important for faster EI’s to meter for the shadows… highlights are not a problem. Here is a video on why meter for Zone 4.

Viva la Revolution- Stephen

Back to Paris… Again

So I am heading back to Paris tomorrow provided I can make it to Boston to get my flight!

Paris Bound

On my last trip to Paris 5 weeks ago I shot with the Leica Monochrome exclusively…. on this trip it will be my Leica M4 film cameras exclusively! Hint… my next big article here on FR.

I have also been testing a lot of film and developer combinations the last 5 weeks… a lot! I really like the Bergger BRF 400+ in Caffenol CL and Caffenol CH with EI in CL out to 3200+. Rodinal provides a very crisp negative and Xtol is another good choice at 1:1. Another film I have been testing a lot is Delta 3200 processed in PMK double strength… nice range of tones and usable out to 6400 and perhaps 12,800 with proper shadow metering. Today I am running a test looking at the Delta 3200 in PMK with 1.5 strength as at double the highlights get a bit hot at lower EI’s… I want it all- 400-6400!!!!!! Stay tuned!

Oh and the Bergger BRF400+ in PMK is around 200-400 with a beautiful tonal quality. I have heard many people compare the Bergger  to Tri-X… Yes, but only if you are talking Tri-X from the 1970’s and even then it is more like XX than TX. It is very low contrast film which is a good thing for scanning and has a softer rendering then most modern films… perfect for a classic look. In Diafine it is nice but the grain needs a bit of a kick in PS with some structure and a “S” curve to add depth- in Diafine a usable EI of 1600 is not a problem.

Viva la Revolution- Stephen

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