Kodak 6031330 Professional Ektar 100/36 Colour Negative Film

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When you shoot a negative film, being over or underexposed by a stop or two probably won’t matter. It’ll have enough exposure latitude to still give you a decent image. The only exception I’ve found to this was Adox Color Mission 200, for some reason. You can certainly increase the contrast when editing any type of film, but there is something unique-looking about the contrast that naturally occurs in photos taken on Kodak Ektar. They are sharp and punchy. Ektar 100 with Minolta TC-1. Plenty of light in this shot; I had no trouble scanning it and there are no colour corrections applied to this image. When to shoot Kodak Ektar. Finally, this image has been on our servers for years and was shot by former News Editor Felix Esser on a visit to NYC. He asked me to stand on that. Image by Peter Walkowiak. Conclusions

Once again here we can see the brilliant blue tones in the water, with the deep greens in the vegetation, and those dusty earth tones in the foreground. Kodak Ektar 100’s incredible skin tones Yes, I absolutely would recommend Kodak Ektar 100. The price can be a little off-putting when there are budget films for half or even a third of the price, but the quality is worth the slightly premium price.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. In the introduction to this Ektachrome E100 review, I mentioned that its release was one of the best things to happen to analogue photography in the last few years and that anyone who shoots film should be happy with its return. So let’s go through a few reasons why.

It should also be noted the clouds are still visible in the sky too, with the dynamic range being enough to not lose detail or blow them out.

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There’s also a comprehensive data sheet from Kodak right here. It includes storage advice, exposure guides for shooting under different light sources, and a few curve charts that I don’t think I’ll ever need to know what they mean. This session was done in 35mm and shot with a Canon 24-105mm f4 L IS, Canon 35mm f1.4 L USM, and a Canon 1V with a flash firing. Some of the tonality looks a bit like Kodak Portra but then you look closer and the skin tones and you realize that it’s not.