JeremyLangford
I'd really Leica Leica
I am simply trying to understand all the different versions and differences of 35mm color slide film there are available now. I'll start with Kodak.
Kodak:
Prosumer:
Ektachrome E100G
(Extremely fine grain)
-Extremely fine grain
-Neutral color balance, natural skin-tone reproduction
-Lower D-min for whiter, brighter whites
-Use in-studio or on location
Ektachrome E100GX
(Same fine grain, but warmer)
-Extremely fine grain
-Warm color balance
-Glowing skin tones, shimmering surfaces
-Ideal for natural lighting
Ektachrome E100VS
(Vivid saturation at ISO 100)
-Vividly saturated colors
-True ISO 100 speed in high-color arena
-Exceptional sharpness and fine grain
-Superb results even in low-light situations
Ektachrome E200
(Amazing pushability)
-Push processing performance to EI 800
-Natural-looking skin tones
-Improved highlight and shadow details
-Perfect for demanding shooting conditions
Kodachrome 64 (PKR) (K-14)
Ektachrome 64T Tungsten (EPY)
Ektachrome 100 Plus (EPP)
Consumer:
Elite Chrome 100 (EB)
(Similar to Ektachrome E100G / Ektachrome E100GX)
Elite Chrome Extra Color 100 (EBX)
(Similar to Ektachrome E100VS)
Elite Chrome 200 (ED)
(Similar to Ektachrome E200)
Kodachrome 64 (KR) (K-14)
(Similar to Kodachrome 64 (PKR))
Kodak:
Prosumer:
Ektachrome E100G
(Extremely fine grain)
-Extremely fine grain
-Neutral color balance, natural skin-tone reproduction
-Lower D-min for whiter, brighter whites
-Use in-studio or on location
Ektachrome E100GX
(Same fine grain, but warmer)
-Extremely fine grain
-Warm color balance
-Glowing skin tones, shimmering surfaces
-Ideal for natural lighting
Ektachrome E100VS
(Vivid saturation at ISO 100)
-Vividly saturated colors
-True ISO 100 speed in high-color arena
-Exceptional sharpness and fine grain
-Superb results even in low-light situations
Ektachrome E200
(Amazing pushability)
-Push processing performance to EI 800
-Natural-looking skin tones
-Improved highlight and shadow details
-Perfect for demanding shooting conditions
Kodachrome 64 (PKR) (K-14)
Ektachrome 64T Tungsten (EPY)
Ektachrome 100 Plus (EPP)
Consumer:
Elite Chrome 100 (EB)
(Similar to Ektachrome E100G / Ektachrome E100GX)
Elite Chrome Extra Color 100 (EBX)
(Similar to Ektachrome E100VS)
Elite Chrome 200 (ED)
(Similar to Ektachrome E200)
Kodachrome 64 (KR) (K-14)
(Similar to Kodachrome 64 (PKR))
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JeremyLangford
I'd really Leica Leica
I'll try to work on this more tomorrow. Am I on the right track here?
venchka
Veteran
I suppose. Shoot Kodachrome.
rogerchristian
Established
Principally, in broad terms, they have tweaked the color bias/saturation, etc. of the films to suit various requirements or preferences of the shooters.
These are, by and large, small, subtle but noticeable differences in the way the colors are rendered.
In addition, these films are generally speaking Pro films, which should (must) be stored refrigerated or frozen to retain their color ripeness over an extended time.
Film emulsion, like any 'unstable' organic medium changes over time. The warmer the temperature, the faster the shift occurs. Amateur film (read that stuff you see on the shelf of camera stores) is shipped 'green', that is un-matured. The colors are allowed to shift in a predictable fashion over time so what when the manufacturer feels the film is 'ripe', based on normal turnover times, at more or less optimal color balance, under normal circumstances, it is processed.
Pro films, are ripened at the factory under controlled conditions of temperature and humidity, and shipped at or close their best color balance. Dealers should, under ideal circumstances, store the film under refrigeration, at least and frozen at best, to hold it at or near the optimum color balance until sale.
The film should either be shot fairly quickly after purchase or stored by the consumer under similar cold conditions until ready for processing, pre- and post-exposure.
Note that while in a perfect world the film goes out of the freezer into the camera and back into the freezer until processed, a bit of reasonable room-temperature time is not going to ruin the film. Just get it processed as soon as possible for optimum results. Carry it in your bag at room temperature for a week, not 6 months.
That is why Pro films are slightly more expensive, somebody has to pay for the refrigeration. As a practial matter, in most circumstances, it makes little difference (somebody's gonna jump on me for that lats statement).
These are, by and large, small, subtle but noticeable differences in the way the colors are rendered.
In addition, these films are generally speaking Pro films, which should (must) be stored refrigerated or frozen to retain their color ripeness over an extended time.
Film emulsion, like any 'unstable' organic medium changes over time. The warmer the temperature, the faster the shift occurs. Amateur film (read that stuff you see on the shelf of camera stores) is shipped 'green', that is un-matured. The colors are allowed to shift in a predictable fashion over time so what when the manufacturer feels the film is 'ripe', based on normal turnover times, at more or less optimal color balance, under normal circumstances, it is processed.
Pro films, are ripened at the factory under controlled conditions of temperature and humidity, and shipped at or close their best color balance. Dealers should, under ideal circumstances, store the film under refrigeration, at least and frozen at best, to hold it at or near the optimum color balance until sale.
The film should either be shot fairly quickly after purchase or stored by the consumer under similar cold conditions until ready for processing, pre- and post-exposure.
Note that while in a perfect world the film goes out of the freezer into the camera and back into the freezer until processed, a bit of reasonable room-temperature time is not going to ruin the film. Just get it processed as soon as possible for optimum results. Carry it in your bag at room temperature for a week, not 6 months.
That is why Pro films are slightly more expensive, somebody has to pay for the refrigeration. As a practial matter, in most circumstances, it makes little difference (somebody's gonna jump on me for that lats statement).
elshaneo
Panographer
In my first year of BA Photography studies, I used the Kodak Ektachrome E200 most of the times, and the results were very satisfactory. Give it a good try ;-)
amateriat
We're all light!
Ooh...this really comes down to personal preference. "Best" in this case is a Pandora's box. (And we haven't even discussed Fuji's offerings...)
I don't shoot slide film that much these days, but when I do, it's either Kodachrome or E200. I won't get into my preference for Kodachrome (is it even necessary at this point?), but here's the deal for me about E200: fine-enough grain (not the finest, but good enough), a "just right" balance of color and tonality, and a very useful ISO speed. It does the business, in other words.
But, like I said, most of the time that I'm shooting color (About 30% of the time, roughly), it's either some flavor of Portra (usually NC), or Fuji Pro 400/800. And, more recently, Kodak Ektar 100.
- Barrett
I don't shoot slide film that much these days, but when I do, it's either Kodachrome or E200. I won't get into my preference for Kodachrome (is it even necessary at this point?), but here's the deal for me about E200: fine-enough grain (not the finest, but good enough), a "just right" balance of color and tonality, and a very useful ISO speed. It does the business, in other words.
But, like I said, most of the time that I'm shooting color (About 30% of the time, roughly), it's either some flavor of Portra (usually NC), or Fuji Pro 400/800. And, more recently, Kodak Ektar 100.
- Barrett
JeremyLangford
I'd really Leica Leica
Fuji:
Prosumer:
Velvia RVP 50
Velvia RVP 100
Velvia RVP 100F
Provia RDP III 100F
Provia 400X (RXPIII)
Astia RAP 100F
Fujichrome T64
Consumer:
Fujichrome Sensia RA 100
Fujichrome Sensia RM 200
Fujichrome Sensia RH 400
Prosumer:
Velvia RVP 50
Velvia RVP 100
Velvia RVP 100F
Provia RDP III 100F
Provia 400X (RXPIII)
Astia RAP 100F
Fujichrome T64
Consumer:
Fujichrome Sensia RA 100
Fujichrome Sensia RM 200
Fujichrome Sensia RH 400
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Roger Hicks
Veteran
Try 'em. The drawback is that you need to try 10 rolls of each, on a variety of subjects that you normally shoot, to see if you REALLY like 'em.
On the other hand, one roll of a film that you REALLY like may be all you need.
Just hope it stays in production. I'm still bemoaning the loss of Fuji RF/RFP and their replacement by the grossly inferior Velvia.
Tashi delek,
R.
On the other hand, one roll of a film that you REALLY like may be all you need.
Just hope it stays in production. I'm still bemoaning the loss of Fuji RF/RFP and their replacement by the grossly inferior Velvia.
Tashi delek,
R.
JeremyLangford
I'd really Leica Leica
I was able to find all the Fuji Films but Fuji's website doesn't have as much information on the films' differences as the Kodak site did.
"At 100iso, Provia and Velvia have about the same exposure latitude, but Velvia has higher saturation (both are high saturation). Sensia has higher exposure latitude (and hence lower contrast) than the other two, and neutral saturation."
^Is that a good way of describing the differences between 100 speed Velvia, Provia, and Sensia? What does the "F" in Velvia RVP 100F and Provia RDP III 100F mean? How does Astia RAP 100F compare to Velvia, Provia, and Sensia? Is Sensia the consumer version of Provia?
"At 100iso, Provia and Velvia have about the same exposure latitude, but Velvia has higher saturation (both are high saturation). Sensia has higher exposure latitude (and hence lower contrast) than the other two, and neutral saturation."
^Is that a good way of describing the differences between 100 speed Velvia, Provia, and Sensia? What does the "F" in Velvia RVP 100F and Provia RDP III 100F mean? How does Astia RAP 100F compare to Velvia, Provia, and Sensia? Is Sensia the consumer version of Provia?
JeremyLangford
I'd really Leica Leica
Can anyone help me with the above post? I need to order some film tonight but first I need to finish figuring out the differences of the fujifilm versions.
blw
Well-known
I'm sorry that I don't have anything to add that you're looking for Jeremy. I'm stuck worrying over where I'm going to send my E6 to get developed and scanned now that my camera shop an hour away has closed. Medium format is especially of concern to me.
Oh....and most of what I have is expired ektachrome (mid to late 90's expiry) so I'm not going to be very picky about the quality of the results.
Oh....and most of what I have is expired ektachrome (mid to late 90's expiry) so I'm not going to be very picky about the quality of the results.
blw
Well-known
One thing I will add is that Roger may have had the best advice.
Pick one you think will work best with how you plan to shoot for the next little while and get 10 rolls of it. Then wash, rinse, and repeat with other flavors.
Pick one you think will work best with how you plan to shoot for the next little while and get 10 rolls of it. Then wash, rinse, and repeat with other flavors.
JeremyLangford
I'd really Leica Leica
I need film because I'm going to the beach this summer and soon after that I will travel to Brazil. I will scan all the slides with my new Coolscan 9000. I have always shot negative film but now I have decided to start experimenting with slide film.
After reading more, I think I have figured out this about the professional films' saturation.
1) Astia - Nuetral Saturation
2) Provia - Higher Saturation
3) Velvia - Highest Saturation
Maybe I should buy 10 rolls of Provia, 5 of Astia, and 5 of Velvia to get a good idea of all 3.
Do you think that Fuji 35mm slide film is more popular than Kodak's? Maybe I should first experiment with just Fuji for now and leave Kodak for later.
After reading more, I think I have figured out this about the professional films' saturation.
1) Astia - Nuetral Saturation
2) Provia - Higher Saturation
3) Velvia - Highest Saturation
Maybe I should buy 10 rolls of Provia, 5 of Astia, and 5 of Velvia to get a good idea of all 3.
Do you think that Fuji 35mm slide film is more popular than Kodak's? Maybe I should first experiment with just Fuji for now and leave Kodak for later.
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rogerchristian
Established
OK, to force you into making a choice:
1) It is hard to go wrong with Velvia 100 or 50.
2) It is hard to go wrong with almost ANY slide film these days, the choices have been narrowed a bit for you, and 'generally' they are all good. Nobody is in slide film manufacture for fun any longer, it is truly, these days, a niche product.
3) In reality, except for the demise of Kodachrome, there is still a very wide range of film types available and within reason you should still be able to find an emulsion that will work for you in the long run.
Go with Velvia for sure if you haven't already done so for your trip, then add around the edges as speed needs, etc. change or you want to experiment later when not under pressure.
1) It is hard to go wrong with Velvia 100 or 50.
2) It is hard to go wrong with almost ANY slide film these days, the choices have been narrowed a bit for you, and 'generally' they are all good. Nobody is in slide film manufacture for fun any longer, it is truly, these days, a niche product.
3) In reality, except for the demise of Kodachrome, there is still a very wide range of film types available and within reason you should still be able to find an emulsion that will work for you in the long run.
Go with Velvia for sure if you haven't already done so for your trip, then add around the edges as speed needs, etc. change or you want to experiment later when not under pressure.
35mmdelux
Veni, vidi, vici
just ck the Kodak or Fuji website for bottomline data. For me, all I need to know is Kodachrome 64/200, Ektachrome 400. Its all downhill from there. Enjoy.
mackigator
Well-known
Just get a bunch of 400x and shoot it for almost everything. A truly remarkable film with fine grain and great at nearly everything. It also pushes well if need be - I've gone up to ISO1600.
My three exceptions: 1) save some B&W film for low light shots of your Brazilian girlfriends at night in low light. It'll avoid color temp problems and skin looks good in B&W. 2) Get a few rolls of Velvia for sunsets and landscapes. Don't shoot portraits with it. 3) Be aware of how the slide film will register light sources of different color temps (indoor lights or streets at night - mixed light). You won't be able to completely color correct in post, so reading the light ahead of time is a good thing.
Sensia is the consumer version of Provia. But really: 400x. You won't be disappointed.
My three exceptions: 1) save some B&W film for low light shots of your Brazilian girlfriends at night in low light. It'll avoid color temp problems and skin looks good in B&W. 2) Get a few rolls of Velvia for sunsets and landscapes. Don't shoot portraits with it. 3) Be aware of how the slide film will register light sources of different color temps (indoor lights or streets at night - mixed light). You won't be able to completely color correct in post, so reading the light ahead of time is a good thing.
Sensia is the consumer version of Provia. But really: 400x. You won't be disappointed.
You may want to try an 81a filter with it.rbsinto
Well-known
Now that I'm the only one of my friends still shooting film, I've been given mountains of slide film that they all had stored in their fridges when they lost their minds and went Digital.
Various Ektachromes as well as Sensia, Velvia, Provia Astia and who knows what else.
Me? I just grab a handful of rolls out of my freezer when my camera bag stock is running low and shoot away with whatever. For me, it's far more important what's on the film than the film itself. Street photographs and shots of homeless people don't look any better on Provia than they do on Sensia.
Various Ektachromes as well as Sensia, Velvia, Provia Astia and who knows what else.
Me? I just grab a handful of rolls out of my freezer when my camera bag stock is running low and shoot away with whatever. For me, it's far more important what's on the film than the film itself. Street photographs and shots of homeless people don't look any better on Provia than they do on Sensia.
bmattock
Veteran
Velvia blows for skin tones on caucasians.
Velvia 50 is best for landscapes, Velvia 100 does better with skin tones.