What E-6 slide film is somewhat close to Kodachrome?

[accozzaglia]

Yeah, PHOTOTONE, so go digging into hard-to-find corners of the retailing world to find your loot! Just like Ron said!

 

[keithwms]

At risk of starting a brand war, let me suggest you try fuji astia 100f or provia 400x, with a mild (half stop or so) underexposure if you really want more saturation in the primaries. Better yet, just bracket in small steps and see what you like.

 

[Photo Engineer]

Keith;

On one site, the front page for "color reversal films" was 2/3 Fuji and 1/3 Kodak (approximately). So, I can agree with what you said. In fact, the only reversal film in my freezer at this time is Fuji!

And, they are not hard to find. Adorama, B&H, and Freestyle all feature reversal films with Kodak there along with Fuji.

PE

 

[TareqPhoto]

I found some E-6 films on some retailers, but in fact i am trying to find slides for 4x5 and i hardly can find only 1 or 2, I was hoping to find Velvia 50 and i couldn't, not impressed for Astia, and i was hoping to get Velvia over Provia, and E100G was available few days ago and suddenly out of stock, it may be in stock again but when and where i have to keep searching.
Lucky that i bought some films in 120 formats due to discontinuation.

 

[tjaded]

I did some calling around today RE: Kodak 4x5. Though I heard a few different things, the one thing I heard over and over was that Kodak has discontinued E100VS in 4x5. E100G is still listed as available but on back-order from Kodak (all 3 distributors said that, too.) Theories tended towards Kodak doing a single E-6 film (similar to the Portra 400 NC/VC becoming Portra 400.) Doesn't really help too much, but hopefully this will be seen as it was intended--information. All I can say for certain is that if you like E100VS in 4x5, maybe pick up some while there is quantity out there and before the official discontinuance is announced.

 

[Tim Gray]

I still don't get why none of you 4x5 shooters have called Kodak about this. I don't shoot 4x5, nor really any E-6, otherwise I'd give them a ring.

 

[tjaded]

My info was passed on to me after my sales reps called their contacts at Kodak...

 

[2F/2F]

I'd try several rolls of E100VS, and tweak with exposure and processing a bit to see what you can do with it. You also might experiment with mild filtration (skylight or 81A filters, for example). Nothing will look just like Kodachrome, but this is a good starting point for a saturated and contrasty film.

 

[2F/2F]

BTW, there is also Velvia 50, of course. It has nice warm tones, is high in contrast, and is of a similar speed as Kodachrome. It is definitely much different in the cooler tones and brighter tones, though, and I would say that it is more saturated over all.

 

[Samuel Hotton]

Wow, Thanks to one and all for the great suggestions. I think I will start with Velvia 50 as it is slow like Kodachrome and I like to use a tripod when I shoot.
I was getting nostalgic as I was holding an Argus C-3 from the 1960s, thinking about the lovely bright colored slides I had shot when I was younger. It didn't help my mood knowing that Kodachrome was finished. Springtime is around the corner and I thought how much fun it would be to use the lovely camera I have and produce some old style chromes and have a slide show in the evenings like so many of us did years ago. I have time to try several different emulsions to see which works best. Thank goodness I still have a projector and a fine screen. I feel much happier now with a fun photo project.
Sam H.

 

[Poisson Du Jour]

If you are going to start with Velvia, be careful. Kodachrome could cope easily with shoots in bright sunlight and some shadow. Velvia is the brutal, polar opposite and will block and blow ("B&B") with consummate ease in point light — often ruining a well-planned shoot. I'm not saying Velvia 50 (or its avant garde 100F stablemate) shouldn't be used in bright Spring sunlight — exploiting it in these conditions (as I have done on occasion) can be quite a surreal and rewarding experience if you know what you are doing and can visualise the result, but if it is all you have to rely on, it's best to take some additional, lower-contrast films e.a. Astia, Velvia 100F or Provia. Kodachrome has no comparison with with common E6 films, which are colder, inherently contrastier and have entirely different palettes.

 

[nickrapak]

I'm not sure what Kodak will do re: discontinuing any more E-6 films. LF is a different story, as it is coated on a different base, but both E100VS and E100G have strong reversal niches for Kodak. E100G is Kodak's best-selling still reversal film, and the E100VS emulsion (with a lubricated base) is sold as E100D in motion picture sizes.

 

[Photo Engineer]

Just as a side note, since most color films contain up to 9 emulsions, I am always amused at someone referring to a product as an "emulsion". It is not, it is a product or a coating.

Oh well, sorry Nick.

PE

 

[keithwms]

If you are going to start with Velvia, be careful. Kodachrome could cope easily with shoots in bright sunlight and some shadow. Velvia is the brutal, polar opposite and will block and blow ("B&B") with consummate ease in point light — often ruining a well-planned shoot.

Heed these words.

Again, I would recommend Astia 100F, or provia 400x if you need the speed.

Velvia 50 is magic when everything is exactly right, but... unfortunately it usually isn't. (Although I admit: I am fairly impatient and spontaneous so bear that in mind) You really have to mind your scene contrast with all the velvias, especially velvia 50, and consider preflashing and GNDs etc. I've had much better all 'round success with astia or, for that matter, velvia 100.

Another thing, I don't know what your preferred workflow is, but if you plan to scan on a budget then you can pretty much forget velvia 50. It is the absolute most difficult film to scan, I swear. Anything less than a drum scan just won't get you all the tones. A big part of the reason why various morons initially claimed that digital is much better than film was that people didn't realize just how difficult it is to get a credible scan from velvia 50! From 35mm in particular. I digress. We won't get into that discussion here, but, suffice it to say that astia scans much better and also projects well.

All that said, when things are just right for velvia, oh wow.

 

[Moopheus]

Just as a side note, since most color films contain up to 9 emulsions, I am always amused at someone referring to a product as an "emulsion".

You think that's bad, you should hear how chefs abuse the word "emulsion".

 

[Photo Engineer]

You think that's bad, you should hear how chefs abuse the word "emulsion".

The words "emulsion" and "dispersion" have become inverted in which cooking and chemistry use the correct definitions, whereas photography has reversed them. This took place way back 100+ years ago when few emulsion makers really knew chemistry.

PE

 

[Moopheus]

The words "emulsion" and "dispersion" have become inverted in which cooking and chemistry use the correct definitions,

Chefs are often very loose with the term. Frequently it used to describe a lot of mixtures that are not really emulsions.

 

[bishy]

Ektachrome 100G, or maybe even Velvia 100F.