What will you replace Kodachrome with?

[Dawes71]

After a long break from photography I have come back and discovered to my horror that my favourite film, Kodachrome 64 is being phased out So for all you guys who were Kodachrome users what do you intend to use instead, is there anything that can replace K64?

 

[Ektagraphic]

I have already picked up medium format Tri-X, Plus-X, and Ektachrome.

 

[Stan160]

Well it was going to be EPP, which I already use in 120 :-(
Elitechrome 100 I guess - prefer it to anything Fuji offers.

Ian

 

[sandholm]

I am not even sure if i should post this... but

http://www.youtube.com/watch?v=EDWeAHd6D6w

 

[David A. Goldfarb]

Since my favorite Kodachrome was K25, I've already replaced it with Fuji Astia in medium and large format, usually with a slight warming filter.

 

[Hal Reiser]

When my supply of K25 was finished I went to E110G. Of all the E-6 films I tried it has the most neutral color balance in my opinion.

 

[Pupfish]

After being a loyalist for 20+ years, I gave up on K64 a decade ago. Partly because E6 had gotten so good, and partly because K14 processing was by then hit-or-miss.

Fujichrome Astia 100F and Velvia 50 are what I use now for transparencies.

Used medium format gear became incredibly affordable in recent years. This opens up the possibility of having negative films that trounce 35mm transparency for sharpness while having much better lattitude. Ektar 100 is wonderful in 120 format, as is Fuji Pro160s. These are both available in 35mm as well.

 

[Existing Light]

I'd have to say Fuji Astia.

I never was a big Kodachrome user, so it's kind of unfair for me to call Astia a "replacement." I did like Kodachrome, but I didnt like having to send it out to be processed and wait for it to return. I'd rather shoot Astia, process it myself, and mount the slides myself. I think that has more to do with me being a control freak more than it has to do with the cost of processing kodachrome and the time it takes to get sent there and back.

 

[Jeff Kubach]

I would go with Velvia 50.

Jeff

 

[photomem]

I know its not a slide film, but I am thinking ektar 100 exposed at ISO 64. It's not kodachrome, but it gives rich colors.

 

[Ian Grant]

Many of us switched to Fuji 50D (now Velvia 50) years ago because Kodachrome processing was too slow and not commercially practical, I've staid with Fuji colour films since then for E6 and C41, but I may shoot Ektar 100 for an upcoming project because I will do my own RA-4 printing.

Ian

 

[railwayman3]

I've enough K64 (plus a few K25 and K200) to last for my expected slide-taking during 2010, then it will be time for a New-Years-Resolution for 2011 to do more medium format and B&W work, for which I'm a longtime Ilford fan.

For color slides it will probably be Astia, but perhaps I'll also explore whatever Kodak E-6 might still be available then :rolleyes:. And I'd like to try some more serious C-41 use again....I've neglected that in the last few years, finding a pocket d*****l more convenient for family snaps and for use as a kind of "notebook" when I just need a quick record of something for my other hobbies.

 

[benjiboy]

It's not the end of the world, both Kodak and Fuji still have an excellent range of E6 reversal films, we'll just have to get over it, and move on.

 

[Bruce Watson]

I replaced Kodachrome about 20 years back. The film I replaced it with (I can't even remember its name) is no longer made either!

I've been using negative films exclusively for more than a decade. I don't see any need for tranny films in my work. I don't need WYSIWYG, and I like the better color accuracy and the much better dynamic range of negative films. I've used a lot of 160Portra and have to say that the bar is set pretty darn high these days. The latest incarnation of the Portra line is just excellent.

I used to really like Kodachrome. But film has gotten a whole lot better since Kodachrome's day.

 

[Heinz_Anderle]

Fujichrome Provia 100F appears to me as the closest match to Kodachrome 64 (but with a stronger blue cast in the shadows). Grain and sharpness are better in Provia 100F, with a similar pronounced contrast and plasticity as in K64.

 

[Dave in Kansas]

I have been extremely impressed with E100G, E100VS and even Elitechrome so will be using those mostly. I'm going to try Fujichrome Astia, but at this point, the Kodak E6 films are fantastic.

Dave

 

[Darkroom317]

Since my favorite Kodachrome was K25, I've already replaced it with Fuji Astia in medium and large format, usually with a slight warming filter.

I shoot a fair amount of Astia. What warming filter are you using?

 

[bob100684]

It was going to be e100gx

 

[Jim Edmond]

E100G is nice, and I'm trying Velvia 100 (not F) right now. Velvia 50 was a bit over the top with saturation for my taste. I never used much K25 as I found it too slow for general use, but I think it was the best color film ever.

 

[jbwpro]

Velvia here as well...

 

[Moose38]

Proably just shoot Ektar.

 

[Ken N]

I shoot Fujichrome Velvia 100 (the new stuff, not 100F) and Provia 100F. My preference is the Velvia 100, but only by a nose over the new reissue Velvia 50. I like that extra stop and in my usage, is just a hint sharper than 50. Provia 100F and Velvia 100F are slush-bombs in comparison.

For print films, I almost exclusively use Fujifilm Pro160s.

 

[Jim Edmond]

BTW, you might try Provia 400F if you need the speed. It's pretty amazing (but expensive) stuff for an ISO 400 film.

 

[rpsawin]

Leica M9.

....sorry for that.

Bob

 

[Poisson Du Jour]

I shoot Fujichrome Velvia 100 (the new stuff, not 100F) and Provia 100F. My preference is the Velvia 100, but only by a nose over the new reissue Velvia 50. I like that extra stop and in my usage, is just a hint sharper than 50. Provia 100F and Velvia 100F are slush-bombs in comparison.

Tut, tut.
100F has muchto beat its chest about. It is excellent for prints to Ilfochromes while Provia 100F is an excellent stand-in when contrast is too much for RVP 100F. Velvia 100's colours are way over the top; During analysis, myself and my Ilfochrome printer didn't think much of the extreme saturation and odd colours of that stock, so back to stalwart 50 and 100F, the latter which worked beautifully in the Southern Alps of New Zealand in 2006.