A quick note here, I want to thank Kodak for putting me in touch with their director of film development who answered a number of technical questions for this video, which directly contributed to this video being as accurate as it is. I think that action speaks very loudly about the commitment that Kodak’s team has to the film community. So, to Kodak and the people specifically who made that happen, thank you. Kodak truly outdid themselves with this film. I look at E100 and I think about what film today could have been if digital had never been invented. I think the answer is pretty darn close to this. It would be hard to imagine that a means, method, or technology exists that would allow a slide film to be better than E100. Without a doubt, in making this film E100 kicked Velvia 50 off its long-held throne as my favorite slide film. E100 provides true colors with a nice saturation, a bit more saturation than real life, yes, but nice nonetheless. Also, it photographs every subject in its range well. Being available in many formats, too, means that motion users of this stock can take marketing and promo shots on larger formats for posters or other marketing materials. When Ektachrome was killed way back in whatever year that was, I assumed it was dead. But then came E100, and the resurrected film stock, for the time it spent gone, came back far better than the old. Yes, Kodak films are expensive. Yes, for most of us, myself included, they are a luxury item and not the film we shoot with on a regular basis. That’s true for all Kodak films, but even more so for E100, which, lined up against all of Kodak’s other films, is like a Ferrari at a Corvette convention. It feels a bit out of place but everyone is still going to pay a ton of attention to it because it’s the best thing there. Join this channel to get access to perks: null David Hancock's Amazon Author Page with Links to Select Camera Manual eBooks: https://www.amazon.com/David-Hancock/e/B0B6DZCD9K Video Index: Film Type: 0:27 Subjective Film Characteristics: 1:35 Spectral Sensitivity (and how to read it): 9:37 Dye Density Curve (and how to read it): 12:32 Characteristic (Hurter-Driffield) Curve (and how to read it): 14:52 Reciprocity Failure: 18:15 Development Latitude: 20:10 Recommended Camera Settings: 21:13 Recommended Developers: 21:43 Closing Thoughts: 22:51 References: https://imaging.kodakalaris.com/sites/prod/files/files/products/e4000_ektachrome_100.pdf http://research.tri-ace.com/Data/course_note_film_simulation_for_videogames.pdf https://www.kodak.com/content/products-brochures/Film/EKTACHROME-Technical-data-7294-100D-EN.pdf https://www.kodak.com/content/products-brochures/Film/EKTACHROME-100D-sell-sheet-EN.pdf http://www.apug.org/forums/forum.php http://istillshootfilm.org/ http://www.filmsnotdead.com/ https://www.facebook.com/groups/119931904758842/?ref=br_rs https://plus.google.com/u/0/communities/114394153449222831034 http://www.sprawls.org/ppmi2/FILMCON http://motion.kodak.com/motion/uploadedFiles/US_plugins_acrobat_en_motion_newsletters_filmEss_06_Characteristics_of_Film.pdf http://motion.kodak.com/motion/uploadedFiles/Kodak/motion/Education/Publications/Essential_Reference_Guide/kodak_essential_reference_guide.pdf http://www.covingtoninnovations.com/dslr/Curves.html http://home.comcast.net/~amitphotography/article%20character%20curves%20dvickers.htm http://www.nfsa.gov.au/preservation/handbook/photographic-duplication/characteristic-curves/ http://www2.optics.rochester.edu/workgroups/cml/opt307/spr10/shu-wei/