Kodak Ektachrome 100D 5294 Colour Transparency Film 135

Kodak Ektachrome 100D 5294 Colour Transparency Film 135

Analog Film Review

Kodak Ektachrome 100D 5294 Colour Transparency Film 135

Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong

Numerous new film brands are flooding the analog film market, and I’m always apprehensive about trying them out. I don’t enjoy experimenting with unfamiliar films and ruining my overall film experience. Moreover, they are quite expensive these days. Since Ektachrome was discontinued in 2012, which carried the E100G and E100VS series, I eagerly awaited its return when Kodak announced it in December 2019. Finally, I could use Kodak’s colour reversal films again. As a result, I decided to use up all of my colour negative film stock in the fridge and stick to slide and black-and-white film only.

After trying a couple of Ektachrome E100 films, to be honest, it wasn’t the Ektachrome I remembered. Something seemed off to me, and the overall temperature was very cold and blue, which put me off, in addition to its expensive price tag. I needed to find exceptional warmth during sunset to utilise this film.

Kodak 100D, Hasselblad Xpan II, 45mm f4, Glenorchy New Zealand

Finally, there’s the Kodak Ektachrome 100D 5294/7294, which is a motion picture film stock for daylight purposes and has exceptional sharpness at ISO 100. After shooting a few rolls, I’ve decided to use it more often as it performs much better than the E100 film. I would say it produces a much more pleasing result, but it’s not as contrasty or punchy as the Fujifilm Velvia 100.

100D Samples are shot with Leica Noctilux 50mm f0.95 ASPH M and Voigtlander 50mm f1.0 ASPH VM at box speed – 100 ISO.

Kodak 100D, Hasselblad Xpan II, 30mm f5.6 ASPH, Lake Pukaki New Zealand

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What is Colour Reversal Film (Slide Film)?

Colour reversal film, also known as slide film or positive film, is a type of photographic film that produces a positive image on a transparent base. This means that the colours in the final image are directly and accurately represented, without the need for printing.

In contrast, colour negative film produces a negative image on an opaque base. This image must be printed or scanned to create a positive image with accurate colours.

One of the main benefits of using colour reversal film is its accurate colour representation. The colours in the final image are true to the original scene, with no colour shifts or alterations. This makes it a popular choice for professionals and enthusiasts who require high-quality, accurate colour representation in their images.

However, shooting with colour reversal film does require more precision and care than shooting with colour negative film. It is essential to have precise light readings and proper exposure settings to ensure that the final image has accurate colours and tones.

You may refer to this post for information on different film types.

Kodak 100D, Hasselblad Xpan II, 45mm f4, Glenorchy New Zealand
Kodak 100D, Hasselblad Xpan II, 45mm f4, Glenorchy New Zealand

Metering Accuracy

Slide film is known for its narrow dynamic range. When using slide or colour reversal film, it’s crucial to have precise light readings from your camera or handheld meter. You must be extremely careful when capturing your desired scene, as there is little room for error, and you can easily end up with over or underexposed shots. Slide film is often considered difficult to shoot, but with a bit of practice and a keen sense of lighting, it’s not as challenging as people make it out to be. Metering for the highlights is the best way to get the perfect shot. Another tip is to look for scenes with less dynamic range, such as strong light from the side or back. Additionally, shooting this film in bright sunlight yields the best results, unless you’re trying to create cinematic shots at night, in which case adequate lighting is essential. It’s like a plant – without light, there’s no good photosynthesis.

Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong
Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong

Character and Tone

Let’s take a closer look at the characteristics of this film. In situations with abundant sunlight, it performs exceptionally well – seeming to absorb all the light in its path! The warmth and energy emanating from the film are easily felt. However, it does present a bit of a challenge for me at times due to its powerful deep blue tone. The tonality tends to lean towards hues of yellow, blue, and green, with the colour green being particularly refreshing and rejuvenating, as seen in the photo below. Even when underexposed due to incorrect metering, it has a higher latitude than Fujifilm RDP III and Velvia. It’s best to shoot it at box speed, even when expired. Overall, this film is a different beast compared to colour negative film.

Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong
Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong

Ektachrome typically captures scenes in a manner that closely replicates how they appear to the naked eye. Nevertheless, when overexposed or when there are bright spots, the tones may shift towards cooler hues, while shadows may lean towards warmer tones. One interesting aspect of this film is its red tone, which is not vivid but rather muted. This is quite rare to find among existing film lineups. When shot indoors, the warmth it produces replicates the old Japanese colours from the 80s, similar to how Greg Girard captured Hong Kong and Tokyo.

Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong
Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong
Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong
Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong

Comparing Ektachrome Kodak 100D and E100

In my opinion, the most significant point of using 100D instead of E100 is the warmth it produces because 100D is designed as a “Daylight” film. I find the photos taken with 100D to be more predictable and appealing than those taken with E100. As I previously mentioned, E100 tends to have a cooler colour tone and often has a green cast. In low light conditions, it can become muddy and unappealing. On the other hand, 100D has a warmer tone, making it easier for me to use during the day. Additionally, I find that the repackaged 100D is more economical than the E100. It reminds me of the old E100G, which I was quite fond of.

Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong
Kodak 100D, Leica Noctilux 50mm f.095 asph M, Hong Kong
Kodak Ektachrome E100, Leica Noctilux 50/1.2 asph, Hong Kong
Kodak Ektachrome E100, Noctilux 50mm f1.0 V4 E60

Furthermore, I find that 100D has a unique character that sets it apart from other films. Its deep blue tone and refreshing green hues add a captivating dimension to my photos. I also appreciate the film’s interesting red tone, which is uncommon in other film lineups. This muted red tone provides a subtle and understated quality to my images, which I find quite appealing.

Another benefit of using 100D is its exceptional sharpness at ISO 100. This is particularly useful for capturing fine details and textures in my photos. Additionally, when shot correctly with proper light metering, 100D yields excellent results with vibrant colours and impressive contrast.

Overall, I believe that 100D offers a unique and compelling option for film photographers seeking warm, vibrant, and sharp images. Its distinct character and affordable price point make it a great alternative to other films, and I highly recommend giving it a try.

Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong
Kodak 100D, Voigtlander 50mm f1.0 asph, Hong Kong


In addition to my positive experience with Kodak 100D film, I hope that Kodak will continue to release new films or even bring back discontinued types like Kodachrome or E100VS. However, in today’s world, where cost management and KPIs drive decision-making, it may not be financially feasible for Kodak to pursue these less profitable opportunities.

If you’ve never shot with colour reversal film before, I highly recommend giving it a try. Seeing the original colours on the film strip always brings me joy. Plus, if you’re a fan of the colour palette from the 80s or the vintage look of film, shooting 100D at night can replicate that essence with its green and cool tones.

Kodak 100D, Hasselblad Xpan II, 45mm f4, Glenorchy New Zealand

Looking forward, I can’t wait to shoot more Kodak 100D on my next trip and experiment with different techniques to produce even better results. I will be sharing my tips on shooting slide film in a separate post, so stay tuned for that. Overall, I’m excited to see where my journey with Kodak 100D film takes me and highly recommend it to any film photographer looking for warm, vibrant, and sharp images.

Check out my webstore below if you want to try some Kodak 100D!

Kodak 100D, Hasselblad Xpan II, 45mm f4, Glenorchy New Zealand
Reflx Lab 800
Reflx Lab 400D
Reflx Lab 500T (35mm Film)
Leica M2/M3 Quick Loading Spool

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