Welcome to part two of my exploration of slide film. You can read part one here. I was really pleased with the number of slide enthusiasts who commented and the general consensus is that slide film comes into its own when projected or viewed over a lightbox. That scans of slide film just don’t do …
Kodak Ektachrome E100
This will be a mish mash of part review, tutorial and warning to all mankind about the perils of developing slide film.
I have a love-hate relationship with colour film of late. I’m still very much a black and white girl at heart but I wanted to see what all the fuss was about. I decided to give Ektachrome E100 another bash on a bigger scale than my last attempt. Only this time I’d develop it myself. Bear in mind I’ve never developed any colour film before so I knew I wasn’t doing myself any favours to start with. But in true Laura fashion I decided to jump in face first. Go big or go home right?
I recently took a wander along the riverside beach at low tide from Enderby’s Wharf to Morden Wharf, surveying the textures, colours and variety of items that are either washed up (for instance, wood, moss, brick), or more permanent, discarded items (such as cabling, metal, netting, tyres). I have wanted to do a series of macro photographs along the riverside for ages, because there are always so many wonderful things to capture, and one day the weather and tide made it perfect to go out there and do it.
I have this intention of writing a quick and dirty post about my first (technically not but for the purposes of this let’s pretend) journey into colour film. We all know I can waffle for the gods on my other articles so whether it turns out like that in the end remains to be seen. We’ll start with a little introduction and then get straight into the images shall we? Marvellous.
There’s always been a bit of snobbery in the world of film photography. Unlike digital cameras, where the latest megapixel monster hanging over your shoulder is like a flashing neon sign, a film camera could last you your entire shooting career. The brand thus became the equivalent of today’s megapixel count – an indication of how serious (read “good”) of a photographer you really were. In that not so long ago era, for the most part, Nikon was “pro” and Canon was not quite, quirky brands like Alpa were interesting, and Leica was as good as it got. And perhaps still is…?