Pros: Vibrant but not garish colors. Inexpensive. Quick and easy processing.
Cons: Not always as available as regular ELITE CHROME 100.
The Bottom Line: A very high quality slide film when you want to take maximum advantage of colorful scenery. Less expensive than the pro version, Ektachrome 100VS.
colonialpara's Full Review: Kodak Ektachrome Extra, 100 ASA (169 4819)
This is Kodak's extra saturated version of their very successful ELITE CHROME 100 slide film.
This slide film retains all of the positive features and aspects of ELITE CHROME 100 with the added benefit of more vibrant colors. It is especially useful when you want to showcase the coloring of this subject of the photo. This would be an especially useful slide film in the fall when one wants to capture the color and majesty of fall foliage. It also lends itself exceptionally well to sunsets.
Here are some other observations I have made while using this KODAK slide film:
COLOR SATURATION:
Saturation in this slide film is 'enhanced' over the same speed ELITE CHROME 100. Colors show more bounce, but unlike competing slide films from Fuji, which can veer off toward un-natural, the extra colors found here are more like slightly more vibrant versions of what you'd see otherwise. In some cases, the colors are richer than what you might expect otherwise, but they are not surprisingly so.
GRAIN:
In my usage, I have not found grain any more pronounced than ELITE CHROME 100. As I stated in my review of that film here at epinions, I believe that emulsion to be one of the best "all around" slide films on the market.
CONTRAST:
Contrast in this film is less controlled than ELITE CHROME. I am careful not to underexpose this film for that reason. With AF 35 mm cameras shooting in Manual exposure mode, if you have a bracketing feature, using it in 1/3 over and under EV is an effective way to ensure acceptable contrast.
SHARPNESS:
Like its less enhanced sibling, this slide film delivers very sharp images. When combined with the fine grain, added color and photographer controlled contrast, this film is capable of delivering highly colorful and sharp images that can be breathtakingly spectacular. This capacity is especially useful for creativity in scenics, for fireworks, fall foliage and other scenic vistas where color AND detail are important.
CONVENIENCE OF USE:
Like all of Kodak's non-KODACHROME slide films, this film utilizes E-6 processing. For local labs that can do slides in-house, such as the store I deal with in Parsippany, NJ (Photo Zone), turnaround times are shorter than with K-14 processing. I can generally get my slides back within 24 hours.
Noted travel photographer and member of the NIKON instructional staff, BOB KRIST uses both ELITE CHROME 100 and ELITE CHROME EXTRA COLOR extensively when shooting on location. He discusses the reasons why in Nikon's very well done instructional tape MASTERS OF TRAVEL (available online at www.nikonusa.com). Mr. Krist states that he enjoys the very fine grain, rich colors and overall sharpness of images in both versions of this film. After viewing hundreds of images in books, magazines and on tape, I agree that he has found something in both versions of this slide film.
For examples of his photography shot with both versions of this film, see www.bobkrist.com and follow the links to his photos.
OTHER OBSERVATIONS:
When I need extra color in my slides because I am shooting sunsets or just want to capture the warmth of the afternoon sun, I always reach for this film. This would be an invaluable film to use if you were to shoot the Grand Canyon or The Painted Desert on a bright and clear day. This film has the ability to punch colors up while still retaining the finest detail and yet, it does not veer toward the outrageous or un-natural.
I have never been surprised by this film, nor has it embarrassed me. I have also found it useful to employ this film on overcast days where a more normally saturated slide film might deliver less colorful subject matter. The extra saturation takes advantage of what light is available to deliver the maximum color in the scene, even when lighting is not optimal.
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