With KODACHROME 25 Gone, KODACHROME 64 is Your Choice!!!
Written: Aug 20 '03
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Product Rating:
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Pros: Very Accurate colors, very fine grain, neutral palette, good contrast.
Cons: The time it takes to get slides back from the lab.
The Bottom Line: In my opinion, the current standard that ALL slide films should be judged against.
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Sadly for the legions of fans of KODACHROME 25, Kodak discontinued that venerable slide film in 2001. Unless you can find some that has been frozen or refrigerated, there is almost none left on the market. Kodak's decision to do away with a product they had produced for more than 60 years leaves fans of the original emulsion with what I feel are two basic choices: they can switch to another brand completely or use KODACHROME 64.
Like so many other photographers, I discovered K25 late in life and now must use its faster sibling KODACHROME 64. However, that is not a bad thing in itself.
OBSERVATIONS:
Due to different processing chemistry than Ektachrome and other slide films available from Kodak's competition (which use E6 chemistry) KODACHROME must be sent to KODAK for processing. As I write this review, the KODAK web site lists only three labs in the continental United States that still develop this type of slide film. One is in Fair Lawn, NJ, another in Hollywood, CA and the third is somewhere in the middle of Kansas. Who knows, maybe Dorothy and Toto can find it? The existence of only three labs for the entire country adds time to the process of development and return of one's slides. But, the wait is worth it!
COLOR SATURATION:
As Howard Creech notes here at epinions in his exceptionally fine review and historic discussion of Kodachrome 25, K64 shares all of the traits of its slower sibling with the exception of its slower speed. Color saturation for K64 is what I would call "normal" because the final image is rendered exactly the way the photographer saw it through the view finder. Color rendition is natural. All colors of the spectrum appear as they are meant to be seen and certain colors such as reds, that may appear "too hot" or "plasticky" as they do in competitor's slides are rendered properly. Brighter colors like red and yellow do NOT lose details and are saturated in a pleasing manner. This is especially useful when photographing flowers or in macro photography of small and colorful subjects.
GRANULARITY:
Grain for K64 is almost non-existent and the slides lend themselves readily to enlargement. While many film reviewers for the various photo mags have stated that Fuji's Velvia 50 and 100 are finer grained, I believe the overall effect is more pleasing with Kodachrome due to Velvia 50's rough treatment of facial tones and the perceived need by most users to shoot it at EI 40 to increase saturation of colors. Having used both Velvia 100 and K64, it is my observation that the KODACHROME 64 offers lower granularity than Fuji's offerings without the extremes in color.
CONTRAST:
KODACHROME 64 offers slide shooters all of the contrast that they need, but with a minor caveat. In lower light, but especially that created by deep shadow, I have noted that K64 can go quite dark in areas where the photographer might have wanted less depth. It should be remembered though, that K64 is still, by all standards, a slow speed slide film. It is not suitable for all lighting conditions and like all slide film, is less forgiving of exposure errors.
SHARPNESS:
Like the now extinct K25, KODACHROME 64 delivers incredibly sharp imagery. It's sharpness and overall faithful color are key reasons why so many photographers use it for landscapes, scenic vistas and portrait work. The sharpness and low grain allow it to remain a viable competitor for reprints in magazines. Likewise, the sharpness make this slide film a great candidate for large size blow-ups and with current technology, none of the original image quality is lost in the transition from slide to print. This is especially true in labs doing reprints that have the equipment on hand that negates the need to create an "interneg" before transferring the image to photographic paper.
EASE OF USE:
Unlike more forgiving print films, slides are less forgiving of errors in exposure. KODACHROME 64 is no exception. This is a very easy film to over or under expose and should you do so, the image will either go very bright, very quickly or very, very dark. Users must be aware, at all times of their lighting when using this film and that is why it delivers on its potential under bright, sunny skies.
KODACHROME 64 is also an excellent studio slide film when used with filters designed to negate the effect of bright tungsten floods and their yellowish cast. Still life images in a studio are well rendered, but photographers looking for "pop" with brightly colored subjects might do better with EKTACHROME 100G or a Fuji slide film.
OVERALL IMPRESSIONS:
This is NOT a film for the weekend snap-shooter or the casual photographer on vacation. For them, there is too much chance of losing the shot due to exposure errors. This film is for the serious student, the serious amateur and the professional. It is a slide film for those who appreciate KODACHROME's archival qualities, its delivery of true and accurate colors, and very fine grain.
With KODACHROME 25 now a memory, the standard (in my opinion) that ALL slide films should be judged by is KODACHROME 64.
It can be inconvenient to use due to its relatively slow speed and the time it takes to get slides back, but when they are delivered to you, you will know that the time and effort have all been worthwhile.
This is a slide film that serious photographers should make their standard. Despite Fuji's success with Velvia 50 and the newer 100 and their Provia slide offerings, I believe that KODACHROME delivers the truest, most lifelike colors to be found anywhere in imaging today. This is a distinction few others can claim. It is also one that should not be overlooked or taken lightly.
Recommended:
Yes
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