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WHICH BRAND ?
Finally , having narrowed down the categories of film , there remains the choice of brand . There are now more than ever , and the choice is made no easier by conflicting manufacturers ' claims and by photographers ' prejudices , which sometimes are unreasonable . From the start , it is as well to bear in mind one essential fact : the differences between most brands are minute . This depends , naturally , on comparing like with like ; in particular , as we have just seen , the film speed makes a noticeable difference .
This may seem to be a sweeping statement , and it is , but intentionally so . If we subjected a group of different makes of film to laboratory tests , using a microscope to measure graininess and resolution , it would be possible to dis- tinguish between them . Realistically , however , this is not the way that photo- graphs are enjoyed . There are basically two ways in which one manufacturer's emulsion differs from another's . The first is in the technological edge that one may have : slightly better graininess for a given film speed , for example . Such leads , however , are often measurable only in very small percentage points , and the rival manufacturers normally catch up before too long . The second area of difference is in the priorities that film makers give to certain colours . Colour film attempts to reproduce the entire range of hues in nature with just three layers of coloured dye . This is actually an impossible task , but the major film companies come extremely close . Even so , depending on the choice of dyes or filters built into the emulsion , it is possible to pay special attention to , for instance , the blue of a clear sky , or to the naturalness of flesh tones , or to the neutrality of greys . If these are the priorities , other colours often do less well .
Now that film processes have become standardized , it is not surprising that most E - 6 films , for example , look similar . They do , after all , share similar chemistry . The same applies to C - 41 process films , but the extra step of printing introduces such a big variable that it is harder to discriminate .
One process that does stand apart is Kodachrome . This patented Kodak process for slide films is quite different in that the coloured dyes are added during the processing . As used by the photographer , Kodachrome is actually a black - and - white film . The advantage of this is that the film can be thinner , and so the resolution higher and graininess less . Kodachrome 25 , the slowest of the family , is widely regarded as the benchmark slide film . Because the film can be processed only at a few locations , Kodachrome is not convenient for everyone .
Comparison film tests are occasionally run in photography magazines , and these are always worth reading . Ultimately , however , the only thing to do is to make your own comparisons .
To take a large number of films is impractical ; instead , choose a category of film speed ( slow , medium , fast or ultra - fast ) and select three or four brands . Shoot identical scenes on each , rewinding the films after a few frames and reloading if you have only one camera body . Do not expect to see major differ- ences , but make your choice subjectively . Then follow the professionals ' advice : stick with that film and become thoroughly familiar with its behaviour .
RIGHT ( top to bottom ) Kodacolor Gold ( available in ISO 100 , 200 and 400 ) was Kodak's answer to consumer demand for more colourful prints . Kodachrome 64 is very popular among professionals , and is seen by many as a ' benchmark ' for slide emulsions .
The right film for the right subject
By shooting the same scene on a variety of films and studying the results side by side , subtle differences can be spotted which would otherwise go unnoticed . For everyday use , almost all of the brands would be acceptable , but there sharpness , overall colour balance and graininess which can be used to advantage in particular situations . Most films are designed to reproduce certain colours well , and photographers will select film based on its intrinsic characteristics and their particular needs for the shot . For example , one manufacturer may aim for a rich blue - good for seaside shots or holiday brochures and another instead . for accurate reproduction of flesh tones .
KODACHROME 25
KODACHROME 64
EKTACHROME 64
EKTACHROME 200
EKTACHROME 400
FUJICHROME 400
FUJICHROME 100
AGFA CT 18
AGFA CT 21
WHICH BRAND ?
Finally , having narrowed down the categories of film , there remains the choice of brand . There are now more than ever , and the choice is made no easier by conflicting manufacturers ' claims and by photographers ' prejudices , which sometimes are unreasonable . From the start , it is as well to bear in mind one essential fact : the differences between most brands are minute . This depends , naturally , on comparing like with like ; in particular , as we have just seen , the film speed makes a noticeable difference .
This may seem to be a sweeping statement , and it is , but intentionally so . If we subjected a group of different makes of film to laboratory tests , using a microscope to measure graininess and resolution , it would be possible to dis- tinguish between them . Realistically , however , this is not the way that photo- graphs are enjoyed . There are basically two ways in which one manufacturer's emulsion differs from another's . The first is in the technological edge that one may have : slightly better graininess for a given film speed , for example . Such leads , however , are often measurable only in very small percentage points , and the rival manufacturers normally catch up before too long . The second area of difference is in the priorities that film makers give to certain colours . Colour film attempts to reproduce the entire range of hues in nature with just three layers of coloured dye . This is actually an impossible task , but the major film companies come extremely close . Even so , depending on the choice of dyes or filters built into the emulsion , it is possible to pay special attention to , for instance , the blue of a clear sky , or to the naturalness of flesh tones , or to the neutrality of greys . If these are the priorities , other colours often do less well .
Now that film processes have become standardized , it is not surprising that most E - 6 films , for example , look similar . They do , after all , share similar chemistry . The same applies to C - 41 process films , but the extra step of printing introduces such a big variable that it is harder to discriminate .
One process that does stand apart is Kodachrome . This patented Kodak process for slide films is quite different in that the coloured dyes are added during the processing . As used by the photographer , Kodachrome is actually a black - and - white film . The advantage of this is that the film can be thinner , and so the resolution higher and graininess less . Kodachrome 25 , the slowest of the family , is widely regarded as the benchmark slide film . Because the film can be processed only at a few locations , Kodachrome is not convenient for everyone .
Comparison film tests are occasionally run in photography magazines , and these are always worth reading . Ultimately , however , the only thing to do is to make your own comparisons .
To take a large number of films is impractical ; instead , choose a category of film speed ( slow , medium , fast or ultra - fast ) and select three or four brands . Shoot identical scenes on each , rewinding the films after a few frames and reloading if you have only one camera body . Do not expect to see major differ- ences , but make your choice subjectively . Then follow the professionals ' advice : stick with that film and become thoroughly familiar with its behaviour .
RIGHT ( top to bottom ) Kodacolor Gold ( available in ISO 100 , 200 and 400 ) was Kodak's answer to consumer demand for more colourful prints . Kodachrome 64 is very popular among professionals , and is seen by many as a ' benchmark ' for slide emulsions .
The right film for the right subject
By shooting the same scene on a variety of films and studying the results side by side , subtle differences can be spotted which would otherwise go unnoticed . For everyday use , almost all of the brands would be acceptable , but there sharpness , overall colour balance and graininess which can be used to advantage in particular situations . Most films are designed to reproduce certain colours well , and photographers will select film based on its intrinsic characteristics and their particular needs for the shot . For example , one manufacturer may aim for a rich blue - good for seaside shots or holiday brochures and another instead . for accurate reproduction of flesh tones .
KODACHROME 25
KODACHROME 64
EKTACHROME 64
EKTACHROME 200
EKTACHROME 400
FUJICHROME 400
FUJICHROME 100
AGFA CT 18
AGFA CT 21
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