{"product_id":"ektar-100","title":"Kodak Ektar 100 - 35mm Colour Negative Film","description":"\u003ch1\u003e\u003cstrong\u003eKodak Ektar 100 - 35mm Colour Negative Film\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cp\u003e\u003cstrong\u003eThe one Kodak calls the world's finest grain. They're not wrong.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eVivid, sharp, and unforgiving of bad light. Ektar 100 has strong opinions about how it wants to be shot and rewards photographers who listen.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eKodak Ektar 100 35mm Film is an ISO 100 daylight-balanced professional colour negative film and one of the most celebrated emulsions in the analogue photography world. Built on Kodak's T-GRAIN emulsion technology with VISION Film cinematic heritage, it delivers ultra-fine grain, exceptional sharpness, and a vivid, saturated colour palette that sits closer to slide film than most colour negative stocks. Kodak describes it as having the world's finest grain of any colour negative film, and the results bear that out. In stock now and shipping fast from the UK. DX coded, 36 exposures, standard C-41 chemistry.\u003c\/p\u003e\n\u003chr\u003e\n\u003ch2\u003eWhat Makes Kodak Ektar 100 35mm Film Habit-Forming\u003c\/h2\u003e\n\u003cp\u003e\u003cstrong\u003eThe World's Finest Grain\u003c\/strong\u003e Kodak's own claim, and one that holds up to scrutiny. The T-GRAIN emulsion produces grain so fine that at normal print sizes it's essentially invisible, and even at 40 megapixel scans it remains barely perceptible. In 35mm the results rival what you'd expect from medium format; in medium format the grain disappears entirely. If fine grain in a colour film is the dependency, this is where it ends.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVivid, Saturated Colour\u003c\/strong\u003e Ektar 100 sits in unusual territory for a colour negative film. The saturation is closer to slide film than most C-41 stocks, with blues and greens that are particularly vivid and a colour palette that makes landscapes look genuinely extraordinary in good light. Kodak positioned it as a successor to Kodachrome for a reason, and for photographers who've chased that look through various modern alternatives, Ektar is the most direct route to it. It doesn't aim for flattery; it aims for accuracy and intensity simultaneously.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExceptional Sharpness\u003c\/strong\u003e The combination of T-GRAIN emulsion and proprietary DIR couplers gives Ektar 100 sharpness that makes the lens and scanner the limiting factors rather than the film. For enlargements, fine art prints, and any work where resolving fine detail matters, it delivers results that make 35mm feel considerably more capable than its reputation sometimes suggests.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBuilt for Scanning\u003c\/strong\u003e The T-GRAIN micro-structure was optimised with scanning in mind, and it shows. Negatives scan with remarkable clarity and hold colour information cleanly. The thin orange base is well behaved in most scanning setups, though underexposed shadows can produce blue-cyan shifts that benefit from careful inversion using Ektar-specific profiles or software like Negative Lab Pro.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExposure: Give It Light\u003c\/strong\u003e Ektar 100 has medium to low exposure latitude compared to more forgiving stocks like Portra. It tolerates around two stops of overexposure and one stop of underexposure, but it performs at its best when exposed correctly in good light. Underexposure compresses the shadows aggressively and loses the tonal nuance the film is capable of. In good daylight it is exceptional; in difficult or mixed light it requires more care than most films. This is not a criticism; it's information worth having before you load it.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eLandscape and Nature Photography's Favourite\u003c\/strong\u003e The vivid blues and greens, exceptional sharpness, and fine grain make Ektar 100 a natural choice for landscape, nature, travel, and architectural photography where colour intensity and detail are the priorities. It's the film that makes a good landscape look like a great one, and a great landscape look like a postcard that actually does the scene justice.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eA Word on Portraits\u003c\/strong\u003e Ektar's strong saturation and contrast can make skin tones challenging, particularly for lighter complexions where the heightened colour can read as unflattering. Photographers who shoot portraits regularly tend to reach for Portra instead. That said, careful scanning and considered post-processing can produce excellent portrait results, and in diffused or shadow light the colour rendering is considerably more gentle. Worth knowing, not worth avoiding the film over.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eC-41 Processing, DX Coded\u003c\/strong\u003e Standard C-41 chemistry, compatible with any colour lab including Chemical Dependency Lab. DX coded for automatic cameras. No special handling required.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e36 Exposures\u003c\/strong\u003e A full 36-exposure roll in standard 35mm format.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cstrong\u003eBest For\u003c\/strong\u003e Ektar 100 earns its place firmly in landscape, travel, nature, and architectural photography where the combination of fine grain, vivid colour, and exceptional sharpness can be used to full effect in good light. It's a strong choice for any work destined for large prints or high-resolution output, and for photographers who want the closest colour negative approximation to the look of slide film without the processing limitations. It rewards careful exposure and good light, and produces results under those conditions that are difficult to achieve with any other C-41 film. C-41 development is available here at Chemical Dependency Lab if you'd rather hand the developing over.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePerfect for:\u003c\/strong\u003e Landscape and travel photographers who want vivid, saturated colour with the finest grain available, architectural and nature work in good light, photographers making large prints who want 35mm to hold up to scrutiny, and anyone whose colour film dependency has been looking for an excuse to stop compromising on grain.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eEktar 100 has been earning its reputation since 2008 and the film community's growing enthusiasm for it shows no sign of slowing. The grain, the sharpness, the saturation: these are characteristics that reward photographers who understand them and work with them deliberately. Give it good light, expose it carefully, and Ektar 100 will produce colour negative results that make you wonder why you ever shot anything else outdoors. That's a very particular kind of dependency, and one that tends to stick.\u003c\/p\u003e","brand":"Kodak","offers":[{"title":"Default Title","offer_id":57815267901814,"sku":null,"price":17.7,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0941\/3892\/5430\/files\/Kodak-Ektar-100.jpg?v=1778188867","url":"https:\/\/chemicaldependency.co.uk\/products\/ektar-100","provider":"Chemical Dependency Lab","version":"1.0","type":"link"}