Ektachrome(1958–Present)
An extensive range of subtractive three-color chromogenic reversal films available in 35mm, 16mm, 8mm and Super 8, for motion pictures, and in 35mm for still photography.
Film Explorer
The 16mm original reversal of Andy Warhol’s Chelsea Girls (1966), with a silver sulfide soundtrack. The “EKTACHROME” edge print text is clearly visible along the left edge.
The Museum of Modern Art, New York, NY, United States.
A 16mm Ektachrome print of Colossus on the River (1965), a documentary short, showing the docking of SS United States in New York harbor, directed by Manfred Kirchheimer.
The Museum of Modern Art, New York, NY, United States.
An example of 16mm Ektachrome EFB original reversal from an unidentified film (n.d.), made by H. O. Morrison.
Paul Ivester collection, Seattle, WA, United States.
An example of 16mm Ektachrome Commercial original reversal (marked “ECO” on the film edge), from an unidentified film (c. 1973), made by H. O. Morrison.
Paul Ivester collection, Seattle, WA, United States.
An example of 16mm Ektachrome Video News Film original reversal (marked “VNF” on the film edge) from an unidentified film (n.d.), made by H. O. Morrison.
Paul Ivester collection, Seattle, WA, United States.
An example of 16mm Ektachrome reversal print (marked “EASTMAN” on the film edge) from an unidentified film (n.d.), made by H.O. Morrison.
Paul Ivester collection, Seattle, WA, United States.
Identification
35mm: Ektachrome Reversal Print, 5386 (1960–72); Ektachrome R Print, 5389 (1970–85).
16mm: Ektachrome Reversal Print, 7386 (1960–72); Ektachrome R Print, 7388 (1966–70); Ektachrome R Print, 7389 (1970–77); Ektachrome Reversal Print, 7390 (1973-–86); Ektachrome VN Print, 7399 (1977–?).
EASTMAN EKTACHROME (1960–74), EASTMAN EKTACHROME R (1966–70), EASTMAN (1966–c.1977), EASTMAN EP (1973–86).
(Eastman Kodak 1966: p. 29)
1
Good color stability from 1982 on. Some Ektachrome emulsions were subject to light color fading before 1982, if they were not stored at a sufficiently low temperature (Wilhelm, 1993: p. 325).
Either silent, magnetic stripe or optical.
35mm: Ektachrome ER, 5257 & 5258 (1960–?); Ektachrome MS, 5256 (1963–84); Ektachrome EF, 7240 (1966–86); Ektachrome EF, 5241 (1966–84); Ektachrome Video News Film (VNF), 5239 and 5240 (1976–?); Ektachrome 100D Color Reversal, 5285 (1999–2012); Ektachrome Color Reversal 100D, 5294 (2022–present).
16mm: Ektachrome Commercial, 7255 (1958–70); Ektachrome ER, 7257 & 7258 (1960–66); Ektachrome MS, 7256 (1963–84); Ektachrome EF, 7241 & 7242 (1966–84); Ektachrome Commercial, 7252 (1970–85); Ektachrome Video News Film (VNF), 7239 & 7240 (1976–2004); Ektachrome High Speed Video News, 7250 (1977–2004); Ektachrome High Speed Daylight, 7251 (1981–2004); Ektachrome 100D Color Reversal, 7285 (2004–12); Ektachrome Color Reversal 100D, 7294 (2018–present).
8mm: Ektachrome II Cine (1967–?).
Super 8: Ektachrome II Color Movie (1967–71); Ektachrome 40 Color Movie (1971–?); Ektachrome 160 Color Movie (1971–82); Ektachrome Commercial, 7252 (c. 1973–?); Ektachrome EF, 7242 (1966–c. 1986); Ektachrome SM, 7244 (1975–c. 1985); Ektachrome Video News Film (VNF), 7240 (1976–2004); Ektachrome 160 Color Movie Type G (1976–82); Ektachrome 160 Color Movie New (1982–97); Ektachrome 160 Color Movie Type G New (1982–86); Ektachrome 64T Color Reversal, 7280 (2005–10); Ektachrome 100D Color Reversal, 7285 (2010–12); Ektachrome Color Reversal 100D, 7294 (2018–present).
9.5mm: Ektachrome 7257 “HS” (1984–?) by Ligonie; Ektachrome 100D, 7294 (2023–?) by Color Films Archives.
EKTACHROME C (1958–70), ER (1959–66), ERT (1959-1966), EMS (1963–84), EKTACHROME EF (1966–84), EKTACHROME EFB (1966–84), EASTMAN ECO (1970–84), EKTACHROME EG (ca.1970–81).
History
The first motion-picture film branded “Ektachrome” was Ektachrome Commercial, Type 7255, introduced to market in 1958 by the Eastman Kodak Company of Rochester, New York. It was a multilayer, three-color subtractive film, with dye-forming couplers incorporated into the emulsion. The film was produced in 16mm and targeted at professional cinematographers, for educational, training, advertising and entertainment purposes. This Ektachrome Commercial film had been developed to simplify and replace Kodachrome Commercial Safety film, introduced in 1947 (Groet et al., 1959; Ryan, 1976). The new Ektachrome film was a low-contrast reversal stock, intended to be used as master material for making reversal prints, unlike most 16mm Kodachrome stocks, which were intended for direct projection (Salt, 2009: p. 268).
Soon after it was introduced, the TV network NBC experimented with the making of kinescope recordings on 16mm Ektachrome Commercial film by shooting the face of a shadow mask tube, after carrying out the same test, in 1957, with Anscochrome, an older competing film (Lipton, 2021: p. 687). Type 7255 was the first in a long series of Ektachrome films, developed and brought to market in line with on-going improvements in sensitometric characteristics of the emulsions. Initially discontinued in 2012, the Ektachrome range was relaunched for motion pictures in 2019 (Super 8, 16mm and 35mm formats) and still photography versions.
It is challenging to identify the inventors of the new 1958 Ektachrome Commercial film for motion pictures. If we do find a mention of Ektachrome in Cornwell-Clyne's seminal 1951 book Colour Cinematography, it's only in reference to the still photography version of Ektachrome – Kodak’s first coupler-containing reversal film, which had been launched in 1946 (Cornwell-Clyne, 1951: p. 351; Coote, 1993: p. 166). At the Kodak Research Laboratory in Rochester, NY, color photographic research was progressively improved and structured following the introduction of three-color Kodachrome in 1935, and the long-term teamwork between Mannes, Godowsky and the Kodak scientists of the laboratory. By the early 1940s, the Color Process Development Department, headed by Ralph Evans; the Color Research Department, headed by Paul Vittum; and the Synthetic Organic Chemistry Department, headed by Arnold Weissberger, were assigned to this task. The three units tested couplers for the emulsion layers of prototype Kodacolor and Ektachrome films, in particular (James, 1989: p. 56). In 1943, the photochemist Wesley T. Hanson developed the technology of colored couplers, creating an automatic mask in the emulsion to counteract the unwanted absorption of dyes. It was first used to improve the Kodacolor negative film, introduced in 1941. Together with the scientist Nick Groet, Hanson resumed research on color motion-picture film processes from 1945, which led to the introduction of the Eastman Color negative motion-picture film in 1950. Encouraged by this success, Hanson was appointed head of a new “Color Photography Division” in 1951 (James, 1989: p. 61). So it was under his direction that the Kodak researchers worked in the 1950s on developing reversal processes incorporating color couplers, urged on yet more by the 1955 Consent Decree, which required Kodak to sell color film without the processing charges attached. It became necessary to replace the Kodachrome Commercial Safety film, which was too tedious to develop. In these endeavors Groet stood out, by improving the speed and the image structure of the early Ektachrome color film. He also contributed to the technology of “competing couplers” in the color developer of the Ektachrome film process, leading to improvements in grain and image sharpness (James, 1989: p. 67). It was also Groet who published the first scientific article on Ektachrome Commercial film, alongside M. Lieberman and F. Richey (Groet et al., 1959). And then, the following year he published a second article with two other colleagues concerning the introduction of the more sensitive Ektachrome ER range (Groet et al., 1960).
Regarding initial user feedback, as high-quality copies could be made of the original, the amateur community of the 1960s welcomed the arrival of Ektachrome, as producing good copies was considered more difficult with the existing Kodachrome film. Therefore, Ektachrome was deemed to bridge the gap between the “amateur” Kodachrome and “professional” Eastman Color film. During its years of production, and beyond its classic uses as 16mm and Super 8 cine film for amateurs, and 16mm for commercial, industrial and educational purposes, Ektachrome film was also used for TV news gathering, at the end of the 1970s and during the 1980s, being optimized for telecine rather than projection or printing. Ektachrome Video News film (VNF), with an ISO of 160, was developed for this purpose and widely used, because it was more convenient for TV news gathering than negative film, due to a much simpler editing process, with its positive image. Some local TV stations directly processed Ektachrome films in-house to produce their daily news broadcasts, until the development and widespread use of portable video camcorders (Lipton, 2021: p. 478; Kodak, 1989: p. 76). In addition, Ektachrome in its 16mm format was also used for high-speed scientific and industrial applications where film speeds of up to and above 1,000 fps were required (Kodak, 2023). In the field of amateur cinema, the French company Ligonie even began offering its “HS” film in 9.5mm format in 1984, manufactured from Ektachrome ER type 7257 film (Sanson, 2023).
At the dawn of the twenty-first century, some filmmakers began using Ektachrome film for all, or part, of their analog filming material, with the aim of enhancing their visual production with the distinctive aesthetic of Kodak reversal film – offering greater creative possibilities in terms of colorimetry, contrast management, and grain, for example, compared to negative film stocks. Thus, for the filming of Spike Lee's movie Inside Man (2006), director of photography, Matthew Libatique, shot the interrogation scenes with Ektachrome 100D 5285. The exposed footage was cross-processed and then put through a bleach bypass to neutralize color temperature and create more contrast (Calhoun, 2006: p. 3). However, bad news for creatives arrived in 2012 – Kodak discontinued production of Ektachrome film, citing weak sales. This situation lasted until the Consumer Electronics Show (CES) in 2017, during which Kodak announced the return of Ektachrome in ISO 100 35mm and Super 8 formats before the end of the year. However, the release date was later pushed back to 2018 after it was discovered that certain materials required for its manufacture were no longer available, necessitating a reformulation. The Super 8 version, named Ektachrome 100D 7294, was exhibited at the 2018 CES Show. Finally, in autumn 2018, Kodak released the newly formulated Ektachrome, with the 35mm format arriving on September 25, and the Super 8 format on October 1 (Zhang, 2018). In June 2023, the French company Color Films Archives introduced a 9.5mm version of Kodak Ektachrome 100D film. This film is manufactured from 35mm stock (Gourdet-Marès, 2024).
Original packaging for multiple types of 16mm Ektachrome film.
Paul Ivester collection, Seattle, WA, United States.
The Ektachrome 100D film, still in production in 2025 – in Super 8, 16mm 100ft and 16mm 400ft versions.
Eastman Kodak Company, “Kodak Ektachrome 100D. Color Reversal Film 5294/7294” (commercial brochure).
Selected Filmography
This 16mm experimental underground film was presented in a split screen, with scenes alternating between B/W and color photography. For the latter, Ektachrome film was used.
This 16mm experimental underground film was presented in a split screen, with scenes alternating between B/W and color photography. For the latter, Ektachrome film was used.
Ektachrome 160D 5239 and High Speed 7251 films were partially used, alongside Kodak EXR negative films. More specifically, the Ektachrome films were cross-processed in the same chemistry used to process color negative films). This process increased contrast and grain, and created some color distortion, mostly in the highlights and shadows (Salt, 2009: p. 340).
Ektachrome 160D 5239 and High Speed 7251 films were partially used, alongside Kodak EXR negative films. More specifically, the Ektachrome films were cross-processed in the same chemistry used to process color negative films). This process increased contrast and grain, and created some color distortion, mostly in the highlights and shadows (Salt, 2009: p. 340).
Ektachrome 100D 5285 film was used, in part, alongside Kodak Vision2 and Vision3 negative films, for scenes that represent the main character's memories. Again, the director of photography was Matthew Libatique.
Ektachrome 100D 5285 film was used, in part, alongside Kodak Vision2 and Vision3 negative films, for scenes that represent the main character's memories. Again, the director of photography was Matthew Libatique.
The 8 episodes of Season Two were shot exclusively with the Ektachrome 100D 5294 and Kodak Vision3 500T 5219 films. For the purposes of filming, Kodak agreed to relaunch production of the Ektachrome 100D film in 35mm format, provided that a big order was placed for the whole season. The choice of Ektachrome was not immediate: after conducting numerous tests with different Kodak stocks and processing methods in the laboratory, director of photography Marcel Rév and his team concluded that cross-processed Ektachrome was the closest to what they imagined Season Two should look like (Kodak, 2022).
The 8 episodes of Season Two were shot exclusively with the Ektachrome 100D 5294 and Kodak Vision3 500T 5219 films. For the purposes of filming, Kodak agreed to relaunch production of the Ektachrome 100D film in 35mm format, provided that a big order was placed for the whole season. The choice of Ektachrome was not immediate: after conducting numerous tests with different Kodak stocks and processing methods in the laboratory, director of photography Marcel Rév and his team concluded that cross-processed Ektachrome was the closest to what they imagined Season Two should look like (Kodak, 2022).
This film, shot in 16mm format mainly in B/W, includes color scenes filmed in Ektachrome.
This film, shot in 16mm format mainly in B/W, includes color scenes filmed in Ektachrome.
Altman shot this dramatic show, under the title Once Upon a Savage Night, in the Chicago area at night, without additional lighting, using 35mm Ektachrome ER (Type B), 5258. It was later expanded to make a TV movie called Nightmare in Chicago. In his recollections, Altman mentions “a 35mm positive stock with an ASA of about 800 (Altman & Thompson, 2004). According to Ryan, the show was a success, but it did not create a trend in the entertainment industry to use reversal stock for filming (Ryan, 1977).
Altman shot this dramatic show, under the title Once Upon a Savage Night, in the Chicago area at night, without additional lighting, using 35mm Ektachrome ER (Type B), 5258. It was later expanded to make a TV movie called Nightmare in Chicago. In his recollections, Altman mentions “a 35mm positive stock with an ASA of about 800 (Altman & Thompson, 2004). According to Ryan, the show was a success, but it did not create a trend in the entertainment industry to use reversal stock for filming (Ryan, 1977).
Most of the outdoor scenes were shot with Ektachrome Color Reversal 100D film 5294.
Most of the outdoor scenes were shot with Ektachrome Color Reversal 100D film 5294.
Director of photography, Matthew Libatique, mainly used Kodak Vision2 500T 5218 and Vision2 Expression 500T 5229 film stocks for filming. However, Ektachrome 100D 5285 was used for the interrogation scenes, which were cross-processed and put through a bleach bypass, to neutralize color temperature and increase contrast.
Director of photography, Matthew Libatique, mainly used Kodak Vision2 500T 5218 and Vision2 Expression 500T 5229 film stocks for filming. However, Ektachrome 100D 5285 was used for the interrogation scenes, which were cross-processed and put through a bleach bypass, to neutralize color temperature and increase contrast.
The film was shot almost exclusively on Kodak Vision3 500T Color Negative Film 5219, 200T Color Negative Film 5213 and Double-X 5222 negative films. However, two sequences were shot at Sharon Tate and Roman Polanski’s home, one using 16mm Ektachrome Color Reversal 100D 7294 and the other the same emulsion in Super 8 format (Kodak, 2019). We can assume that Tarantino, and the director of photography Robert Richardson, wanted to test the color rendering of the new Ektachrome emulsions, which had just been relaunched.
The film was shot almost exclusively on Kodak Vision3 500T Color Negative Film 5219, 200T Color Negative Film 5213 and Double-X 5222 negative films. However, two sequences were shot at Sharon Tate and Roman Polanski’s home, one using 16mm Ektachrome Color Reversal 100D 7294 and the other the same emulsion in Super 8 format (Kodak, 2019). We can assume that Tarantino, and the director of photography Robert Richardson, wanted to test the color rendering of the new Ektachrome emulsions, which had just been relaunched.
This documentary drama film was shot in London in 1967. Some night scenes were shot under existing light with Ektachrome EF film, then copied onto internegative film and interpolated onto the original negative for printing on 35mm Eastman Color release prints (Salt, 2009: p. 285).
This documentary drama film was shot in London in 1967. Some night scenes were shot under existing light with Ektachrome EF film, then copied onto internegative film and interpolated onto the original negative for printing on 35mm Eastman Color release prints (Salt, 2009: p. 285).
The film was shot in 16mm reversal with Ektachrome Commercial film 7252 (EI 25), probably for cost reasons. It was blown-up to 35mm for distribution.
The film was shot in 16mm reversal with Ektachrome Commercial film 7252 (EI 25), probably for cost reasons. It was blown-up to 35mm for distribution.
Technology
The development of Ektachrome Commercial film was a result of a long period of research work done by Kodak on the incorporation of color couplers into the three emulsion layers of color film – unlike the Kodachrome process. The first step for Kodak was the collaboration between independent inventor Michele P. L. Martinez, and their UK subsidiary Kodak Limited, in the early 1940s. The two parties had already been in contact since 1924, to secure technologies developed by Martinez through commercial agreements. However, after the Italian declaration of war on the Allies on June 10, 1940, Italians living in England were treated as potential enemies and Martinez, among others, was sent to one of the internment camps on the Isle of Man. It was from this location, during 1941, that he communicated by mail with the staff of Kodak Limited's Patents and Trade Marks Department to complete patent applications. They ultimately worked on four applications, including number 9657/40, which led to the second of Martinez’s British patents, number 543,606, regarding technologies incorporating color couplers into the emulsion. The patent described, among other things, a substance dispersed in gelatin referred to as the “insulator”, made of natural resin, gum or gum-resin, with water-repellent properties and able to contain the color couplers and the silver salt (Le Guern, 2017: p. 273–88). In addition to Martinez's patent work with Kodak, in 1939 Paul Vittum and Edwin Jelley discovered a new type of coupler that could be integrated into the emulsion with the use of a resinous binder. The new couplers were named as “protected couplers”. This R&D work led first to the introduction of the Kodacolor Aero Reversible film for still photography in 1940, a positive transparency after processing, which was used by the US Air Force for reconnaissance purposes (Coote, 1993: p. 157; Talbert, 2023).
The Ektachrome series of film emulsions were developed as both camera reversal and reversal print films. The first Ektachrome available for motion pictures was introduced in 1958, for commercial and industrial filmmaking, and was designed to provide originals for the production of release prints. It replaced Kodachrome Commercial film (type 5268) with improved speed, grain, sharpness, latitude, curve shape and color reproduction. Furthermore, despite the simplification of the Kodachrome development process, developed by Lot Wilder in 1938, reducing the number of steps from 28 to 18, the chemical processing of this iconic film remained unusually complex compared to the simple 6-step development process used for Ektachrome films. Regarding their nature, all Ektachrome films were, and still are, integral tripack films with three superimposed layers, sensitive to part of the visible spectrum. To reduce the optical scattering of light, emulsion layers were produced as thin as possible. Kodak engineers succeeded in reducing the thickness of the emulsion layers of Ektachrome Commercial film (type 7255) to less than half that of the original Ektachrome sheet film E-1 (Vittum, 1962: p. 940).
The technology used in Ektachrome films to incorporate the couplers into the three emulsion layers differed from that used by competitor Agfa, for which hydrophilic (water soluble) couplers were incorporated into the gelatin of the emulsion layers, following Rudolph Fisher’s original ideas. This different technology was described by two Kodak photochemists in 1971, pointing out that Ektachrome, on the contrary, used couplers that were soluble in oil (a property known as “oleophilic moiety”). These so-called protected couplers were dispersed in the gelatin phase of the three emulsion layers (Bailey & Williams, 1971: p. 346). Weissberger also described the Ektachrome system as follows: “instead of making the coupler molecules hydrophilic, the hydrophobic couplers are dissolved in organic solvents and the solutions are dispersed in the photographic emulsions in fine droplets (much less than one micron in diameter)” (Weissberger, 1970: p. 656).
The emulsion layers of Ektachrome films were sensitized to blue, green and red light, respectively, and were coated on a safety-film support (cellulose acetate propionate or cellulose triacetate). The top layer was a clear gelatin overcoat to protect against abrasion. A yellow filter layer between the blue and the green-sensitive layers prevented blue light from reaching the bottom two emulsion layers, and a clear gelatin interlayer prevented color contamination between the green and the red sensitive layers. A removable black antihalation layer was coated on the back side of the support. The emulsion layers contained, in addition to the light-sensitive silver halide, coupler dispersions from which a yellow dye was produced, during processing, in the blue-sensitive layer; a magenta dye in the green-sensitive layer; and cyan dye in the red-sensitive layer. The unwanted absorptions of the dyes in the film were reduced using interimage effects. As an example, the reduction in magenta dye, as a function of decreasing blue and red exposures, compensated for the unwanted absorption of the yellow and cyan dyes, and improved the brightness of green colors in the final reproduction (Groet et al., 1959: p. 8–9).
If we consider an Ektachrome film after exposure, the latent image is only present in the parts where light has passed through. To develop this film, it is first immersed in an ordinary B/W developer, which converts the exposed silver halide to silver, thereby oxidizing the developing agent. At this stage no dye is formed. The next step is to re-expose the film uniformly to a strong white light, or to use a chemical fogging agent, so that latent image is formed in all the undeveloped silver halide. The film then enters a color developer, which converts this silver halide to silver and the oxidized developer, formed in the vicinity of this silver, reacts with the couplers to form cyan, magenta, and yellow dye images as before. The usual bleaching and fixing stages then remove all the silver, to give all three dyes (a dark area) on the parts of the film where the light originally did not fall, and no dyes (a light area) on the parts of the film where the light originally did fall. The result is thus a positive, as required. This color reversal process has had many names and variations at Kodak for color reversal motion-picture films. In chronological order, these were the ECO-1, ME-2A, ME-4, ECO-3, ES-8, VNF-1 or RVNP processes. These processes should not be confused with processes E-1 to E-6, which are dedicated to the development of color reversal photographic films. From a general perspective, past and present still and motion picture films operating in the way described above include Ektachrome, Elitechrome, Agfachrome, Fujichrome, Perutzcolor, Orwochrome, Ferraniacolor, Anscochrome, and Gevachrome. (Hunt, 2004: p. 189–90).
A cross-section schematic of Ektachrome Commercial, Type 7255, showing the three layers of colour sensitive emulsions.
Groet, N.H.; Liberman, M.; Richey, F. (1959). “An Improved Professional 16mm Reversal Camera Film”. Journal of the SMPTE, 68:1 (Jan.): p. 9.
A cross-section schematic of Ektachrome Type 5257 (and 5258) showing the antihalation layer now located between the safety support, and a layer of clear gelatine, in order to protect it from abrasion.
Groet, N.H.; Murray, T.J.; Osborne, C.E. (1960). “Two High-Speed Color Films and a Reversal Print Film for Motion Picture Use”. Journal of the SMPTE, 69:11 (Nov.): p. 816.
The six-step development process for Ektachrome films, shown in the form of highly magnified cross-sections of an integral tripack material with incorporated couplers being processed to give a positive image directly on the camera film. △ : unexposed silver halide grain – △ (including a dot) : exposed silver halide grain. – ▲: developed grain of silver – ⚪: particle of coupler – Y: particle of yellow dye – M: particle of magenta dye – C: particle of cyan dye.
Hunt, Robert W. G. (2004). The reproduction of Colour (6th Edn). Chichester, John Wiley & Sons Ltd, p. 189.
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Zhang, Michael (2018), “Kodak Ektachrome is now shipping”. Petapixel (website) (Sep. 25). Available at: https://petapixel.com/2018/09/25/kodak-ektachrome-is-now-shipping (accessed Feb. 15, 2026).
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Nicolas Le Guern is a photographer and radiologist specializing in cultural heritage, at the C2RMF in Paris, and an independent researcher. He holds a doctorate in visual culture studies from De Montfort University, Leicester (2017). His thesis focused on industrial research and innovation strategy at Eastman Kodak in the first half of the twentieth century. In this context, he worked on the Pathé and Kodak-Pathé archives, preserved near Chalon-sur-Saône by the CECIL association. His recent publications include “Les carnets de notes de Charles Thomas Robinson: enjeux des traitements chimiques de la pellicule aux usines Pathé de Joinville” (in Crafts, Trades, and Techniques of Early Cinema, 2024), “Les opportunités manquées de Kodak dans les technologies de l’imagerie numérique” (Marché et organisations, 2024), “European research in Kodak's early years” (Transatlantic Cultures, 2023) and “The long-term development of three-color Kodachrome. An odyssey from the additive to the subtractive method of color reproduction” (Color Culture and Science Journal, 2022). His work focuses on the history of color media and processes, and the circulation of photographic knowledge.
I would like to thank James Layton and Crystal Kui for their help, proofreading, and insightful suggestions, and Paul Ivester for his kindness in sharing additional images.
Le Guern, Nicolas (2026). “Ektachrome”. In James Layton (ed.), Film Atlas. www.filmatlas.com. Brussels: International Federation of Film Archives / Rochester, NY: George Eastman Museum.
