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Colour reversal · Vintage & odd

Kodak Ektachrome P1600

Gritty available-light colour, pushed two stops.

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Planned media

Gritty available light at EI 1600: a short scale, coarse grain and highlights that lean slightly green-blue. The room's light keeps its colour cast, as on real slide film. Original vs Ashigrain.

Kodak Ektachrome P1600

stock
Kodak Ektachrome P1600
mode
Reversal
film_format
35mm still (135)
scene_light
Custom
Exposure index
1600
Daylight
Introduced
by 1999
Discontinued
Process
E-6P
Prints on
Reversal, viewed directly

About the film

Kodak designed Ektachrome P1600 as a slide film to be shot at EI 1600 and push-processed two stops in process E-6P, and DX-coded the cassette at that speed.

Kodak aimed it at low light, action and sports, fast shutter speeds with small apertures, and photojournalism, promising bold colour even in dim light. The push happens in the first developer, which runs 5 minutes longer or 7 °C warmer than normal for EI 1600, and 2 minutes longer or 4 °C warmer for EI 800. Only at EI 400 does the film take normal development, so the pushed speed is its default rather than an option. Its T-Grain emulsions, which Kodak credited with high sharpness and fine grain for the speed, are coated on a 0.13 mm acetate base. It was made only in 35 mm, as 36-exposure rolls coded EPH. By May 2007 Kodak had discontinued the film.

Sources for this history
  1. KODAK EKTACHROME P1600 Professional Film Technical Data, Eastman Kodak Company
  2. KODAK EKTACHROME P1600 Professional Film (EPH), web catalogue (archived September 1999), Eastman Kodak Company
  3. KODAK EKTACHROME P1600 Professional Film, E-147 online technical data (archived December 1999), Eastman Kodak Company

The look

Kodak Ektachrome P1600 is a daylight colour reversal film rated EI 1600 in process E-6P, a two-stop push, and viewed directly with no print. Expect a short scale, coarse grain, bold colour and highlights that lean slightly green-blue.

Planned media

Fast action in available arena light: coarse grain and a short scale, with the arena light's colour left in.

Kodak Ektachrome P1600

stock
Kodak Ektachrome P1600
mode
Reversal
film_format
35mm still (135)
scene_light
Custom

Planned media

A night-transit interior with gritty grain and the colour of its lighting, not neutralised.

Kodak Ektachrome P1600

stock
Kodak Ektachrome P1600
mode
Reversal
film_format
35mm still (135)
scene_light
Custom

Best for

  1. Dim interiors and stages without flash
  2. Night streets and dusk
  3. Gritty, grainy available-light looks

Among the films

FilmSpeedGrain, RMS σD · lower is finerYears made
Technicolor Process IITechnicolor Process II−6⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 16−6⅔ stops.0201922
DS-5MDS-5M−5⅓ stops vs Kodak Ektachrome P1600 · grain finerEI 40−5⅓ stops.0051979
Kodak Aerochrome III 1443Kodak Aerochrome III 1443−5⅓ stops vs Kodak Ektachrome P1600 · grain finerEI 40−5⅓ stops.0242001
Kodak Vision3 50DKodak Vision3 50DMade since 2011, in production · −5 stops vs Kodak Ektachrome P1600 · grain finerEI 50−5 stops.0052011–
Fujifilm Velvia 50Fujifilm Velvia 50Made since 2007, in production · −5 stops vs Kodak Ektachrome P1600 · grain finerEI 50−5 stops.0092007–
Agfa Agfacolor Ultra 50Agfa Agfacolor Ultra 50−5 stops vs Kodak Ektachrome P1600 · grain finerEI 50−5 stops.0051995
Kodak Kodachrome 64Kodak Kodachrome 64Made 1974–2009 · −4⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 64−4⅔ stops.0121974–2009
Fujifilm Fujichrome 64T Type IIFujifilm Fujichrome 64T Type II−4⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 64−4⅔ stops.0102002
Ilford Ortho PlusIlford Ortho PlusMade since 1997, in production · −4⅓ stops vs Kodak Ektachrome P1600 · grain finerEI 80−4⅓ stops.0151997–
Polaroid Type 669Polaroid Type 669−4⅓ stops vs Kodak Ektachrome P1600 · grain finerEI 80−4⅓ stops.0241981
Svema LN-9Svema LN-9−4 stops vs Kodak Ektachrome P1600 · grain finerEI 95−4 stops.0071988
Fujifilm Astia 100FFujifilm Astia 100FMade 2003–2012 · −4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0082003–12
Agfa Agfachrome RSX II 100Agfa Agfachrome RSX II 100−4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0121998
Agfa Agfacolor Optima II 100Agfa Agfacolor Optima II 100−4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0051998
Kodak Ektar 100Kodak Ektar 100Made since 2008, in production · −4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0052008–
Kodak Ektachrome 100DKodak Ektachrome 100DMade since 2018, in production · −4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0142018–
Fomapan R 100Fomapan R 100Made since 1980, in production · −4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0221980–
NK-2NK-2−4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0131980
Fujifilm FP-100CFujifilm FP-100CMade 1992–2016 · −4 stops vs Kodak Ektachrome P1600 · grain finerEI 100−4 stops.0231992–2016
Eastman Color Negative 5247Eastman Color Negative 5247−3⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 125−3⅔ stops.0051983
Agfa Agfacolor Portrait XPS 160Agfa Agfacolor Portrait XPS 160−3⅓ stops vs Kodak Ektachrome P1600 · grain finerEI 160−3⅓ stops.0071995
Kodak Vision3 200TKodak Vision3 200TMade since 2010, in production · −3 stops vs Kodak Ektachrome P1600 · grain finerEI 200−3 stops.0072010–
Kodak Tri-X Reversal 7266Kodak Tri-X Reversal 7266Made since 2003, in production · −3 stops vs Kodak Ektachrome P1600 · grain finerEI 200−3 stops.0252003–
Kodak Vision3 250DKodak Vision3 250DMade since 2009, in production · −2⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 250−2⅔ stops.0072009–
Fujifilm Eterna 250DFujifilm Eterna 250DMade 2005–2013 · −2⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 250−2⅔ stops.0042005–13
Kodak Aerocolor IV 2460Kodak Aerocolor IV 2460Made since 2009, in production · −2⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 250−2⅔ stops.0132009–
Eastman Double-X 5222Eastman Double-X 5222Made since 1960, in production · −2⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 250−2⅔ stops.0151960–
Fujifilm Pro 400HFujifilm Pro 400HMade 2004–2021 · −2 stops vs Kodak Ektachrome P1600 · grain finerEI 400−2 stops.0042004–21
Kodak Vision3 500TKodak Vision3 500TMade since 2007, in production · −1⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 500−1⅔ stops.0072007–
Kodak Vision2 Expression 500TKodak Vision2 Expression 500T−1⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 500−1⅔ stops.0092003
Fujifilm Eterna 500Fujifilm Eterna 500Made 2004–2013 · −1⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 500−1⅔ stops.0042004–13
Fujifilm Eterna Vivid 500Fujifilm Eterna Vivid 500Made 2009–2013 · −1⅔ stops vs Kodak Ektachrome P1600 · grain finerEI 500−1⅔ stops.0042009–13
Kodak Portra 800Kodak Portra 800Made since 2000, in production · −1 stop vs Kodak Ektachrome P1600 · grain finerEI 800−1 stop.0082000–
Kodak T-Max P3200Kodak T-Max P3200Made since 1988, in production · −1 stop vs Kodak Ektachrome P1600 · grain finerEI 800−1 stop.0191988–
Kodak Ektachrome P1600Kodak Ektachrome P1600this filmEI 1600this film.0381999

Science & sources

Kodak Ektachrome P1600 calibration chart: OriginalKodak Ektachrome P1600 calibration chart: Processed
Synthetic test chart (grey ramp, ColorChecker, hue sweep, point highlights) before and after the full Ashigrain pipeline: reversal branch, Super 35 4-perf, default controls, exposure +0.47 stops to match the original's mid-grey, frame 0.

A daylight colour reversal film modelled at its rated Push 2 condition, EI 1600 in process E-6P. Expect a short scale and coarse grain; the positive image is shown directly.

Response curves and the evidence behind the model

Compare manufacturer data with the Ashigrain model on the same axes. This shows the calibration to source curves; comparison with photographed film is a separate question.

Characteristic response

Density against log H (lux-seconds) for channels R, G, B. R circles, G squares, B triangles, N diamonds; filled markers and solid lines are digitised, open markers and dashed lines are simulated: digitised and simulated.−3.0−2.5−2.0−1.5−1.0−0.5log H (lux-seconds)0.01.02.03.0Density

RMS granularity

RMS granularity (σD) against Density for channels R, G, B. R circles, G squares, B triangles, N diamonds; filled markers and solid lines are datasheet-based, open markers and dashed lines are simulated: datasheet-based and simulated.0.00.51.01.52.0Density0.00.020.040.06RMS granularity (σD)

Density variation (σD) measured through a 48 µm aperture. Where the datasheet gives a single grain value, the response away from that point is an approximation.

ChannelDensityDatasheet-based σDModel σD
R0.30.0203210.020961
G0.30.0203210.021046
B0.30.0203210.021033
R0.60.0287390.029643
G0.60.0287390.029763
B0.60.0287390.029745
R10.0371010.038269
G10.0371010.038424
B10.0371010.0384
R1.50.045440.046869
G1.50.045440.04706
B1.50.045440.04703
R20.0524690.05412
G20.0524690.05434
B20.0524690.054306

Model limits

These images show the film model in use. Spectral response, lighting and viewing conditions include approximations, while halation, bloom, grain size, weave and flicker are not fully measured for each film. A real film capture also depends on development and print timing.

  • The model assumes custom lighting spectra, camera metering and the spectral reflectance inferred from fixed-white-balance footage. These inputs are not measurements of the film.
  • The spectral transmission of the conversion filter the source prescribes (80A for daylight films under tungsten, 85 for tungsten films in daylight) is modelled, not supplied by the source.
  • All published data describe the rated Push 2 condition (EI 1600, process E-6P). No normal E-6 curves exist, so other push amounts are modelled relative to it.
  • The source prints one visual MTF curve for E-6P Push 2, not separate red, green and blue curves. The model applies it to all three layers.
  • The only grain value is RMS granularity 34 × 10⁻³ at EI 1600, read at a gross (not net) visual density of 1.0. Its conversion to net density and the response away from that point are modelled.
  • The dye curves are normalised to a visual neutral, with no midscale neutral; dye amounts are derived from that normalisation.
  • No minimum-density spectrum is printed, so the reversal base-density spectrum is approximated. Reversal push and pull have no published curves and use a generic model.
  • No antihalation layer is named; an undercoat is assumed. Halation strength, radius, layer weights and bloom are not measured.
  • Where calibration data is missing, the model approximates dye amounts, interactions between layers and push/pull behaviour. Grain size is an assumption: published RMS granularity does not determine dye-cloud size.
  • Characteristic response outside the published exposure range is an extrapolation, not measured film data.
  • Modelled projection flare raises screen blacks. Its strength is assumed because the available sources do not measure it, so it does not establish measured projection contrast.

Film guide: assumptions and practical choices

Sources

  1. Process: KODAK EKTACHROME P1600 Professional Film Technical Data, E-147, May 2007, p. 1
  2. Exposure index: KODAK EKTACHROME P1600 Professional Film Technical Data, E-147, May 2007, p. 2
  3. Characteristic curves: KODAK EKTACHROME P1600 Professional Film Technical Data, E-147, May 2007, p. 5
  4. Diffuse RMS granularity: KODAK EKTACHROME P1600 Professional Film Technical Data, E-147, May 2007, p. 5

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