Analog Ambassador #4 (much dealyed!)

Sarah Zucker!

A bit about Sarah:
Sarah started shooting film at 15, and has spent the last year all over the United States. After finishing up her MFA in Dramatic Writing at NYU and working at the Writers Guild of America, East Foundation in Manhattan, she returned to her hometown of Canton, Ohio to serve as the Interim Curator of the Joseph Saxton Gallery of Photography. She is currently based in Los Angeles, where she writes words and takes photos, continuing to wage the battle against the blank page and the empty frame.

Check out the submission that won her a free camera! 

If you want to read a bit more about Sarah and see her first roll of cross-processed Velvia here is her first post! (From waaay back in December, sorry guys... we were a bit busy through the holidays.)

OldSchoolPhotoLab.com is an awesome mail-order photo lab that still processes all kinds of film!

Cross-Processing, part II: Kodak and Lomography films, cross-processed

Hopefully you tuned in last week for Part I of the cross-processing special, in which Old-School Photo Lab's Ty Ueda reviewed the results the various Fuji slide films give when cross-processed. Without further ado, here are his expert opinions on the cross-processed results of Kodak and Lomography slide films. All the images are Ty Ueda's.


Kodak E100G

E100G creates robust and saturated images with just enough contrast to make things deep and impacting.  Best used on a sunny day, point at the nearest colorful object and snap away!

Kodak E100VS

E100VS, a film that is rather dense in nature, is one of the slide films that Kodak is still readily producing.  This film, as abbreviated in its title, is very saturated, and when cross processed tends to have rather high amounts of contrast. 

Kodak Ektachrome 100 EPP Plus

 Ektachrome 100 EPP is a classic slide film produced by Kodak known for its high contrast, pleasurable skin tones, and high saturation.  When cross processed, this film has an exorbitant amount of contrast, which looks great for things like silhouettes.  This film has been discontinued so keep an eye out for it!

Kodak Ektachrome EPR 64

A film widely regarded as the industry standard, Kodak EPR 64 is a low speed slide film known for it’s great tones under controlled daylight lighting situations.  The film offers neutral colors and a touch of contrast, making it a great all around film.  Sadly this favorite has long been discontinued, and since most EPR that is found is expired, it tends not to have some of its fine grain qualities.

Kodak Ektachrome E200

Boasting an extremely fine grain, Ektachrome E200 presents wildly cool tones to a photo of every situation.  In any sort of lighting, E200 will take your photo and slap a blue intensifier on the photo and leave it looking as blue as the sky can be. 

Kodak Elitechrome 100 EB

Only produced in a 35mm size, Elitechrome 100 EB gives off a vast collection of radiant colors, ranging from underwater-like blue tones to neon yellow tints.  Under daylight, expect clear deep blue tones in the sky and around landscapes, while indoor lighting situations usually give off the yellow cast that already radiates from tungsten light. 

Kodak Elitechrome 100 EBX

Yes, it is just like it sounds! Elitechrome EB Extra Color  is everything you love about Elitechrome 100 EB with a touch more saturation and contrast.  This film successfully takes the already outrageous colors from Elitechrome EB and turns the dial up to 11! 

*PLEASE NOTE* Both Elitechrome EB and EBX are often deemed unscannable by our machines.  To best avoid this, try under-exposing the film rather than over exposing it.

Lomography X-Pro Chrome 100

Since Lomography seems to be on top of the whole cross processed movement, they began packaging their own slide films to sell exclusively labeling them for cross processing.  This film offers high saturation and tones much like those of Elitechrome EB.

Lomography X-Pro Slide 200

Another slide film produced by Lomography! This film generally yields a wider range of color casts, along with a lower contrast than the 100 film they produce.  With my personal use of the film, I’ve received everything from red overcasts to yellow tints to green flares, so I’ve always deemed X-Pro Slide 200 as a rather unpredictable film.  

Guest post: the Fuji slide films, cross-processed

Ty Ueda works here in our lab; he is something of a connoisseur of cross-processing. Since there's so much interest, in the recent return to film, in cross-processing, I asked him to assemble his thoughts on the results the various available slide films yield, when cross-processed. Here are the various Fuji films compared; we'll have the Kodak and Lomography offerings in upcoming posts.


Fuji Velvia 50F

They say it’s not easy being green, but when it comes to photos, Velvia 50 makes it worth the work. With a very slow film speed, Velvia 50 almost must be in the outdoors, but when utilizing the film in combination cross processing, photos exhibit high contrast and eerie green and yellow casts under any kind of light.










Fuji Velvia 100F

The easier to use brother of Velvia 50, Velvia 100 gives off radiating velvet-like colors. With color casts ranging from purple to yellow, the unpredictable Velvia 100F is a great all around film that will give off seemingly random colors.



Fuji Provia 400X/400F

If looking purely for saturation without major color casts look no further! Neither Provia 400x nor Provia 400F have overwhelming color casts yet still boast high saturation and contrast when x-pro’d. Overall a great film for many different lights and situations.











Fuji Provia 100F

A personal cross-processing favorite of mine, Provia 100F gives off an overall green cast to any photo! Provia 100F looks great in any situation for an eerie green look to your photos, and depending on the camera of your choice, the photos will sometimes be inhibited by a slight blue or yellow color.








Fuji T64

Fuji T64 is a very low speed tungsten balanced film. When you cross process this corrective film, you’ll receive a whole different array of colors. In outdoor sunlight, your photos will have a red tint with blues that are deeper than deep and under indoor tungsten light, expect an overwhelmingly red tint to your photos. Warning! This film is very slow, so make sure you’re using the right camera!




Fuji Astia 100F

Astia 100F is yet another wonderful yet increasingly harder film to find after it was discontinued recently. Astia 100F when cross processed gives a relatively low amount of contrast while, depending on the lighting situation, giving the photos a varying amount of magenta.









Fuji Sensia 100

Depending on the exposure of the photo, Sensia can deliver a range of different tones and looks. When underexposed, Sensia 100 will give off Red/Orange/Blue tints to photos depending on the color temperature of the light. When overexposed, the film can exhibit close to normal color tones with little yellow overcasts and red in the shadows. Sensia 100 has been discontinued as well. However, it is the easiest of the Sensias to find.



Fuji Sensia 200

Sensia 200 is a very different animal from Sensia 100. Sensia 200 gives off very saturated blue green and yellow tones, without any particular overwhelming color casts. Like Sensia 100, Sensia 200 is capable of producing almost regular looking photos when cross-processed if overexposed. Sensia 200 is mildly harder to find than Sensia 100, so keep your eyes peeled.



Fuji Sensia 400

Commonly referred to as the holy grail of the Sensia family, Sensia 400 delivers some of the wildest and astounding colors while cross-processed. Boasting relatively low grain for a 400 speed film, Sensia 400 to many is the most desirable, hard to find, and satisfying film for cross processing.