{"id":75236,"date":"2025-07-16T07:29:00","date_gmt":"2025-07-16T06:29:00","guid":{"rendered":"https:\/\/phillipreeve.net\/blog\/?p=75236"},"modified":"2025-08-01T07:44:13","modified_gmt":"2025-08-01T06:44:13","slug":"analogue-photography-a-personal-journey-part-2-embracing-colours","status":"publish","type":"post","link":"https:\/\/phillipreeve.net\/blog\/analogue-photography-a-personal-journey-part-2-embracing-colours\/","title":{"rendered":"Analogue Photography: A Personal Journey – Part 2 – Embracing Colours"},"content":{"rendered":"
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome RD<\/figcaption><\/figure>\n

Introduction<\/h2>\n

This is the second part of my article, Analogue Photography \u2013 A Personal Journey.<\/span><\/i><\/p>\n

If you haven\u2019t read the first part yet, I recommend doing so \u2014 it provides useful background. Here\u2019s the link.<\/span>
\n<\/span> In that article and video, I explained how my journey in photography began, and how certain challenges \u2014 along with the mindset of the time \u2014 led me to focus on black-and-white photography. This time on embracing colour.<\/span><\/p>\n

\"\"You can see this article as a YouTube\u00a0video\u00a0here<\/a>!<\/p>\n

<\/p>\n

Embracing Colours<\/h2>\n

A few years passed, and by then, colour photography was gaining ground. Colour films were becoming more accessible and technically refined, and more and more well-known photographers were embracing them. Among them \u2014 in addition to the previously mentioned William Eggleston \u2014 were Saul Leiter, Stephen Shore, Joel Meyerowitz, and especially Ernst Haas.<\/p>\n

\"\"<\/p>\n

While I was impressed, it remained a mystery how they pulled it off. Not only had I not been able to make colour images like theirs \u2014 I hadn\u2019t even seen \u201cnormal\u201d people around me doing it.<\/p>\n

Still, the temptation of colour had always bubbled inside me. Yet colour negatives always left me disappointed \u2014 plagued by variables beyond my control, and by the difficulty of finding any lab that delivered consistent quality. Developing and printing colour negatives myself would have required an investment far beyond my means. But I felt it was time to expand my vision\u2014from the land of shades of grey to the world of RGB.<\/p>\n

\"Canon
Canon A1 | Colour negative film | Kodak<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Agfachrome<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Fuji Velvia 50<\/figcaption><\/figure>\n

I was still in my teens when, one evening, my uncle \u2014 some 20 years older than me \u2014 invited me over while one of his friends was visiting. His friend, also a photography enthusiast, had just returned from a holiday trip and brought along a slide projector. He showed us slides from three or four rolls of reversal film.<\/p>\n

I couldn\u2019t believe my eyes. The colours were out of this world \u2014 vivid, more beautiful than reality, and far beyond anything I\u2019d seen in colour photography before.<\/p>\n

\"Canon
Canon A1 | Colour reversal film | Kodachrome 64<\/figcaption><\/figure>\n
\"Canon
Canon A1 | Colour reversal film | Kodachrome 64<\/figcaption><\/figure>\n

As a teenager with no money, I remember the first thing I asked: How much does the projector cost?<\/em>
The second: What slide film did you use?<\/em><\/p>\n

I became increasingly drawn to colour reversal film \u2014 and National Geographic<\/em> played no small part in that. Their rich, vibrant photographs set a standard I couldn\u2019t ignore. I tried to find out what their photographers used to create those stunning images.<\/p>\n

Guess what? The answer to both my second question to my uncle\u2019s friend \u2014 and to this new question \u2014 was the same: Kodachrome reversal film. That\u2019s when I started testing colour reversal films.<\/p>\n

\"Nikon
Nikon F-801s | Colour reversal film | Kodachrome 64<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | colour reversal film | Kodachrome 64<\/figcaption><\/figure>\n

Then something even more decisive happened: I moved. This meant losing access to our black-and-white darkroom. After that, I shifted my focus completely to colour reversal film.<\/p>\n

Shooting slides demanded a higher level of precision. They were far less forgiving than negatives, due to their limited exposure latitude and the fact that exposure errors couldn\u2019t be corrected during printing.<\/span>
\n<\/span> But by then, I felt I had developed my skills enough to take on the challenge.<\/span><\/p>\n

\"Nikon
Nikon F-801s | Colour reversal film | Agfachrome CTx 100<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome RD<\/figcaption><\/figure>\n

On the other hand, slides would eliminate many of the issues I had experienced with lab-printed colour negatives \u2014 provided you could find a lab that developed them consistently. Kodachrome, the preferred colour reversal film among <\/span>National Geographic<\/span><\/i> photographers, had a major advantage in this regard: the cost of development was included in the price of the film, and I could send my rolls to any Kodak lab in the world.<\/span><\/p>\n

However, Kodak didn\u2019t have labs in every country, and Kodachrome\u2019s processing was notoriously complex. It required the specialized K-14 chemistry \u2014 proprietary to Kodak and available only at a few licensed facilities. I remember using it a couple of times, sending my rolls to Stuttgart, Germany, for development. But it wasn\u2019t easy \u2014 or cheap.<\/span><\/p>\n

So, I mostly used Agfachrome, Fujichrome, or different variations of Kodak Ektachrome reversal films, which used the more common E-6 process and were far more widely supported.<\/span><\/p>\n

\"Canon
Canon A1 | Colour reversal film | Agfachrome CT18<\/figcaption><\/figure>\n
\"Canon
Canon A1 | Colour reversal film | Agfachrome CT18<\/figcaption><\/figure>\n
\"Canon
Canon A1 | Colour reversal film | Agfachrome CT18<\/figcaption><\/figure>\n

Slides became my primary medium for non-family photography for many years. I tested various brands and types, but when Velvia 50 was released \u2014 offering stunning saturation, contrast, and fine grain ideal for landscapes \u2014 I made the switch. Velvia became my go-to film.<\/span><\/p>\n

\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n

The exception was when I expected to photograph mostly people, as Velvia’s intense colours could sometimes feel too harsh. In those cases, I used various negative films like Kodak Gold or Fuji Superia \u2014 and occasionally even Kodak Elite Chrome slides.<\/p>\n

\"Kodak
Kodak Gold 200<\/figcaption><\/figure>\n
\"Kodak
Kodak Gold 400<\/figcaption><\/figure>\n
<\/div>\n
\"Kodak
Kodak Elite Chrome 100<\/figcaption><\/figure>\n

That balance remained until digital photography eventually took over.<\/span><\/p>\n

For me, colour is like sugar. If I go without it for a while, the craving builds \u2014 as if a vacuum starts forming inside me. The longer I stay away, the stronger the urge becomes, until I give in and start shooting colour again. Then I indulge \u2014 vivid, saturated colours everywhere, and sometimes, though more rarely, muted and subdued tones. But if I go too far, it\u2019s like eating too many sweets: that heavenly taste begins to lose its charm. I start to long for the simplicity and quiet of black and white again.<\/span><\/p>\n

\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Kodak Elite Chrome 100<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Kodak Elite Chrome 100<\/figcaption><\/figure>\n

That\u2019s how colour works for me \u2014 if I avoid it, the desire builds; but when I immerse myself too deeply, I feel the need to step away.<\/span><\/p>\n

Although the last time I developed a roll of film was some 30 to 40 years ago, I\u2019ve occasionally taken black and white pictures with my digital cameras \u2014 or more accurately, I\u2019ve captured images I envisioned in black and white and later converted them during post-processing. But to be honest, it now feels like I\u2019ve become addicted to colour. I want to take a break from it, but I haven\u2019t been able to. Like any drug, it\u2019s hard to abandon \u2014 especially when it\u2019s so easily accessible in our digital cameras.<\/span><\/p>\n

\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Kodak Ektachrome Elite 100<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n

As I mentioned at the beginning, the growing interest in film photography has inspired me to return to my roots and shoot a few rolls of film again. It\u2019s also a way to limit my access to colour \u2014 at least when there\u2019s black and white film loaded in the camera.<\/span><\/p>\n

Since Bastian has set the tone for this blog, I\u2019ll follow his format and dedicate one article per film, starting with the next post \u2014 whenever I\u2019ve exposed and developed the rolls. If there\u2019s a specific film you\u2019d like to see images from \u2014 black and white or colour \u2014 feel free to leave a comment. I\u2019ll do my best to get hold of a roll and give it a try. Bastian has also built up a respectable stock of film, so you might even see photos from the same film taken by both of us.<\/span><\/p>\n

Otherwise, I\u2019ll simply pick whatever piques my interest. I\u2019m thinking of starting with a couple of black and white films to kick things off.<\/span><\/p>\n

\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n

Additionally, if you have thoughts on how you’d like these articles to be structured \u2014 whether you’d prefer more in-depth technical breakdowns, casual reflections, or something else entirely \u2014 I\u2019d love to hear from you. Your input could help shape the direction of future posts. I\u2019m also open to writing about gear for film photography: whether it\u2019s affordable, feature-rich, advanced, or just plain quirky.<\/span><\/p>\n

I\u2019m genuinely excited to dive back into film after all these years, and I hope you\u2019ll join me on this journey. Whether you\u2019re a long-time film enthusiast or just beginning to explore analogue photography, I look forward to hearing your thoughts and suggestions.<\/span><\/p>\n

Let\u2019s rediscover what makes film so special \u2014 one roll at a time.<\/span><\/p>\n

\"Nikon
Nikon FE2 | Colour reversal film | Agfachrome<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Kodak Ektachrome Elite 100<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Coulour reversal film | Agfa CTx 100<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Coulour reversal film | Agfa CTx 100<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Coulour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Coulour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F8-01s | Colour reversal film | Kodak Ektachrome Elite 100<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Kodak Ektachrome Elite 100<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon FE2 | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Agfa CTTx 100<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n
\"Nikon
Nikon F-801s | Colour reversal film | Fujichrome Velvia 50<\/figcaption><\/figure>\n

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Not buying anything? If this article was useful, interesting, or helped you save money, consider treating us to a coffee (donate)!<\/p>\n

Further Reading<\/h2>\n