Quote Originally Posted by Ian Grant View Post
Ron's comment about 1988 is apt, by then Fuji's 50D (and 100D) had really begun to eat into the Kodachrome market.

The advantages were films which could be processed quickly, with superb colour rendition, tonality and sharpness. Unlike the US, which had a number of processing labs, in Europe Kodachrome processing was slow and most photographers needed the film processed within 24hrs.

The other advantage of the new Fuji films was they were available in all formats.

Since the release of 50D and 100D I've only used Fuji films E^ or C41 for my colour work.

Having said that Kodachrome 25 slides do have that unique edge. If only the'd make LF Kodachrome again . . . I seem to remember seeing some by Weston or Adams at an exhibition a few years ago.

Ian
Ian;

I looked into this a bit and found that it was E6 film in general that cut deeply into Kodachrome sales. AAMOF at that time, Fuji had only just begun selling an E6 film, and their first sale of it was pretty bad as it was incompatible with E6 to some extent. This was a headline cover article in 1990 in Darkroom Techniques.

Fuji actually seems to have withdrawn it from the market for a time.

In addition, an extremely inept, and to some offensive, series of ads by Fuji early on, turned public opinion against them. They were withdrawn with apologies, so there is no need to repeat them here.

Kodachrome 200 was not designed for any particular lens. It was tested routinely with a series of Kodak Carousel projectors. We used to watch them in the screening room of B-59, on the first floor where they had a complete projection studio with many types of projectors and screens.

PE