Ektachrome 100G gallery

The new E100G colour reversal film, soon to be available in 120 and 5x4.

All images ©Richard Barnes/Alamy

The Guardian

This stock image was used by the Guardian on the 14th July;  a new article about the ongoing saga of the ownership of Hastings pier.

Hastings Pier Sussex.jpg

Hastings Pier, Sussex  Image © Richard Barnes/Alamy

Provia 100F stock images

With the continued delays to the return of Kodak Ektachrome, Fuji Provia 100F continues to be my go to E6 film.  Thanks the The Darkroom in Cheltenham for the high quality processing and scans.

Devon landscape images

On a recent trip to Devonshire, I shot a new collection of landscapes for Alamy Images.  Here are a few samples, shortly to be up for sale.

More Jewellery for MMzS

Shot some more hand-made jewellery last week,  should soon be available for purchase via the MMzS website.

New jewellery shoot

Just completed the retouching on some hand-made jewellery for a new client.  Thanks to Martina at MMzS!


Ektachrome 100G

Looking through some old scans recently, I came to realise the the unique quality of colour transparency film, and its ability to record huge amount of information - even in 35mm; easily a match for a 24mp DSLR.  Sadly, few choices still remain for this type of film as Kodak ceased manufacture of E100G, their last remaining E6 film, in 2012.  It can be easy to forget that transparency film was the medium of choice for advertising and editorial photography for decades, at least until the 1990's, when colour neg film became more popular.  My message is simple; make the most of it while it's still available, as a few years from now it might not be. 


Surrey Quays, London UK 2012 Image © Richard Barnes/Alamy

Surrey Quays, London UK 2012 Image © Richard Barnes/Alamy

Best of both worlds

Kodak's Ektar and Portra colour neg films are great films to shoot on for digital output as they are designed to be scanned; for anyone wanting the permanence of analogue film they also offer the ability to respond well to retouching and enhancing in Photoshop.  Despite film processing and scanning costs, which can be kept relatively low, there are clear advantages to a 'hybrid workflow' as it is sometimes known.   Nikon's remaining analogue camera, the F6, has the ability to generate EXIF data for every frame, which is recorded on a memory card and downloaded via the MV1 reader. It is therefore possible to have a fully functioning digital workflow for analogue images, if desired.  Judging by the incidences of data loss that I have come across, having the originals in material form makes a huge amount of sense when there appears to be some doubt over the archivability of digital files.  


Image © Richard Barnes/Alamy

Image © Richard Barnes/Alamy