contact us

Use the form on the right to contact us.

You can edit the text in this area, and change where the contact form on the right submits to, by entering edit mode using the modes on the bottom right.

3775 Market Stree NE
Salem, Oregon 97301

We're a small-town, family owned and operated photo lab that never gave up on film. Today we provide top-notch film processing, scanning, and printing services from film and digital with the best customer service in the industry.


How to shoot Ektar

PhotoVision Team

final post.jpg

We love Ektar100 for landscapes. Its high saturation, dynamic range and fine grain lend themselves best to terrain, and even sunsets, as seen here in @santomarco’s jaw-dropper. As with most color negative film, slight overexposure is pretty much your standard MO. Here are @santomarco’s thoughts on the stock:

🏜️ It's more saturated than other color negative films like Portra, so it’s great for landscapes.

🏜️ Not ideal for skin tones, due to its high saturation. It can turn skin pink-ish.

🏜️ It really sings during cloudy sunsets, sunrise or when shooting directly into the sun.

🏜️ It has a red cast in the shadows, which you can use to your advantage when shooting in the desert, but I tend to remove it in post.

🏜️ In daylight, it tends to produce a digital-looking, cyan hue. I’m not a fan, so I will adjust the hue on the cyan slider to make it more of a true blue and then slightly desaturate the hue.

🏜️ Due to its cyan color and red shadows, I do not like to shoot Ektar in the afternoon or midday—it produces a color palette that does not look realistic or natural to me.

🏜️ I tend to use gradient filters for Ektar during sunrise/sunset. It's important not to over-filter the skies on Ektar, because when the tonality of the sky matches the ground, it looks unnatural. (This is something I am always careful of when I make small tweaks in post.) I like to meter my shots (with the gradient filters in place) so that the sky is either +1 or +2 stops brighter than the ground.

🏜️ It’s important to expose the film for the shadows. When it’s underexposed, it’s very difficult to save in post. With my meter, I make sure my darkest shadows are no darker than -1 stop.

🏜️ If I find the colors a bit off after a scan, I will adjust them using very gradual adjustments with the Color Balance sliders in Photoshop.

We love @santomarco’s story behind his shot, which he captured with a Mamiya7II on 6x7 film:

“Yeah, yeah—Horseshoe Bend is a very popular spot and has been photographed thousands of times. That said, it was my first time there and was still awe-inspiring. It was even better seeing I was the only photographer there with a film camera. I was lucky, it was a really powerful sunset and I had Kodak Ektar to capture the moment. As the sun broke free, I metered my shot and let Ektar do the rest. I was able to capture the wild dynamic range and still hold onto detail and saturation in the sky. I left the iconic location very optimistic I was coming home with a great shot! I was very lucky to have such a powerful sunset that really brought everything together. I'm glad I didn't botch the exposure!! It was important for me to come away with a shot on film. I am enjoying shooting much of the American West's iconic locations on film. Everything has been so overshot with gaudy digital images, I like to take a fresh look at it with modern film stocks.” — Matt Santomarco

Never miss a #filmtipfriday, follow along on Instagram at @photovision_insight!