I certainly 'nostalgerise' occasionally about Kodachrome, it definitely had a unique and instantly recognisable look, the colours, contrast and saturation were eye catching at the cost of 5 stops, at best dynamic range. It also had the best archival properties for transparency film ever. Maybe the only photographic film to have a song named after it, "Kodachrome" by Paul Simon. Not bad for a product that had a lot of DIY input from a couple of violin players, Mannes and Godowsky in its development, ( not really a pun as its non substantive, colour couplers in the developers, was a crucial element in its properties).
I mainly used Kodachrome 64 during the 1980's and it was processed in France. But I stopped using it towards the end because the quality of the processing had dropped. Got lots of rolls back with stains on the images and then started using Ektachrome and processed myself.
Kodachrome 64, immense colours and saturation, I still have thousands of slides in perfect quality.
Ektachrome was always a little cold and blue for me, and even though I used to process it myself and get immediate results [digital take note lol] there was nothing quite like the yellow envelope coming back from Hemel Hempstead.
Mayfair and Penthouse [when it was a classy magazine] loved it too, so was worth the effort back then.
Fujichrome picked up the challenge in the 80's and had a great attempt but if you havent looked at a Kodachrome 25 slide through a quality magnifier then you havent experienced colour saturation.
Probably true but I have never been sure that Kodachrome was that accurate and of course they all suffered from only "being one colour temperature" so colours would vary depending on lighting conditions.
When I used Ektachrome it was mostly under studio flash lighting which it seemed very well corrected for. As for saturation I can't really comment but I do remember studio flash/incident reading/Ektachrome 1/3rd stop under gave great results! All my work was shot on 'Blad or Mamiya 67 in those days so never really used either in 35mm.
Fuji for me was always a bit odd!! I know their transparency emulsions achieved almost cult following but accurate colours..don't think so!!
If the "colour/film modes" on the Fuji S5 are anything to go by it shows just how far off they were compared to neutral?
I know we could grey card with film and the big commercial boys would use gels to get the colour temp spot on (or where they wanted it) but this has got to be one area where digital cameras make a nonsense of film in this regard?
i used to shoot glamour on kodachrome 25 back in the day, film went t france for processing. you needed a lot of flash power!
When I covered the World Student Games in 1991, one of the photographers was shooting Kodachrome 200 pushed to 500, and airmailing it to Switzerland every day to get it processed, as they were the only lab (in Europe) to do push processing.
I never liked kodachrome, but when the publishers sent me 300 rolls of pro for free, I made an effort!