The latest issue of Kodak's ProPass Magazine is fresh off the internet presses! Whether you're a pro, hobbyist or mom with a point and shoot, this issue is full of inspirational people and photographs from which everyone can learn something.


This issue's first Photographer Spotlight, Jonathan Torgovnik, discusses in  Stories of Sorrow, Stories of Hope how a work assignment in East Africa turned into a three year personal project (and eventually a foundation) documenting Rwandan women's tragic stories of genocide, disease and rape. You can read more about Jonathan's project, favorite equipment and himself by clicking here. 


In the second Photographer Spotlight, you can learn how Elizabeth Etienne combined her personal American Pragmatism and French Romanticism style with a keen business sense to position herself not only as a high-demand film-noir wedding photographer, but also as a caring photography mentor. Read more about Elizabeth's evolution as a photographer, distinctive private style and why she generally prefers film over digital by clicking here.


Paul Mobley shares with ProPass how swearing off his camera for a month and hanging out in a coffee shop gave him a New Vision of a world he's always known, and how it also became the beginning to his personal project American Farmer. Learn how persistence brought Paul face to face with Irving Penn, why Paul thinks photography is like cooking and about the variety of tools he uses to create his work by clicking here.


Speaking of coming face to face with a person of respect, Bob McNeely, who was President Bill Clinton's former White House photographer, pulled together a phenomenal group of photographers to cover President Barack Obama's inauguration ceremony for a special project.  A long-time fan of black and white film, Bob illuminates in Confessions of a White House Photographer what it's like to document the front lines of history here.


Lastly, Eddie Soloway, a self-confessed "bi-photographic" photographer, has successfully followed his own workflow prescription for years and shows no signs of turning back. Read why Eddie says you should always think "place" not "picture," how to stop the meaningless "snap snap snap" and why Eddie loves Kodak's new EKTAR 100 film by clicking here.

ProPass is Kodak Professional's  quarterly online photography magazine that highlights extraordinary photographers, their work, their projects, and the tools they use to create their everlasting images. 

Vivid. Sharp. Award-winning.

These are just a few of the words being used to describe the latest addition to Kodak's huge film portfolio: EKTAR 100.

In September 2008, Kodak introduced EKTAR 100 in 35mm (135) - the most commonly used format for film. Impressed and enthused photographers immediately flooded Kodak with requests to produce it in 120 - a medium format that is larger than 135 and is often preferred by pros and serious hobbyists. In February 2009, the photographers got their wish as Kodak released EKTAR 100 in 120.

EKTAR 100 sets itself apart from all other films with its extremely high saturation, vivid color, and the finest, smoothest grain of any color negative film available today.

EKTAR 100 is also quickly racking up industry recognition - it won a Professional Photographer's HOT ONE 2009 award and an American Photographer's 2009 Editor's Choice award. With all this said, it's no surprise that reviewers love it. See for yourself:

Jonathan Eastland of The British Journal of Photography concludes his review by saying "I will no doubt tackle many new projects with [EKTAR 100 in 120]."

Figital Revolution's Stephen Schaub review explains that EKTAR 100 in 120 "scans quite easily, has great contrast and color, [and] very fine grain with good sharpness."

Brain Auer of Epic Edits had such great results testing EKTAR 100 in 120 that he said he would probably use the film exclusively for his medium-format camera.

Max Cooper from Dark Topography loves that EKTAR 100 in 120 retails for less than five bucks a roll, and calls EKTAR 100 a "brilliant move by Kodak."

Photo Utopia's Mark Antony Smith is a fan of EKTAR 100's "punchy colors" and concludes his review of the 135 format by saying, "I think Kodak have shown with this film (and the updated T-Max) that they are committed to providing film users with high quality materials - film is not dead!"

There's even a Flickr group dedicated exclusively to the film.

What do you think of EKTAR 100 in 135 and 120?