Flic Film Chrome 100 Review: A Film No One Told You About

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Maybe it’s because I haven’t made images with Ektachrome since I reviewed it back in 2018 and even then I’ve got the memories of how it was back in 2012 — but this is a story about a rare time that I’ve been completely fooled. The other day, Gear Editor Feroz Khan and I were on our Thursday call. He asked about why no one else makes positive/chrome film. That eventually lead me to Blue Moon Camera’s website. And there, I found Flic Film Chrome 100. It’s a film emulsion that is spooled by a company in Alberta, Canada. Their website states that it’s respooled Ektachrome 100. In fact, I made photographs with both it and Kodacolor 100 and the images looked so similar.

As a quick aside: you should really give credit to Flic Film because they use content credentials with their images posted on their website. Additionally, we’re giving a big thanks to Blue Moon camera for developing this film free of charge for us. They do a wonderful job and I think everyone should buy from them.

Considering that Flic Film Chrome 100 is indeed respooled Ektachrome, you’d make photographs with it in just the same way. Photographers who know how to get the exposures perfectly right in-camera won’t have any issues here. When I say, “right” I mean that you won’t need to do any post-production at all. Do you know how to do that?

It’s a skill — and it’s something that requires foresight instead of figuring it out later.

Flic Film Chrome 100 delivers really sharp image quality as well as deep colors and an overall really daylight-balanced look. It’s the real thing. I’ve got Ektachrome profiles loaded onto my Nikon D850 and Nikon Zf that look kind of like Ektachrome but they failed to really encapsulate the full feeling.

In March 2026 when I’m writing this review, I’m struggling to figure out what else to say about Flic Film Chrome 100 — which is essentially Ektachrome 100. In my 2016 Ektachrome review, I doubted that most people would use it for serious work because they couldn’t be assured the ease of editing that digital allows. But the truth is that the NYTimes and others hire film photographers all the time. And if you’re skilled enough of a photographer, you can absolutely make this film rock when documenting or creating images.

I’m going to quote from my original review:

The general rule for lots of photographers has been to underexpose their Kodak Ektachrome by around a stop. This can surely work in most brightly lit situations, but again I think that this film truly excels in situations where you have very even lighting. With that said, this film is best:

In studios
With a Graduated ND filter
In overcast situations
With a flash
Shot in the shadows with very even lighting

A bicycle covered in snow is parked on a snowy street with a blurred bus passing in the background.

A shop interior with shelves and a table displaying books, dolls, souvenirs, and various small items.

Two wooden chairs near a window with people walking outside on a snowy sidewalk and parked cars visible.

Row of brick townhouses with snow on the ground and parked cars, under a blue sky with clouds at sunset.

Cars drive on a city street lined with snowbanks under an elevated train track on a sunny winter day.

Cars drive past snow piled along a city street under an elevated train track on a sunny winter day.

Two patio chairs, a barbecue, and the floor of a balcony are covered in thick, fresh snow.

A city balcony and street are covered in deep snow during a heavy winter storm.

A plate of tomato stew with fish on a wooden table, next to a fork, bottle, and spices.

A Mobil gas station on a wet city street at dusk, with cars parked and snow on the ground.

A modern, multi-story building with a large banner, next to a busy street at dusk.

Street corner with traffic lights, cars, and a brightly lit R.C. Richard & Son store at dusk.

Mobil gas station at dusk with cars and price sign on a city street under an elevated train track.

Busy street under elevated tracks with snow piles, blurred cars, and a Mobil gas station in the background.

A cyclist rides through a busy city intersection as a van and bus speed by, creating a motion blur effect.

A person crosses a snowy street at sunset near an elevated train track and traffic lights.

Cars pass through a city street intersection at 44th St. under a green traffic light at sunset.

Art Deco metal archway with a blue sign reading SUNNYSIDE against a clear sky.

Busy city street at sunset with cars, pedestrians, and an elevated railway on the right.

A blurred vehicle passes a store called Romantic Depot Queens on a city street with snow on the ground.

Cars parked and driving under a large concrete overpass with people walking in the background.

A modern glass skyscraper with blue windows against a cloudy sky, photographed from a low angle.

A person walks past Jeong Yuk Jeom restaurant with bright signage and large windows on a city street.

Sunny cafe interior with empty beige chairs, wooden tables, and potted plants by large windows.

A wooden table set for tea with small teapots, cups, and a red patterned runner, hands visible on both sides.

Dimly lit utility room with electrical panels, meters, and wires along the walls.

Tall city buildings with sunlight casting shadows, viewed from street level against a clear blue sky.

People cross a snowy street in front of a bright red Mixue ice cream shop in a busy city area with many signs.

A subway platform with blue and yellow caution walls, tracks, and people in the distance.

A white van is parked on a snowy street beside other cars, with apartment buildings in the background.

A bar shelf with various liquor bottles, glassware, and some decorative items, warmly lit from above.

City street at dusk with snow, glowing streetlights, and buildings with illuminated signs and windows.

Tall brick church with arched windows and a tower, viewed from below through a window.

A brick building with a black metal staircase, snow on the ground, and window air conditioning units.

A green wall displays six framed photographs, each showing different scenes and groups of people.

People viewing framed photos on display in an art gallery with bright lighting and wooden floors.

Snow-covered cars parked on a city street lined with apartment buildings on a winter day.

Street view of a tattoo shop above a deli and grill, with cars parked outside, on a snowy day.

Snow-covered park at night with glowing street lamps and city buildings in the background.

A cozy restaurant bar with patterned tiles, empty chairs, and dim pendant lighting over the counter.

String lights and flags hang outside a brownstone building with a festive wreath on a red door.

String lights hang from a tree in front of a row of residential buildings on a city street.

City street in winter with snow, pedestrians, cars, and buildings; traffic lights are red and green.

Busy city street with red brick and tall tan buildings, bikes parked, and people walking in the foreground.

A wire fence with signs for no trespassing, picking up after dogs, and no littering, with snow on the ground.

Three brick garage doors, one with white graffiti, snow and boxes on the ground in front, during winter.

A dark table with headphones, a magazine, and other items illuminated by a beam of light.

Velvia often looks much warmer. And if you’re into a warmer look, you may want to get Fujifilm Velvia 100 instead — if you can get your hands on some.

But really and truly, this is film. It rewards patience, experience, and knowledge. It’s very much the antithesis of a modern Sony camera.

And for that, I love it.

Flic Film Chrome 100 Review: The Film Emulsion No One Told You About