Kodak Portra 400 35m 36exp Film Professional 5 Pack

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The reality is, though, that if I wanted to, it would be easy to get the same tones with either film. The differences between them aren’t so big that they would be impossible to capture with another film. So in 2010, Kodak Portra 400 NC and Kodak Portra VC 400 both ceased to exist as they merged together and became the simple, singular Kodak Portra 400 we have today.

Kodak Ektar 100 Vs Portra 400 In Greece - By Aukje - 35mmc Kodak Ektar 100 Vs Portra 400 In Greece - By Aukje - 35mmc

Aside from the T-grain one, I have no idea what those things are and will definitely forget them once I’ve finished writing this. That’s fine, though. As any good salesperson knows, it’s not the features that make people buy. It’s the benefits. Kodak Portra 400 35mm has an ISO of 400. This means that it is known as a mid-speed film, and will be able to take photos in most common lighting situations. Kodak Portra 400 is at the midpoint between Portra 160 and 800, and is hugely popular among professional and novice film photographers alike. As tempting as it is to follow along with the photographic trends, I’m happy with my work and how I make my images. I love Portra, and I’m not saying that I’ll never buy it again. After all, it’s pretty much the only color negative film in medium format other than Fuji Pro400H – I suppose my hands are tied there.Cinestill 400D is still in its crowd-funding phase, but should be available to the public soon. You can sign up for notifications here to be the first to know when it’s released! White balance became both the key to this film simulation recipe and the problem. I first tried auto-white-balance (with a white balance shift of +2 Red and -5 Blue), and I got good results a few times and not good results a bunch of times. Next I set it to Daylight (using the same shift) but it wasn’t quite right. Then I tried setting the Kelvin value, starting with 5600K, but couldn’t find one that was correct. Finally, I used Custom White Balance, but it took seven or eight different measurements before I got it right. I did get it right, though. PAST BYLINES: Gear Patrol, PC Mag, Geek.com, Digital Photo Pro, Resource Magazine, Yahoo! News, Yahoo! Finance, IGN, PDN, and others. The only elephant in the room here is something we maybe should have touched on earlier. It’s not cheap. In fact, depending on where you shop, Portra 400 might be Kodak’s most expensive colour negative film. So if you’re wanting those washed out, pastel colors, over-expose it. If you want a bit more color and grain, shoot at box speed. Both will give beautiful results and lovely pictures and colors. Portra 400 isn’t a film that you HAVE to shoot at 200, although the current trend does a good job at making you believe that. Shoot it at boxspeed, and it’s going to look great. Shooting Landscapes With Portra 400

Kodak Portra 400 Film Simulation Recipe My Fujifilm X100F Kodak Portra 400 Film Simulation Recipe

I prefer the Ektar in every shot, I think. It seems warmer and smoother. I wonder whether the overexposure is making the Portra look a little harsher than it would at 400? Of course, the biggest difference between these two films is how they render skin tones – Ektar being a bit too red while Portra is famously flattering – and that’s not being tested here. Personally, Ektar is my go-to summer holiday film. I know there’s going to be enough light and I know it’s going to make sun-drenched scenes look great. I even find the slightly ruddy skin tones suit tanned (or sunburnt) subjects, making them appear slightly more so and thus evoking scenes in a manner perhaps closer to our memory of them than to reality. There’s not much to say about the image qualities Portra brings to your street photography that wasn’t covered in the last section. The cleanness, sharpness, contrast, and muted colours just work. I could get the look of Portra on the Lomo 400 by decreasing saturation slightly and moving some of the bright yellow and red tones to the left. Alternatively with Portra, getting those Lomo 400 tones is just a matter of increasing saturation in the reds and yellows.Majority of my photography is landscape. Because of this, I’m drawn to the richer films like Fuji Superia, Ektar, and even Gold and Ultramax. Portra 400 isn’t exactly the film I get excited to shoot seeing as it’s not as saturated. While I’ve shot a fair bit of Portra 400, it’s all been 35mm. I’ve yet to shoot this film in 120 so please bear that in mind as you continue to read! Shooting Portra 400 At Box Speed

Is Kodak Portra 400 Right For Me? - The Analogue Experience Is Kodak Portra 400 Right For Me? - The Analogue Experience

As anticipated, the Portra 400 colors were muted and less contrasty than the Lomo 400 film. The Portra was most likely to capture neutral and magenta tones throughout the range than the Lomo 400. If you want to know the exact photography equipment I use to make my film portraits, other than the film and a camera see the links below. I used to avoid writing about my non-camera gear but I thought it was time to reveal all! I detail the speicific speedlights and wireless triggers I use together with the other photography gear needed for my portrait photography. A lot of my recent work has been shot in these conditions. For the sake of this article I’m going to consider sunset and sunrise to be the time when direct sunlight is no longer on the foreground or subject, but the clouds in the sky are lit up with color. This light condition can happen as much as 20 minutes before sunrise or after sunset, and the further the sun is below the horizon the more even the light tends to be. The stellar dynamic range of this film makes shooting in these conditions a breeze, but if it’s possible I’m still going to use a soft GND filter to even out the exposure and retain the sunset hues that make the skies so beautiful. When it comes to exposure on Portra (and most negative film in general), once you scan the film you’ll find that your exposure choice doesn’t have so much to do with retaining detail but it does play a huge role in how much color saturation you’ll have. Overexposed negatives have softer colors and underexposed ones will have more saturation and eventually get severe color shifts in very deep shadows. Even using a one or two stop soft GND filter can help you retain some of the richer colors in the sky, but they will always be somewhat subdued on Portra.

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Kodak films do tend to give your photographs a warmness, especially when compared to typical Fujicolor offerings. Portra 400 is no different in that sense, and I think it’s that warmness combined with the more muted colours that brings it so many fans. This probably seems like a strange question, but it’s one any photographer should ask themselves about any film. You have to know what works for you. Best-in-class underexposure latitude?no other colour film gives you so much latitude (-2 to +3 stops) so you can shoot with confidence even under challenging lighting conditions. As someone who shoots film, doesn’t develop it myself, and likes to get good results, that’s more the kind of stuff I care about. Kodak can worry about how they make the film. I’m just very grateful that they do.

Portra 400 ISO 120 Roll Film - Bristol Cameras Kodak Portra 400 ISO 120 Roll Film - Bristol Cameras

Now this quite a fun time to use Portra with some really interesting results! Night scenes with lights in them are going to have an incredible amount of contrast so a film like this really shines. It’s important to still make the image look like it was taken at night, so remember that shadows and unlit parts of the frame should still appear properly dark. My first tip for these scenes is that you shouldn’t worry at all about overexposing the light sources, instead concentrate on what part of the image you want to see rendered as a middle tone. Starting it off with Cinestill’s most popular film, Cinestill 800T brings cinematic converted film to the masses. Being made from converted Kodak Vision3 500T cinematic film, the process involves the removal of an anti-static ‘Remjet’ layer. The removal of this is what leads to 800T’s dreamy glowy halation around light sources – you can see for yourself through the many Cinestill 800T photos out there! It’s Vericolor II that brings us to the Portra era, with the VPL one first being replaced by a short-lived Ektacolor Pro Gold 100T film in 1998. A year later, this was rebranded as Portra 100T, a film that was discontinued in 2006.The bottom line here is that Portra 400 is a fantastic film and one that’s great for seasoned shooters as well as newcomers to analogue photography. Kodak Portra is often the benchmark to aspire to for both film and digital cameras when it comes to natural skin tones. I have raved about it in the past and wrote a post on it. The less saturated Portra colours can really suit wedding photography hence it’s popularity (along with Fuji Pro 400H). When I shoot digital I only shoot in colour if I think colour adds to an image (or it is requested by a paying client such as a wedding). I used this same test for comparing Lomo 800 and Portra 800 side by side, and found some truly remarkable results! A wide latitude can be a real benefit on a bright day if I want to shoot at apertures like f1.0, f1.2 or f1.4. All these films can be over exposed a crazy amount (Portra especially for me) yet still retain the highlight detail where digital would clip the highlights way before. Film cameras also tend to have a slower maximum shutter speed vs digital so it is more difficult to shoot a lens wide open and be able to darken down the available light sufficiently. Exmples: Film – 1/1000 (Leica M2/ M3), 1/400 (Mamiya RZ 67), 1/500 (Fuji GF670) vs Digital – 1/4000 (M9), 1/8000 (Nikon D800). Finally I reveal how I make my Portrait Images!