Out of all the colour film I’ve come across the easiest to scan in Portra 400, the images do scan a little to the green side, but it is easy to fix in Photoshop even using the automatic functions, or simply let the scanning software take care of that, both stock Epson and Nikon scanning software does a good job. Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera Rolleiflex 2.8F – Carl Zeiss Planar 80mm 1:2.8 – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera You add this onto the stunning colour rendition I spoke of in the previous paragraph, and you have a film that is pretty close to perfect in my view. And that sharpness is maintained even when you push or pull the film. And for a 400-Speed film has fine-grain even at ASA-400 and is pretty manageable at 8. Porta 400 has smack you in the face sharpness no matter which format you shoot on. Quality wise, Portra 400 has always impressed me from the first roll I shot for a friend’s wedding to the images I shot for this review. Nikon F5 – AF Nikkor 35mm 1:2D – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera Nikon F5 – AF Nikkor 35mm 1:2D – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera Nikon F5 – AF Nikkor 35mm 1:2D – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera Nikon F5 – AF Nikkor 35mm 1:2D – Kodak Portra 400 ASA-400 – Processing By: Burlington Camera But at ASA-400 you get a rich colour pallet that is pretty darn true to life! Having shot these review rolls in a lot of different lighting situations, in bright foggy weather, bright clear sunlight, indoors, and in the dusk, and even these the colour rendition is perfect. Which means you tailor the film speed to the look you want. Push it up to between 8 you get a punchy contrast. If you pull it down to between 100 and 200 you get this soft pastel look that you find with Portra 160, shoot it at box speed you get bright colours and smooth contrast. One of my favourite things about Portra 400 is that like black & white film it changes based on how you shoot. Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Kodak Portra 400 ASA-200 – Processing By: Burlington Camera Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Kodak Portra 400 ASA-200 – Processing By: Burlington Camera Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Kodak Portra 400 ASA-200 – Processing By: Burlington Camera Mamiya m645 – Mamiya-Sekor C 45mm 1:2.8 N – Kodak Portra 400 ASA-200 – Processing By: Burlington Camera And while I don’t shoot a lot of colour, I will always reach for Portra 400.įilm Speed: ASA-400, Latitude +/- 2-Stops before adjusting development When it comes to fast colour films and money is no object then you want to shoot Portra 400, it’s like the Tri-X of the colour film world, you can push and pull the film all you want, even on the same roll! Which makes it in my mind the perfect film for digital shooters to play with if they’re coming right to film. The stock, a combination of the best of the older VC and NC stocks, the film burst onto the scene as part of the early film resurgence from Kodak. When it comes to a winning colour film for the modern film age, look no further than Kodak Portra 400.
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