Fuji Superia X-TRA 3 Pack ISO 400 36 Exp. 35mm Film, Total 108 Exposures

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The color in my images from rolls of Fuji Superia 400 has a warmth that makes the reds, oranges, and yellows stand out strongly. The blue tones seem a little weaker, making photos look like I shot them in overcast conditions even though I didn’t. So while I can’t say the film gives an accurate natural reproduction of the scene, it adds a nice tone to the images. Kodak Portra has been around since 1998, although, I’m sure a variation of it has been available for a lot longer (Kodak loved to chop and change the name of things).

With Fuji c200 skin tones seem to be brighter or have more luminosity than other films. The magentas are quite saturated, and in the highlights and midtones the pallet leans magenta in general. This film is also very punchy or contrasty. As I mentioned, the shadows have a lot of green in them and, to my eye, they don’t look particularly good when underexposed or when you try to recover in post. This film seems to do best when exposed for the shadows and maybe even shot at 100 rather than 200. As far as grain goes, to me it’s surprisingly noisy for a 200 speed film. And as far as sharpness, it feels a bit muddy, not really a particularly crisp film. But the strength of c200 is in its latitude, which is very wide. It is able to be overexposed up to three stops and underexposed one stop before you’ll start to see problems. An ISO 100/21° speed portrait film aimed at professionals and enthusiasts, originally known as Fuji Reala (CS). First 4th layer technology film for improved colors (no greenish cast) under fluorescent lighting later extended to fujifilm Superia and Pro color negative films. Formats 135, 120, 220. 135 format discontinued in 2012 and 120 format in 2013. [13] Superia 100 [ edit ] This film expired in 2005, but it has been cold stored so it is not going to be the craziest expired film you will ever shoot thanks to the good storage conditions. It is 16 years expired though, so you can expect some cool and grainy shots!

Images shot with Superia X-TRA 400

But one thing is for sure, if you want great general use film, Fujifilm Superia is a fantastic option.

One can probably liken it to saying that it’s very close to Instax, but also not really in certain situations. Fujifilm Superia has a very good tonal range to it being easily able to recover highlights and shadows–though it tends to do better with shadows than highlights. Fujifilm Superia is first and foremost a daylight film, so you should try to expose it in daylight lighting lest you want to go for neons at night time and get a warmer look. In that case, go for it! I encourage it! That’s a super awesome look. Image Quality Pentax 67 (Superia 100) You’ll also find that in the scoring sheet I provided, if you expand the hidden column, column B, this will also reveal the names of the films for easier reference, going forward. And now that we know which film is which, we can look at the final three factors to consider on the scoring sheet. I’ve included some defaults here, but these may require some adjustment based on where you live and some of your own observations or research regarding these films. I don’t claim that my scoring is perfect here. If you live in the US and it’s still 2019, these are the current price of the film per frame. This doesn’t include the price of development or scanning: A – Fujifilm C200 It was from those special images that I really came to know the power of film as a photographic medium. I came into film photography thinking that I’d get some quirky, old-school looking images that I’d enjoy for a moment or two. Instead, I came away with a deep appreciation for the power and potential of analog, and today I realize that Superia may just be the perfect film for leading new shooters into the vast, colorful world of film photography. Late in the night, on that day in which I nearly forgot to carry a roll of film, I found myself playing electric bass in the marching band at our high school’s football game. If the Valley seemed bleak and somber during the day, it burst into magnificent color at night. The raucous noise of a high school marching band and the garish threads of the band uniforms made for quite the spectacle, and for me it was a spectacle worth committing to film. During our third quarter break, while the rest of the band ran off to stuff their faces with nachos and hot dogs, I pulled out my little Nikon FG and lingered to watch the drumline perform for the crowd.

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So that’s it as far as c-41 or color negative films. Now, keep in mind there are three other really amazing films that are available for shooting in color that we did not cover. These are e6 process slide films. For Fuji we have Velvia and Provia, and for Kodak we have the recently re-released Ektachrome. I did not evaluate these films here as these are not at all what I would call beginner films. Slide films are a bit of a different animal requiring much more precise exposure. Over expose or under expose even a little bit and these films end up being a very expensive waste of time. On the other hands, nailing exposure with these films can be quite rewarding as the colors are brilliant and are hard to duplicate even digitally. If you’re interested in separate video that explores these films, let me know. Maybe we’ll do that in the future.

Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 (100% crop of the above) Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400 Roll 3: Made in USA Fujifilm 400For the trip, I brought my Leicaflex SL2 in combination with not one but two 35mm lenses (the f/2 Summicron as well as the PC Curtagon shift lens). As I had wisely loaded the film in complete darkness , I was able to obtain 40 frames from the single roll. An impressive number to be reduced to a not-so-much impressive count of 37 useful frames by camera operator error. By the way, my point-and-shoot cameras often get one more frame out of a Fuji than of a Kodak film. To have a little more room for exposure errors, I rated the Fuji Superia at EI 200. The Images – Day-Time Shots