Kodak 1451855 Portra 800 Colour Negative Film

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PMA - Kodak Intros Portra 800, Improves Film Characteristics" (Press release). AllBusiness. February 17, 2006 . Retrieved 2009-10-27. At the beginning of this post I mentioned that I’ve recently committed to only shooting Kodak Ektachrome E100 and P3200 for at least 6 months to learn how to get the best out of those films. When I mentioned this on social media somewhere, someone commented that I shouldn’t rule out Portra 800. I can’t remember if I commented or not, but I do remember thinking how much I was going to miss this film. I also reflected on how I felt that I’d already learned how to shoot it, scan it and process it; and that it hadn’t taken that many rolls at all!

Scene selection. This is perhaps the most challenging part of the process. Not every over-exposed shot will look good. Scenes with textured white shades (such as stucco), saturated, even colours and an overall minimalist look will work the best. One last comparison is the same scene which I shot from the Empire State Building on both Metropolis and Portra 800 so you can see the two films side-by-side. There is really no contest. Portra 800 is definitely superior in capturing the scene. Kodak Portra of all types works to create images that are warmer than usual. Warm skin tones look good and so that’s what Portra does much more so than PRO 400H. Here is it with lighter skin tones; and for the most part it’s pretty accurate. For a comparison, below is an image shot digitally at the same white balance.

Sealing the deal

To get the more saturated colours from Portra 400, I’ve always found I need to overexpose it a bit or that I need to push the colour more in post. Both of these options can be a little problematic. Proimage 100 is another film that’s given me the more saturated colours I like, but as a 100 speed film, I just didn’t find it to be as versatile as I’d have liked. You’ll also find the same warm, yellow-orange tones that you expect from other Kodak brand color films. This makes Portra 800 suitable for most light conditions, even the ones with tons of contrast. And by the same token, you can depend on this film to give you a usable image even if you or your equipment can’t make an accurate reading (i.e. if you’re using a toy camera with few to no exposure settings). If you have some precious digital photos which you’re looking to turn into Portra 400 film shots, look no further than these Portra 400 Lightroom Presets. It’s shots like this that make me wonder why some people are so obsessed with pushing film these days. Understanding how to expose in lower-light and how to scan properly can reap much better results in my experience… but anyway, that’s a rant for another day. Landscaping with Zeiss

Now here’s Kodak Portra 400 and how it treats skin tones. In general, I feel like Portra 400 lightens skin tones and warms them up. Pro Tip: This image was shot with Kodak Portra 400, which isn’t a slide film. But if you really want to start working with film, start shooting with your camera set to the daylight white balance so that you gain a familiarity with the various types of lighting scenarios and how they’ll affect your scene.EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. I know that many of will love this Kodak Portra 800 film simulation recipe! It’s really nice, and has a good film-like aesthetic. Does it faithfully resemble real Portra 800? I think it does, but film can look different depending on how it’s shot, developed, scanned or printed, and this recipe won’t mimic every aspect of the film. Even so, I think this one will be quite popular, and many of you will use it regularly. It’s only compatible (as of this writing) with the Fujifilm X100V, X-Pro3, X-T4 and X-S10 cameras. They’re all colour films; however, the Portra series is less prone to colour shifts in the highlights and shadows . Even if you get your exposure slightly wrong or the scene appeared to have enormous contrast, you may adjust your image in post to restore its natural appearance . Above: Kodak Portra 800 with Voigtländer Vitessa A . Notice the extreme contrast variation in this scene — to the point of making halation visible (Unlike CineStill 800T, Portra retains its halation layer — but in this case, it got overwhelmed by the powerful outdoor light). In this shot, the film retains natural contrast and colours across all exposure zones — including the places where daylight mixes with fluorescent light. Scanning Portra 800. You could probably consider 400 speed film to be the “standard”, if there were such a thing. It’s the most versatile option – you can usually get by shooting ISO 400 from morning to evening. There are also more 400 speed films available than any other speeds.

If I didn’t like the film image of the storm so much, I would simply reaffirm my conclusion that digital beats film hands down at night, but I will continue to work at improving my nighttime film images, using Portra 800. Here are a few more of my nighttime images, both film and digital. The modern iteration of the Kodak Portra film was heavily designed for scanning. So it will translate into digital very well. Kodak Portra 800 wasn’t designed for scanning: it’s got a more classic look to it. It’s interesting to compare this set, if only to say that I should break out a tripod once in a while. But they are two different looks. It was evening and the sky was very blue, so the digital is probably a more accurate representation of the scene. Now here is Kodak Portra 400 again in 645 format. This scene is pretty accurate, if anything, the skin tone is even a tad darker here due to my exposure. While Kodak Portra 400 I feel tries to lighten everyone up in general and warm up their skin tones, Kodak Portra 800 I feel is more color accurate. Image QualityThe 800 speed opens this film up to extensive use from bright to low light situations. The high speed also allows capture at high shutter speeds, making this the best option if you’re focused on action and movement. The exposure latitude with 800 lets you meter at 640, or even 400 – although, the film will do just fine at box speed metering. Lastly, looking at the detail and clarity while using Kodak Portra films, we are able to see emotion, expression, and excellence. I find that I am able to capture all that I am looking for when I use Kodak Portra for shooting Portraits/Fashion. A lot of street photographers love shooting Kodak Portra 800 for this reason. With a higher film speed, it’s easier to shoot a smaller aperture (usually f/8), which is key to zone focusing.

Let’s take it inside. With studio lighting and well-lit subjects, the film performs at its peak. As you can see from the comparison above, the Portra 400 film snapped in a flash to catch the first subject in focus while the line behind him fades to a blur. As for the still model on the right, the ISO 800 film was able to provide a heavy grain setting while providing a clear focus on the subject. Kodak Portra 800 is a professional-grade colour negative film that is perfect for low light conditions. It has a high ISO of 800, which means it can capture images in dimly lit environments without the need for a flash. The film produces natural skin tones, vibrant colours, and fine grain, making it a favourite among professional photographers. Features: Kodak Professional Portra 800 film delivers all the advantages of a high-speed film along with finer grain, higher sharpness, and more natural skin tones and color reproduction. Portra 800 Film delivers best-in-class underexposure latitude, with the ability to push to 1600 when you need extra speed. It is ideal for long lenses, fast action, and low light, enabling you to capture shadow details without flash. Portra 800 film, for perfectly stunning results with less-than-perfect light. Because of this versatility, I’ve shot Kodak Portra 800 in a fairly wide range of shooting circumstances. I’ve also over and underexposed it a little bit, just to see how well it would respond. So rather than harp on too much more about the film generally, I thought I’d show some specific examples with a few thoughts around them. My first roll If you need more speed from your Portra 800, it can be pushed a stop or even two. When I was testing Hasselblad XPan for my earlier review, this was exactly what I needed: more light sensitivity. The lenses that came with the camera don’t open any wider than 𝒇4, which in the dim Vancouver fall season means little to no opportunities to shoot without a tripod. An ISO 3200 film is a chance to shoot normally in dusky weather.

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The low speed of Portra 160 unfortunately means it doesn’t perform well in low light. However, with external flashes or other lighting accessories, you can achieve that low-light performance with the added bonus of the 160’s fine grain and sharpness! Portra 160 comes in 35mm, 120 (medium format) and large format (4×5”). Another way to get your hands on high-speed color film is to simply push Portra 400 one stop, giving you the same ISO as Portra 800. There are no particular rules or numbers for colour-correcting over-exposed Portra films, as every image is different. Therefore, you may need to play around with your settings until you get colours that have a natural hue but are significantly brighter than normal. What I really like about Kodak Portra 800 is how it treats all sorts of skin tones. There has been science behind this; take a look at this video by Vox.