Since coming back to film photography a year and a half ago, my color film of choice has been Kodak Portra 400. Recently I decided to test out a few other Kodak color film stocks to see what I've been missing. The films I tried out alongside Portra 400 are Portra 160, Ektar 100, and ProImage 100. Portra and Ektar are the premium priced films in this bunch. Kodak ProImage 100 is substantially less expensive, so I was curious to see how it would fair against the others.
I love Portra 400's understated saturation and warm tones. It just sees the world the way I do. I expected a similar look and feel with Portra 160, and that's what I got. Ektar is supposedly the closest you can get to Kodachrome colors these days. It certainly had punchier reds. I actually preferred the warmer color palette of ProImage 100 to Ektar. I certainly like the fact that it's way less expensive too.
I shot these four rolls during July, using my Nikon F3HP and Nikon FE2, both fitted with 50mm prime lenses. All four rolls were processed at West Photo in Minneapolis. The images in the gallery above were scanned on my Plustek OpticFilm 8200i using SilverFast software, with the resolution set to 3600 dpi. I selected the Negafix option in SilverFast. In almost all cases, I did not turn on color cast correction. I found that all four film stocks were easy to scan. None of them suffered from cupping, which made it easy to get the film to lay flat in the holder.
All post processing was done in Lightroom Classic. I did no color grading. I applied a medium contrast curve to all images. I also set the white and black points and added a wee bit of clarity and vibrance (6 for both). On the window images I added a bit of dehaze to reduce glare. Sharpening was left at the Lightroom default of 40.
I don't really worry about grain, so I haven't evaluated these images for that. What I do care a lot about is the color palette. I tend to prefer a warmer color palette. That is the key reason I haven't tested any Fuji films, as I've found through the years that the Fuji color palette is much too cool for my taste. I also care about saturation and contrast. I prefer less aggressive rendering on both those factors.
So after all this experimentation, you might ask if I've changed my mind about my favorite color film. The short answer would be no, I still prefer Portra 400, but I could see myself shooting more Portra 160 during the long summer days. And if I'm trying to stretch my film budget, I wouldn't hesitate to shoot Kodak ProImage 100. As far as Ektar is concerned, I find the color palette and contrast are just too punchy for my style. But if that's your thing, Ektar delivers it in spades.
In film photography circles, there's this implicit assumption that when you "grow up" as a photographer you'll move up to the larger film sizes--medium format (i.e. 120 film) and large format. By that benchmark, I guess I've never grown up. There are times I've been tempted to try medium format, and in fact last year I did for a short while. I picked up a 1950s vintage Mamiya 6 Automat folder camera. While I liked the look of the photographs from that camera, I couldn't get comfortable with the viewfinder, so I sold it on eBay. Actually, my very first camera back in 1969 was a medium format folder, the Kodak Duo 620. I didn't shoot it for long before moving to 35mm on an Argus rangefinder. Once I started shooting 35mm SLRs back in the 70s, I was hooked.
35mm film cameras allow you to get in to capture photos in tight places quickly. That's why they became standard equipment for photojournalists, conflict photographers, and street photographers. If you're into the reportage style of photography made famous by Henri Cartier-Bresson, then 35mm is for you.
Another advantage of 35mm is the cost of the film. I just checked on B&H, and a 36-exposure roll of Ilford HP5+ black & white film costs the exact same amount as a roll of the same film in 120 format, which will yield 12 exposures on average. True, if you're after higher resolution or that medium-format/large-format look, then you'll have to move up to those larger film formats. For me, there's a low-fi look to 35mm film that I just simply love.
Finally, there is the availability and cost of the used 35mm SLRs. These cameras are the best value going on the used film camera market. True, you can find less expensive medium format cameras, but the good ones still go for more than 35mm SLRs, and for the most part, they are significantly bigger than 35mm SLRs. And don't get me started on 35mm film rangefinders. Those prices have gone crazy. For me, it's 35mm film SLRs all the way. And if you can't tell from the photo above, I have a soft spot in my heart for Nikon cameras.
One of the activities that fills my time while we live under this "Stay at Home" order is developing film that I've shot on my walks around the neighborhood. I've been shooting black & white film, because I only have chemistry for that at present. I do have some color chemistry coming though, so I'm going to start shooting some color as well.
There is something satisfying about getting my process down for developing film. These days when so much seems out of our control, it's comforting to perform a process that I do have some control over. I've gotten to the point where I'm getting consistently good results. I've settled on one developer–Kodak HC-110. I love the tones and contrast I get with this developer. The other thing I appreciate about HC-110 is its long shelf life.
I'm using a hybrid analog/digital workflow, as are the vast majority of photographers shooting film these days. Up through developing the film, the process is analog. After that it becomes a digital process. I scan the negatives and import the scanned files into Lightroom for final image adjustments. I don't do a lot of editing in Lightroom, mainly tweaks to contrast and the tone curve. I also clean up the odd dust spot. I'd love to have a darkroom for printing, but that's something for another day.
Living under a stay at home order, my photography is limited to what I see on my nearly daily walks and what catches my eye around the house. I think this has been a good creative exercise...forcing me to find interesting images in the mundane. I guess when your world gets smaller, you notice more things in that world, such as an outlet box that looks like an electrical inspectors nightmare, or groceries delivered to the porch, or an arrangement in a planter, among other things.
Soon I'll write about another pursuit that's been filling my days, making sourdough bread. I need to make some good photos of that process and then I'll share them here.
I'm sure it won't surprise you that I have a few opinions about what cameras are best to start out with when getting into film photography. Some of the cameras that I recommend are on other's lists, but other commonly mentioned cameras are not on my list. Read on and you'll get my take on best cameras for getting started in film.
First, I'm going to step out on a limb and state that the best camera type for starting out in film is a 35mm SLR (single lens reflex). Here are my reasons for making that claim.
SLR Shooting Experience
With an SLR, when you look through the viewfinder you see what the camera sees. The image coming through the lens is reflected up to the viewfinder using a mirror and prism. You are seeing the image as it will be captured on film, not a rough approximation of it. An SLR viewfinder typically shows you 93% - 100% of the total image. I am a stickler for doing edge patrol on my frames, so an accurate representation in the viewfinder is extremely important to me.
The best values going on the used film camera market are 35mm SLRs. Even though film camera prices have increased with the resurgence of film photography, it's still easy to find good condition 35mm SLRs for under $250. Conversely, the prices on point & shoot and rangefinder 35mm cameras have increased to crazy levels.
35mm SLRs are among the most portable cameras available. Some of the more modern 35mm SLRs are beautifully compact, such as the Olympus OM-2n. The Nikon FE2 is another great example. Both these cameras are extremely well built, though, so don't confuse compact with cheaply constructed.
In their day, 35mm SLRs were super popular, and for the most part, they were extremely well built, so a good number of them are still working and available today. For example, the Nikkormat FT2, which was a brand of Nikon, is available for under $100 in good condition. If you're not completely comfortable with your knowledge in making a purchase, I'd turn KEH, a reputable online retailer of used cameras. If their rating says a camera is in excellent condition, you can count on it. You can also look on eBay, but you have to be more careful there. I've actually found prices to be better from KEH than eBay. Another good buying option is your local camera store. Most have an inventory of used film cameras. I bought my Nikon F3 from my local camera store, National Camera Exchange.
My camera recommendations are based on actual shooting experience. If I haven't shot a camera, I won't recommend it. I'm targeting my recommendations at the inexperienced film shooter. Here are my criteria for recommending cameras from among those I've shot.
My Camera Recommendations
I fully admit that my list is not exhaustive, and yes, there certainly is a Nikon tilt to my recommendations, since that is the brand I have the most experience with. There are a lot of fine brands I haven't shot, including Minolta and many other Canon and Pentax film cameras. I'd rather stick with my own personal experience when making a recommendation.
If you were to ask me to recommend one camera from all the 35mm SLRs I've shot, I'd go with the Nikon FE2, with the Olympus OM-2n a close runner up. If you're looking for the most affordable option I'd go for the Nikkormat FT2. Those can typically be had for less than $100.
A camera isn't any use without a lens. I recommend for starters you get a 50mm fixed focal length lens from the camera manufacturer. Generally, these are going to be f/2 or faster lenses. The 50mm lens was the standard kit lens in the day, so there are a ton of them available at reasonable prices. Once you've got the standard lens covered, then you can start expanding your collection. But for starters, it's hard to go wrong with a good old 50mm prime lens. If you're buying a Nikon film SLR, you need to be sure that the lens you're considering is compatible with the camera body.
If you have any questions or want feedback on a potential camera purchase, please submit a comment. I'll do my best to get back to you.