Kodak Portra 160 35mm 36exp Professional 5 Pack

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The competition is NOW CLOSED to submissions and the entrants have been sent to Kodak for shortlisting. Images by @annalongworth, @throughmyeyesforyou, @kevin.horstmann, @bellenoel, @rad_film, @kelianne Kodak Portra 800 Before you shoot your rolls, Kodak recommend you store them at 21°C (70°F) or below, or 13°C (55°F) if you’re saving them for an extended period of time. The theme is simply 'Summer' and there will be prizes for two Grand Winners - selected by a judge from Kodak Alaris. There will also be an exclusive extra prize for a Club AW member, chosen separately by the AW team.

If Portra helps more people to enjoy film and keep buying it, Kodak will make more money and will be able to keep producing all their films for all of us. And that’s kind of where I’m going with this. The new version of Portra 160 was introduced in late 2010. This film essentially combined the old NC (natural colour) and VC (vivid colour) versions while incorporating some technical advances from the Kodak Vision motion picture films. Additionally, Kodak Vision technology makes Portra an excellent film to scan. These were sold alongside Ektacolor until 1974 when the upgraded Vericolor Professional II came along, with the codes updated to VPS and VPL. At this point, Ektacolor and the original Vericolor films were discontinued. Kodak Portra 160 Film delivers exceptionally smooth and natural skin tone reproduction and low contrast to expose the subtle splendour of the moment. Other Notes: I do not think this film is actually ISO 100, to me it seems closer to 80 or maybe even 64. I’d always recommend adding a little extra exposure to this film to make the most of the dynamic range and pull out all the shadow detail. Kodak doesn’t tell us much in the way of reciprocity for this film. It seems to do pretty well, but I think a little extra exposure is needed when you get beyond 30 to 45 seconds for your exposures. I’m adding about 15-20 seconds of additional exposure when my meter reads about one minute, if that gives you a ballpark starting point for your experimentation.My experience is that Portra 160 is a very easy to like film but you have to know it’s needs to get good results. Colors tend to be a bit less vibrant than most film on bright sunny days. The above shot was done on a cloudy day and I did not use any filters. I used box speed and exposed for the mid tones. When you are shooting sunny mid day a polarizing filter helps keeps the full sun toned down to get the best results. Kodak Ektar, Ektachrome, Gold 200, Ultramax, Fuji Velvia, and Fuji 200 usually do fine in full sun without filters. Portra for me seems to like a tungsten filter when shooting indoor with mixed natural and artificial light. Portra 160 without filters. 35mm Minolta 600si 50mm f2.8 Outstanding scanning results?with finer grain and an emulsion overcoat specially designed for scanners, Portra Films reproduce beautifully. All that said though, does it really matter? It’s a point worth mentioning because it’s a real phenomenon and I couldn’t write this review without bringing it up. It’s not something worth preaching about though. You can shoot what you want. Aside from just metering Portra 160 at 100, I also err on the side of overexposure. I pay more attention to the average reading in the foreground rather than the entire scene including the sky and I often have exposure compensation on my metering camera set to +0.7 for an extra two-thirds stop. This means that the film is almost always being overexposed by more than a full stop, and skies might be overexposed by a stop or two (or sometimes several) more than that.

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. But otherwise, what you’ll is obviously how it renders skin tones. Kodak Portra 160 renders them very, very well. The film also tends to naturally skew more towards the warm end of the spectrum but for skin tones I’m sure you won’t mind this. If you’re looking for something cooler, then Lomography Color Negative 100 could be a good option for you. Generally speaking, I’ve never found a good reason to push or pull the film. The reason for this is because the film comes in 160, 400 and 800 emulsions. 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. If I had a special occasion to shoot or a trip or holiday that I wanted to save on film, Portra would be high on my list of candidates for the job. I think it’d give me results I’d love. 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.While I enjoyed the more vibrant results I got from the likes of Kodak’s Ultramax and Ektar films, the paler Portra photographs are very good too. At the same time Vericolor VPL was replaced by that Ektacolor tungsten film, Vericolor VPS was also being killed off to make way for the new Portra NC – or natural colour – films, which were available in 160 and 400 speeds. It’s the same attributes that make it good for both groups; the flexibility, the reliability, and the consistency it brings with its image quality and qualities.

Filter Usage: In general this film seems to be on the cool side, with a slight greenish tint. After using it for a few years, I prefer it with a warming filter, but a more magenta hued one like the Tiffen 812. Others have also noted good results with the KR2 or KR3 filters. If the conditions make using a filter challenging, don’t sweat it. It’s easy to reduce the coolness during or after scanning.

'Portra'it

Finally for this section, there’s a Portra 400 datasheet right here that gives you more information than I care to parrot, although I will relay some impressive-sounding highlights. The above flower is normally pink but about 1 out of every 500 turns out with white petals. I took photos of this flower and a couple similar with all of my digital cameras. By far the color is best with Portra. The Nikon Z7 with 50mm f1.8 lens gives just a slight bit more detail, but unless you have a full sized file and look at it magnified the color is more important than a slight difference in detail. Looked at full sized the colors are rich and vibrant. Firstly, there are two basic types of color films I'll go over. Then I'll go through the brands and lines of film that I have used. In the image above, I have two sheets of 4x5" film sitting on my light table. The one on the left is a color positive (also called a transparency or slide) and the one on the right is a color negative (also called print film). As you can see, they are quite different. Fast forward to 1971 and Kodak launched another colour negative film called Vericolor. This also had Type S and Type L versions, which were given the codes VS and VL.