Are you looking for a new way to achieve a cinematic look to your still photos? Cinestill 50D is repackaged Kodak Vision 3 50D (aka Kodak 5203/7203) colour negative motion picture film. Cinestill is buying Vision 3 50D film from Kodak and removing the rem-jet backing which is present on most motion picture films to allow the film to be easily processed by any lab in C-41 chemistry.
Ilford Pan F Plus 50 (50iso black and white film) has a bit of a mouthful of a name, but is probably one of the very best monochorome films out there if you are looking for highly detailed photographs you can print at a large size.
This 200 ISO colour film is inexpensive, the colours are accurate with a bit of vibrance, the film is sharp with minimal grain, and responds reasonably (but not as well as some) to editing. That said, the lack of editing capabilities isn’t really a problem if you just want photos that look right with the available light and you expose it correctly.
Ilford FP4 (now FP4+) is known for being versatile, with usable results even when underexposed two stops or overexposed by up to six stops. It also develops very easily even if you mess up the temperatures of chemical concentrations which is why it is a very popular film for teaching students.
This film is truly special because, not just because of how it looks during the day, but how you can be so creative with it in challenging or natural light. Kodak Pro Image 100 is a Professional 100 ISO colour film.
Kodak Gold is a consumer level colour negative (C41) film. Daylight balanced, with a wide exposure latitude, and nice saturation.
It is the film I grew up with. I think most of my family shot our happy snaps with Kodak Gold 200 and it was the film I bought (or had bought for me) when I was a kid.
Is Kodak Portra a film without character? For me, for what I want from film, yes. Don’t get me wrong, I’m not trying to be negative about what is an excellent film. It’s just to me, Kodak Portra is too perfect.
In 2019, Fuji Superia is my favourite colour film. It reminds me of what film looked like in the 1990s before digital was mainstream. It looks like so many film shots I took as a kid (I cannot really remember what films they were).
I’m a Leica Street photographer. I am, by my own admission a gear nut, but I don’t buy gear just to test it or pixel peep. I’m only interested in the art that can be produced with the gear. And seeing what emotions can be brought out in those who see my photos.