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Even if something did somehow go wrong and you lost your shots, dispiriting as that would be, at least you haven’t also wasted an expensive Ektachrome E100 or rare discontinued Fujicolor Natura 1600, for example. Professional-quality, medium-speed, daylight-type, color reversal film with ultrafine grain (RMS *2 : 8) and ultrahigh color saturation through the incorporation of new-generation cyan, magenta and yellow couplers.Suited especially to scenery and nature photography as well as other subjects that require precisely modulated vibrant color reproduction and high image quality.Provides color image stability equal to that of RVP 100F and can be push-processed up to +1 stop with excellent results and little photographic variation. It has a very wide exposure latitude so that even the simplest old camera will return usable images. I’ve shot it successfully at EI 100, 200, and 400 with no loss of quality that I could discern. I’ve seen others shoot it at EI 800 and get acceptable results. Minimum variation in color and gradation during push/pull processing over a range from -1/2 to +1 stop, providing an expanded range of phototaking opportunities, as well as facilitating fine adjustments in exposure and density during processing and allowing an increase in speed of up to +2 stops (equal to E.I.400), depending on the scene.
Attainment of the world's highest color saturation level equal to that of Velvia (ISO 50) through the incorporation of new cyan, magenta and yellow couplers. Its qualities actually give you more freedom to shoot. The wide exposure latitude and dynamic range, which to be fair most other consumer grade films have too, make it highly unlikely your results are going to be over or underexposed, even on a bright beach. Fuji's Fujicolor 200 Film is designed for its ease of use and flexibilty, Fujifilm 200 works equally well both outdoors in daylight or for indoor photography when using a flash. Finely detailed image formation for large-size enlargements and other work requiring high-magnification as a result of the finest grain among ISO 100 color reversal films. Finally, that aforementioned wide exposure latitude is a good safety net should the light really be too bright or dim, and the film has good enough dynamic range to render light and dark areas well in the same shot, as you can see with the fish market and pigs shots below.
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As I continue to shoot film and build up experience, I’m finding the more freely I shoot, the more likely it is I’ll have something in the results that I really like. Increased resistance to loss in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance. The other claim was "image quality and clarity you expect from ISO100 films". I'm not so sure about this one. It definitely has a decent amount of grain. Kodak Gold had the same "issue" ( in quotes because grain is not always bad ). C200 has less grain than Gold but it's there. Not sure what ISO100 film has more grain than C200 but I don't imagine there are many of those. A few of the more boutique films I’ve reviewed on here are synonymous with specific types of photography; either by design or by how the herd has taken to shooting them. These images show that saturation Fujicolor 200 is known for. At snapshot sizes, grain is hard to discern. It becomes noticeable as you enlarge your images, but it’s somewhere between unobtrusive and pleasing. Nikon F2AS, 35-70mm f/3.3-4.5 Zoom-Nikkor Konica Autoreflex T3, 50mm f/1.7 Hexanon AR Pentax IQZoom 170SL Minolta Maxxum 7000i, 35-70mm f/3.5-4.5 Minolta AF Zoom Canon Dial 35-2 Kodak VR35 K12
It also means, if you have experience developing other colour negative films, you’ll be able to do this one yourself too. You can find the datasheet right here.Please note that there is an honesty limit of 6 rolls per customer during the ongoing global issues with colour film supply**
Fujifilm works with a pool of valued partners around the world as part of the production process to ensure we can continue to deliver high-quality imaging products to delight customers.This one was a very interesting experience. In the real world those lights are not green at all and with only altering the global white balance settings this is not something that you can get rid off: Leica M6 | Zeiss 16mm 8.0 Hologon | Fuji 200
The first thing that I noticed after developing the first roll was the pink / magenta cast on most of the film. Unexpected. From what I've read about C200 and what I've seen from other Fuji films - it's green shadows. Not a magenta cast. The cast is not super strong in all pictures but you can definitely feel it. And while C200 might be average in the film world, consider that it’s a product long-made by one of the very best film manufacturers in the actual world. Compared to most other things on this planet, it does a very good job of reproducing your images. This review is based on two rolls of C200 - shot and developed. First was shot on a Pentax MZ-5 where I used the camera to do the light metering. About 50% was shot at ISO200 and the other 50% were shot at ISO100. The other roll was shot on Leica M3 with me being the light meter. I did use a light meter from the phone from time to time as well.
The film also has a wide exposure latitude, which means you’ll have to try hard to really under or overexpose it. I think a good place to test this out would be a sunny day at the beach, with the strong light and bright sands giving the film the perfect excuse if it couldn’t handle it. Ignoring the cast that's more prevalent in highlights - it's a good example of the color rendering. Natural but plenty punchy. Final Words I’ve made some of my most satisfying images on Fujicolor 200. Minolta XG 1, 45mm f/2 MD Rokkor-X Canon A2e, 50mm f/1.8 Canon EF Olympus OM-1, 50mm f/1.8 F. Zuiko Auto-S Nikon Nikomat FTn, 50mm f/2 Nikkor H-C Argus a-four Sears KS Super II, Auto Sears 50mm f/2 Nikon N2000, 50mm f/1.8 Nikon Series E
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