p.2 #1 · Film Question: What’s so special about Portra?
In my experience, all Kodak Color Negative emulsions have great overexposure latitude and pleasing rendition.
In 135 I use Ektar only (or Positive Chromes)
In 120 or 4x5 I choose my emulsions based on shutter speed that is required for the scene. If speed is not important - Ektar wins as being the most economical option (Gold does not count as I have not tried it).
If not for the price, then in 4x5 I would stick to Portra 400 exclusively.
p.2 #2 · Film Question: What’s so special about Portra?
Portra (especially 400) has ridiculous latitude. I've seen tests where +4 overexposure being perfectly usable. It has a very muted color palette which allows more control during post-processing. Overall contrast can also be controlled depending on over and underexposure much much better than cheaper emulsions like Gold or less forgiving ones like Ektar. Grain is also very well controlled. In contrast Ektar has much lower latitude and punchier colors. I'm surprised others don't see a massive difference. I see a huge difference between Gold vs portra. A good compromise would be proimage which is a good middle ground.
Idk if these things don't matter to you just use the cheaper films. But portra is the best color film I have tried in all my years of shooting film simply because of how versatile it is
p.2 #4 · Film Question: What’s so special about Portra?
stompyq wrote:
Portra (especially 400) has ridiculous latitude. I've seen tests where +4 overexposure being perfectly usable.
But isn't latitude also a function of the scene? For example, a 10-stop film has little latitude on a 10-stop scene. On the other hand, a 6-stop film has plenty of latitude on a 2-stop scene. And I would be careful with overexposed highlights as it can easily give you the staircase effect.
retrofocus wrote:
So far the Porta films were the most difficult to scan for me with SilverFast 8 and its Porta films calibration independent on the scanner used (V850 or 8200Ai).
I too struggle with them.
Edit: But with Pro 400H being discontinued and 160NS being expensive, I have made a commitment to spend more time with them.
p.2 #5 · Film Question: What’s so special about Portra?
Yes. But portra's increased latitude gives you more freedom for contrast control. Like I said the beauty of portra is that it gives you so much freedom while most other emulsions are more rigid. If you never make use of it then its a bit of a waste.
Btw I don't know why people have said portra is difficult to scan. I use a digital camera for all my scanning and have never had an issue with the conversions either using colorperfect or negative lab pro or Grain2pixel. If you are having issues with scanning its not bc of the film stock its bc silverfast is such a pain to work with. If any of you insist on scanning using a flatbed just scan as linear TIFF and then use colorperfect or negativelabpro. Much much better and more consistent results than silverfast
p.2 #6 · Film Question: What’s so special about Portra?
Silverfast is a PITA, but digital ICE is a major advantage over scanning with a separate camera. I have found that the color conversion can be very sensitive to "CCR" in the negafix tab, the "exposure" correction, and obviously the color profile being used.
p.2 #7 · Film Question: What’s so special about Portra?
I wonder how sensitive Portra is to minor processing inconsistencies? When I worked in photo retail (some time ago) the store installed a photo lab as part of Kodak’s photo lab system, on which we were all trained. I recall having to do, and re-do, control strips each morning to optimize chemistry for best results. If many are doing home processing, how stringent is the manufacturing of those kits, how precisely are you able to control temperature, chemistry freshness and replenishment, etc.? Maybe some films are more tolerant to minor processing variations than other?
p.2 #9 · Film Question: What’s so special about Portra?
stockshas wrote:
Curious where you guys purchase 35mm film. Been wanting to try some color variants (including portra) and cant seem to find any in stock.
In the Denver and Boulder metro, we've got a good selection of local shops we can turn to, and most will order in what you need if they don't have it and it's still produced. If I didn't have that, I'd look to Kenmore. They stock 400TX and Portra 160 and I'm betting they'd do custom orders for anything they can get their hands on.
Apr 21, 2022 at 12:20 AM
AmbientMike Offline • • • • • • [X]
p.2 #10 · Film Question: What’s so special about Portra?
genji wrote:
Although I usually shoot black & white film (TMax 400) in my full frame bodies (previously a Leica M4, currently an MP), I did try a few different colour negative stocks to use occasionally in the Leica but mainly in my Pen F half frame camera—including Portra 160, Portra 400, Portra 800, Ektar 100, Ultramax 400, Superia Venus 800, Superia Premium 400, and Superia X-Tra 400, The film I liked the best was Superia Venus 800 so naturally Fujifilm discontinued it. Ultramax 400 was my second choice and that’s what I’ve been using. Although Portra 400 is about 50% more expensive in Australia than Ultramax 400, it seems that the Portra films are very popular so I’m wondering what I’m missing....Show more →
Idk if I ever tried Portra because I didn't like Kodak color, for the most part. I'd literally get store brand or scotch before regular speed Kodak. Usually used Fujicolor. I did like Ektar 25, and granted I didn't do many portraits. Not up on the availability lately but regular Fujicolor seemed fine back then. 100 or 200. From grocery store even
p.2 #11 · Film Question: What’s so special about Portra?
retrofocus wrote:
So far the Porta films were the most difficult to scan for me with SilverFast 8 and its Porta films calibration independent on the scanner used (V850 or 8200Ai).
If you're processing by dip & dunk, try reducing development by 30 seconds.
