Fujifilm Fujicolor 200 Color Negative Film ISO 200, 35mm Size, 36 Exposure, CA-36

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Also in this example the colors came out quite interesting: Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Negative density level unified with other PRO series films for maximum printing uniformity and efficiency. If you were to look at the outdated box design, the budget price, the ubiquitous availability and the results it gives, it would be easy to conclude that Fujicolor C200 – or Fujicolor 200 as it’s known in some markets – is nothing special. This Fuji 200 Film the ideal choice for superb natural-looking portraits or for just enjoying your analog photography shoots.

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. Sharpness itself is good and a sharp lens will deliver sharp results on film. A more professional grade film with more refined grain will yield more detail. For the most part though C200 will deliver more detail than is needed for an average human. And potentially even aliens. Forget the iPhone’s Portrait mode, Fujifilm C200 is what you need to capture amazing portraits 😅 Specification Format: A film that delivers high-quality colour renditions and moderate grain, Fujifilm C200 is forgiving with highlights and known for providing reliable results across different lighting situations.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. Professional films are formulated to exact sensitivities and color profiles and manufactured with the intention that they will be bought, shot, and processed within days of distribution. 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. This film is definitely not a first choice for professional work, or editorial assignment. It does the job of making a photo, but it doesn’t capture the range of details, highlights, and shadows you would want for a high end assignment. If you’re a street photographer who likes to shoot without thinking, but does think about the budget, this film could also be an option. Think of it as the best film to train with, or to pop into a point-and-shoot. While C200 does continue this trend, don’t be fooled into thinking it’ll present your sunny-at-the-time holiday memories as some gloomy alternate reality. What I got from my couple of rolls was certainly still vivid enough.

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. 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. C200, which is DX-coded with the number 106254, is processed using the highly common C-41 technique, or CN-16 as Fujifilm call it, meaning any photo lab should be able to develop your rolls once you’ve shot them. 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

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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 Professional-quality, medium-speed, daylight-type color reversal film with ultrafine grain (RMS *2 : 8), designed to provide medium color saturation and contrast compared to other films in the 100F series.Suited to a wide range of applications, such as product, landscape, nature and fashion photography as well as portraiture.Provides ideal color saturation and contrast, making it suitable for all types of subject matter, along with minimal variation in performance even in long exposures and the ability to be push-processed up to +2 stops with excellent results. Please note that there is an honesty limit of 6 rolls per customer during the ongoing global issues with colour film supply** Some of the things that make Fujicolor C200 an average film are the very same things that make it a good choice for your street photography. Camera Leica M3 Lens ZEISS Biogon T* ZM 35mm f2 Film Fujifilm C200 EI200 Development Tetenal Colortec C-41 Scanner Reflecta ProScan 10T Flower Explosion

Increased resistance to loss in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance. Professional, high-image quality, daylight-type color reversal film with superb granularity, and world-class levels of image color saturation and vibrancy.Precise modulation, vivid color reproduction and excellent image quality make this the outstanding film for nature, fashion, products, interiors, and artwork photography.Exceptional performance, ISO speed rating of 50, excellent results in push-/pull processing for a wide range of exposures - from -1/2 to +1 stop, enabling a wider array of photo opportunities. There are sharper color films than Fujicolor 200. But this film is plenty capable of getting good detail. Minolta XG 1, 45mm f/2 Minolta MD Rokkor X Konica Autoreflex T3, 50mm f/1.7 Hexanon AR Olympus Trip 35 Olympus Stylus Epic Zoom 80 Now that I’ve heaped praise onto this inexpensive color film, I’m going to tell you that I prefer this film’s slightly slower brother, Fujicolor 100! (I’ve reviewed it twice, here and here.) But that film is hard to come by (it’s officially only available in Japan) and expensive when you do find it. For pennies a frame, it’s hard to beat Fujicolor 200!

Images shot with FujiColor 200

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. I think that’s the wrong way to look at it, though. I’m not saying it isn’t average, but I don’t think dismissing as such is the best way to think about it. Not when we could celebrate its averageness instead. 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. Now under artificial light this is amplified, so you can expect a strong warm color cast (if not using a color filter to change the white balance of course): Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Leica M6 | MS-Optics 50mm 1.3 Slim | f/2.0 | Fuji 200 When I reviewed Fuji’s Industrial 100 film, I mentioned how its greens and reds were the colours that popped the most. C200 is similar with the greens, although the reds – while still strong – come out a little darker and less gaudy than with the Industrial.