Fuji Superia X-TRA 3 Pack ISO 400 36 Exp. 35mm Film, Total 108 Exposures

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You’ll also find that in the scoring sheet I provided, if you expand the hidden column, column B, this will also reveal the names of the films for easier reference, going forward. And now that we know which film is which, we can look at the final three factors to consider on the scoring sheet. I’ve included some defaults here, but these may require some adjustment based on where you live and some of your own observations or research regarding these films. I don’t claim that my scoring is perfect here. If you live in the US and it’s still 2019, these are the current price of the film per frame. This doesn’t include the price of development or scanning: A – Fujifilm C200 The Joey’s Subs photo shows off the bright colors and detail rendered by this film. Compare the 100% crop of the swallow at 1600 EI (roll 2) to the 100% of the Joey’s Subs shot — where the stars on the flag showed good detail at 400 EI. I wished I had a wide-angle lens at times, but now and then, you need a challenge and “work with what you brung” as we tend to say here in Ohio. The best way to maximize the images from Fuji Superia 400 is to rate it at 200 and meter your camera for the shadows. As with most 400-speed films, it looks best with plenty of light. The correct settings will prevent underexposed pictures.

Their precision beats and the serious demeanor with which they drummed was mesmerizing, and the crowd’s attention was firmly fixed on the line of drummers instead of the fact that we were getting scored on. The floodlights of the stadium served to illuminate them perfectly. I pushed my way to the front of the crowd and snapped only one picture of the scene, trusting my FG’s program mode to pull through. The '4th' cyan colour layer was designed to provide improved colour reproduction under fluorescent lighting, although use of filters is still recommended. Later films dropped the 4th layer (see Superia 400 X-tra and Premium 400). Though most sources, including Wikipedia , categorize Superia as a consumer/amateur-oriented film, it’s built on the same technology as one of the most sought-after colour emulsions: Natura 1600 . Both Portra 400 and Fuji Superia are known for having fine grain, however, Portra 400 should have the finer grain of the two. Late in the night, on that day in which I nearly forgot to carry a roll of film, I found myself playing electric bass in the marching band at our high school’s football game. If the Valley seemed bleak and somber during the day, it burst into magnificent color at night. The raucous noise of a high school marching band and the garish threads of the band uniforms made for quite the spectacle, and for me it was a spectacle worth committing to film. During our third quarter break, while the rest of the band ran off to stuff their faces with nachos and hot dogs, I pulled out my little Nikon FG and lingered to watch the drumline perform for the crowd.

One of Fujifilm's last remaining film stocks, how does it hold up today?

For the trip, I brought my Leicaflex SL2 in combination with not one but two 35mm lenses (the f/2 Summicron as well as the PC Curtagon shift lens). As I had wisely loaded the film in complete darkness , I was able to obtain 40 frames from the single roll. An impressive number to be reduced to a not-so-much impressive count of 37 useful frames by camera operator error. By the way, my point-and-shoot cameras often get one more frame out of a Fuji than of a Kodak film. To have a little more room for exposure errors, I rated the Fuji Superia at EI 200. The Images – Day-Time Shots This mirrors last year’s rebranding of Fujicolor C200 as Fujicolor 200 in the US. This film was also made in the US and analysis of its datasheet showed it was exactly the same as Kodak Gold 200 – including Kodak’s terms for colours, rather than Fujifilm’s. In this article, I’m going to talk about my first candidate: Fuji Superia 400. You will read rather subjective impressions based on a single roll, not an in-depth review. Testing Fuji Superia in the Field

To make things easier for you as you evaluate the photos, I’ve prepared a handy scoring sheet you can use to evaluate the films as we go through the blind test. To use it, and this is important, you’ll need to make a copy of my template. Please don’t send me a request to edit my copy. I can’t give you permission to edit the template. You need to make a copy of mine so you can edit it to your heart’s content. To do that, in Google Docs file menu, go to File -> Make a copy. The scoring sheet will help you prioritize the aspects of color film that are most important and unique to you and your shooting needs. So the first thing you’ll do is go along the top and rate how important each evaluation criteria are to you. First rate how important color is. Note that you’re not defining what is good color, only how important color is to you, in general. My father used to carry two cameras for family, non-professional shooting. A Leica M2 and Rolleiflex TLR. I have both. Anyway, the Leica for slides and the Rollei for B&W. Overall, it’s safe to say that Superia’s best feature is its dynamic range. This makes it a forgiving film , suitable for plastic toy cameras , old cameras with less-than-reliable shutters, and for metering using the Sunny 16 rule . It is also an excellent film to shoot in high-contrast scenes such as high noon and night photography . First, let’s talk about the more budget or consumer films for Fuji. In many ways Fuji c200 and Fuji Superia Xtra 400 are very similar. A commonality among Fuji films is cooler tones than Kodak and propensity toward greens in the shadows and, in some cases green overtones in general. This is due to the fact that Fuji films have an extra layer in their emulsions which tends to be cyan-green. EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc.Nikon FE – AI-S Nikkor 35mm 1:2.8 – Fujifilm Fujicolor Superia X-Tra 400 @ ASA-400 – Processing By: Burlington Camera Nikon FE – AI-S Nikkor 35mm 1:2.8 – Fujifilm Fujicolor Superia X-Tra 400 @ ASA-400 – Processing By: Burlington Camera Nikon FE – AI-S Nikkor 35mm 1:2.8 – Fujifilm Fujicolor Superia X-Tra 400 @ ASA-400 – Processing By: Burlington Camera

These days I shoot C-41 color, still some Kodak 400 HD in my lead bag in my freezer. That was a consumer film that was better in definition than any other Kodak offerings other that the Ektars. I also process my own film; this is especially important in this new era of no one hour photos or drug store minilabs. Kodak Portra 400 is pretty notorious for having fairly muted tones so that it can be edited to your heart’s content, so it’s generally pretty pastel which is what I expected. What wasn’t prepared for was for the Superia to be almost identical. Superia, on the other hand, produces vibrant colors for landscape photography, especially in ideal natural light settings. It’s not as favorable with portraits since it tends to add a pink hue to the skin, requiring some tweaks in Photoshop. Fuji Superia 400 vs. Agfa Vista 400: A Battle of the 400s

Shoot Expired Film and get a Free Big Mac 🤔

I handed my Fujifilm X-M1 camera to my daughter, Joy, and told her that she could change the settings to whatever she wanted them to be—you might remember that she created the Winter Blue film simulation recipe. She used the camera to capture a bunch of pictures; afterwards, when I reviewed the images, I was very impressed with the look that she created. I asked her why she chose these settings, and she answered that she had hoped to capture some cherry blossoms, and it was initially overcast when she dialed in the settings, and she thought that it might work well for that. Superia is more worth it because at the time of writing it is a good bit cheaper. Is it worth using it on holiday? Probably. Is it worth using it for some semi-important portraits? Probably also. The main things you will notice with expired films is that they get less sensitive to light. As the film expires so do the chemical compounds that make the film sensitive to light. The most common Internet tip when shooting expired film is to overexpose by 1 stop for every decade of expiration. This film is 25 years old so we would normally recommend to over expose by 2 stops. This may not be necessary with this film as it has been cold stored so most likely hasn't degraded too much and it is a good quality film. So for this expired film we would suggest to just overexpose by 1 stop.

Perhaps you can see in the bottom right-hand corner, there is some browny/yellow brush which seems more saturated in the Superia image than in the Portra image. Fujicolor Superia is a Fujifilm brand of daylight balanced colour negative film introduced ca.1998 primarily aimed at the consumer market, but was also sold in a professional 'press' variant. A key feature at launch was the '4th' cyan colour layer designed to provide improved colour reproduction under fluorescent lighting. Its Kodak equivalent is the Kodacolor (later Kodak) Gold/Ultramax line. Considering the film speed, grain is not objectionable at all, and the 42-megapixel resolution of my Sony DSLR ‘scanner’ easily showed good film detail, the failings of my hand-held exposures, and the faults of my 80’s vintage zoom lens on the first roll. I would caution making any guesses about the characteristics of the emulsion until a real data sheet with color curves is released by Fujifilm. There are too many digital variables from my camera to your computer screen. Fuji pro 400h is a very versatile film and easy to work with, with a latitude that can be pushed extremely far both over and under exposure. And in addition to that, with 400h you get a bit of a level up with sharpness and tightness of grain over the cheaper Fuji films.As per usual, Portra 400 is probably better in this department because of its dynamic range and finer grain, it’s tones are probably a bit better. Dynamic Range If you are unsure how your expired film has been stored, or the quality of the emulsion, over exposing by 1 stop per decade is a good place to start with. But, as with every internet rule of thumb, it is not 100% accurate so always take it with a pinch of salt. This is the combined art and science of shooting expired film! I’d like to mention that Fuji’s films are regionalised. Their US-made Fujifilm 400 consumer colour negative film is not the same as their current consumer ISO 400 colour offerings in other regions. For example, Fujifilm 400 replaced the legacy Fujicolor Superia X-tra400 in the US market (and likely other countries in the Americas), but this specific product is still produced and marketed for areas like Oceania – where the new Fujifilm 400 does not exist as an official offering. There is a definable warmth to the colours that come out of Superia 400, while it’s a little more noticeable on the roll that isn’t as expired as the first. The reds, oranges, and yellows pop the most make it perfect for fall days at peak colours when you have full sunlight. And while the film does handle blues well, I find at least in my examples they aren’t exactly what I like in my blues. Even the expired film allows some of these same colours to pop, but these were also shot under more overcast conditions. While I wouldn’t call the colours a natural reproduction, they add a bit of rich vibrance even in dull light, but it performs much better under brighter conditions. And this surprises me, as I would expect a film like Superia 400 to perform well in every situation, especially under lower light.