We will start with color film, which comes with two considerations, good and bad.
Right film vs fil
It’s a positive film Record the image as you saw it when you pressed the shutter. It produces rich, saturated colors and tends to be very contrasting. It is very forgiving in my experience. You need to get the right exposure and there’s not much you can do about it after the fact if you don’t. I tend to avoid contrasting scenes with accurate film (or use neutral-graduation filters to reduce contrast). Accurate film is often mounted as slides when properly developed.
It’s a bad movie it records the opposite of what you saw. In black and white, everything is reversed, the blacks are white, and the whites are black to lighten the print, making them shine with light, and the bright areas shine more light. The same is true of negative film colors, but it tends to look like a yellow-orange feeling as a negative. Negative color film usually has a softer appearance than positive color, with lower contrast, and a wider dynamic range.
Which one should you use? I suggest trying to see if you like the best. Below are a few film recommendations based on the type of photography you want to do.
It’s a great film for places
Fujifilm’s Fujichrome Velvia 50 is ridiculously expensive at $35 a roll, but I’ve yet to find another vibrant color film that looks as good as velvia. Its saigratation color is popular (pure red/magenta), and its neutral balance means you’ll never get colors in the shadows and highlights. The price means I don’t shoot it very often, but when I do go into the wilderness, this is what I bring.
Courtesy of b & h
Kodak
Professional ektachrome e100 color transparency film
Kodak’s E100 film is new to me, but I’ve shot a few rolls now, and I can tell it’s very different from the Velvia. None of Velvia is warm; The colors are neutral with bright green in the highlights. If you want to shoot landscapes with a different look than the last 50 years of velvia-influenced photography, this is the film I recommend.
Courtesy of b & h
Kodak
EKTAR 100 Movie 100
Another new one, Ektar 100 is a film stock that comes very close to replicating what you think of as a digital look. The grain is very good, and the colors are very close to what my sony digital sensor records: natural-looking color that cares on the cool side. I’ll admit this isn’t my favorite, but the price is hard to beat.
It’s a very good picture film
Courtesy of b & h
Kodak
Professional Portra Film 160 Bad film
Portrait films need to handle skin tones well. PUJIFILM’s 160 Pro has been discontinued, leaving Kodak’s most popular alternative. At $14 a roll, this is possibly the best price on film, period. PORTA 160 is a good graphic film, which gives the skin very well as most of the time. If you need something fast for low light shooting, there is also a 400 speed version and even an 800 speed version. I get that one can find too much grain in the color images, but if that’s the look you’re looking for, it’s available.
The best black and white movies
There is a seemingly endless stream of black and white films out there, including restored versions of some of the most popular films from decades past. This is a very flowery list from the “best of” to just putting it down. Also, try to find what you like.
Courtesy of b & h
Kodak
A masterful film
TRI-X was introduced in the 1940s and has been in continuous production ever since. It has gone through a few changes over the years, the most recent being a 2011 refresh that reduced the grain (which is where the TX Constation is located). A favorite of various photographers such as Sebastiao Salgado, Vivian Maier, and Tri-X is popular for dynamic contrast, with the right amount of grain and contrast that gives certain images. There are deep dark shadows, great contrast, and enough grain without being overwhelming. Tri-X is also dead easy to process if you do it yourself. If I could only shoot one film, this would be it.
Courtesy of b & h
Ilford HP5 and negative and white film
Another flexible film, ILFOFF’s HP5 has a wide latitude, meaning it will perform well in mixed and difficult lighting. It has less separation than Tri-X, giving it a smoother appearance. It also aimed very well, without being overly grainy like the Tri-X tends to move when you press it. If you’re looking for a good all-around film with a smooth, even tone, this is a good choice.
Courtesy of b & h
Kodak
Professional t-max p3200 negative and white film
Let’s get something out of the way first. Kodak calls this film “Multispeed”; No need to shoot it at 3200. I like to shoot it at 800 and process it at 1600. It took me a few years to realize that my T-max, but the point is, the T-Max 3200 is more flexible than the speed says. That said, I usually reach for this when shooting in the evening or at night.
Developing a film
There was a film development lab on every street corner. Or at least in those little kiosks in car parks, but those days are gone. That said, there are many labs out there with mail-order businesses and fast turnaround times. Most of them will be happy to scan your mistakes as well, although this adds cost.
There are hundreds of good labs out there, and your best bet is to go to your nearest photo shop and talk to them. Building a relationship with your photo shop will help you get better results, because they will know what you like and what you don’t and you can help and communicate with the lab as needed. That said, many camera stores have outsourced their development to major online services (a store near me sends film to Lab Siterotion), so be sure to ask where they grow.
