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I’ve been back in the film game for a couple of years now and it’s only in the last few months that I’ve realised what a game changer digital scanning can be. As a rule, I find that prefer the colours out of consumer films such as Ultramax 400, but I don’t really get on with the higher grain and reduced sense of sharpness I’ve had out of those sorts of films when I’ve shot them in the past. I’m just not sure I’d find it as fun…Enter your email address to subscribe to this blog and receive notifications of new posts by email.As for my choice – I wanted on of the current range (ls600, ls1100 or ls1800). Or is this approach more for colour film?I also want to emphasise the point that this isn’t a post about best practice – this is a post about what many photographers would consider cheating. With very little work in post – in fact just enough to get rid of the scanner’s tendency to a yellowish-orange cast – I got results that were bang on how I like my colour film images to look.
As an 800 speed film, it seemed only right… again loaded into the Konica Hexar with the 50mm f/1.2 mounted, I took a roll out on a night out. Morgen in huis! It’s more grainy than Portra, and more “fuji”, but its a nice film in my experience.

I have been wanting to write about my latest crush, Portra 800, even made a selection of photos to include, but didn’t get to writing it yet. It is also worth noting that this doesn’t work with all film. It just doesn’t seem to make sense that it would be possible to overexpose to this sort of degree and still get a perfectly usable photo.

Can’t wait to see how you get along with your Noritsu. What this means is that within reason, your TIFF files can be adjusted to taste in your own post process software without too much degradation to the image.This is exactly why I have spent the last year also trying to find myself a light meter that works to subtly rein me in a bit without impacting too much on the speed I am able to work – I’ve now found one, in fact it was finding a light meter that suited me that inspired this post – but more on that another day.I might have to give overexposure a try. At this stage, it was quickly dawning on me that Portra 800 could be the film that might offer me the greatest level of versatility and the lowest level of requirement to tinker with the results within my workflow.These were all metered either Sunny-16, or on a couple of occasions with the help of my iPhone as a light meter. With Portra 400, it almost doesn’t matter how overexposed or dense the negative is, it is still theoretically possible to obtain a potentially usable image. While I don’t have the cash to experiment too wildly with such an expensive film, your article has given me confidence to be bolder more often and to err even more on the side of light.

I’d love to use it as people rave about both the film and the developer but that experience put me off sadly. […] C200, a great general purpose colour film, and the other loaded with either Kodak Ektar 100 or Kodak Portra 800, depending on what I am planning to shoot. Hold a developed overexposed negative up to the light and it will look darker than a normally exposed one. I bet you’ve had some cracking results!Back when I shot this first roll, I was still fairly affixed to only shooting Portra 400. But even the highest quality scan can’t bring back lost detail.I have a Pakon and it does just fine with these bullet proof negs!Great addition to my recent post on proper exposure Hamish. I participated in an exposition last month, and all my entries were Portra 800 (in an all digital expo).Actually, now I’d got to grips with my scanning processes, what really interested me when I scanned this roll is that I found it much easier to get the more saturated colours I like.