Kodak 6034052 Ultramax 400 135/24 Film (Pack of 3)

Product Information

Exposure to heat can damage the emulsion on your film. The specifics of temperatures for different films are as follows… Ultramax 400 is Kodak’s do-it-all consumer-grade film. It’s a general-purpose, daylight-balanced, color negative film with a sensitivity of ISO 400 (27º). It offers fine grain, deep saturation, and wide exposure latitude, and all of these traits make it well-suited to enlarging, and for digitization through scanning. It’s developed in standard C-41 chemistry, meaning it can be developed anywhere that film is processed. It’s also inexpensive and ubiquitous.

For those keeping up with my move (from Utah to Arizona) and adventure: I’m on the road again. The long story is that we found a home in Arizona, but the moving company can’t deliver our stuff for a couple of weeks. The short story is that we’re off on a new adventure! Among some other stops, we’re enroute to the central California Coast—one of the most beautiful places in the world, in my opinion—while we wait for our furniture and such. As with just about every other aspect of photography, the appeal of a certain type of film is completely subjective. Kodak UltraMax with Canon QL25, scanned at a minilab (Chiang Mai). How much does Kodak UltraMax 400 cost, and where to buy it. All that said, for a cheap 35mm film with a rating of 400 ASA, the grain in Ultramax 400 could certainly be a lot worse! Since its introduction in 2008, Ektar has built a reputation as one of Kodak’s premier films. It’s the emulsion that promised to fill the void that the world-famous Kodachrome left in the company’s catalog when it was discontinued. Like Kodachrome, Ektar is slow (ISO 100), fine grained, and has a much sought-after vibrancy in its color palette. But unlike Kodachrome, Ektar is a C-41 color negative film, enabling it to be processed by any film processing lab.

Golden Rule: Keep your film COOL, DARK and DRY

There seems to be a misconception that consumer grade films always produce flat, desaturated images. There’s also a new ISO 400 colour negative film made in Germany by ORWO that I’ve recently reviewed: Wolfen NC 500 . Unfortunately, it’s neither cheap nor capable of rendering colours as accurately as UltraMax. It has charm and applications, but you can’t use it the same way as consumer colour films. Additionally, the rolls I got did not have DX coding, rendering NC 500 unusable on most point-and-shoot cameras . Pierro raised the point that a lot of people in the film community are concerned about how to store film properly, especially old film. And Jon shared his wisdom on the issue, starting with the importance of businesses, like Analogue Wonderland, storing film properly so that our wonderful customers get their film in the best condition possible for shooting. However, as individuals we don’t necessarily need to be as cautious. Finer grain for clear, sharp pictures; Great for enlargements; Improved prints from underexposed negatives If you were to perhaps accidentally leave your film somewhere that was a little too warm, or on a sunny windowsill by mistake, the chances are that it will still be absolutely fine. You may get some slight fogging, a loss of contrast or some discolouring but you will definitely get an image.

All of this, means versatility. No matter what your subject, no matter what camera you’re using, and no matter the light, Kodak Ultramax 400 should fit your application. During the past year I’ve used it at night and by a blisteringly sunlit pool; on a foggy sail across Vineyard Sound and at a kid’s indoor birthday party. I’ve shot dogs in full gallop, and horses refusing to do so. I’ve successfully zipped it through the autofocus speed machine that is Nikon’s F4, and painstakingly ratcheted it across the film gate of an old-as-dirt Contax. Last in the Portra line is Portra 800, Kodak’s higher speed color negative offering. In some ways, Portra 800 is a bit redundant considering Portra 400’s exposure latitude covers nearly all of Portra 800’s effective range. But Portra 800 is another spectacular option when light gets really low, and I find Portra 800 shines particularly when used for this intended application. Whether it’s a price worth paying is up to you. If you haven’t shot it before, I’d recommend you try it at least once. I could see myself using multiple rolls for a project too, to take advantage of its quality.Portra 400’s versatility makes it the Kodak film that I’d recommend for every situation. Its wide exposure latitude makes it suitable for the brightest daylight scenes and the darkest low-light scenes, as well as in super high contrast situation. The wide exposure latitude also provides a lot of room for over- and under-exposure, making it a particularly good film for cameras with slow shutter speeds or slow lenses. May produce high levels of contrast, making it unsuitable for high-key or low-key lighting situations.

After shooting your Portra, it’s developed using the standard C-41 process. It’s also designed to be a great film for scanning, which makes a lot of sense considering its history. Alongside these was a Portra VC, which stood for vivid colour and also came in ISO 160 and 400 versions. Though Tri-X can be processed to be a stellar low-light film, Kodak’s T-max P3200 is undoubtedly the company’s flagship super speed film. It’s actually an 800-1000 ISO film, but is made to be pushed for use in low-light. It has fast become a favorite of the CP staff owing to its super-speed and surprisingly strong exposure latitude and tonality. FXW: Tell me about your behind-the-scenes photography. What do you try and convey through these pictures?Though Portra 160 is suitable for a variety of situations, it is far from the most versatile film. Its low sensitivity limits usage in low light, and shooters who find themselves wanting to emphasize particularly colorful surroundings will be left wanting. But when used for its intended application of portraiture and airy people photography, it performs well. Buy it here in 35mm, here in medium format.

High-Speed Versatility: With an impressive ISO 400 rating, Kodak TMax 400 empowers you to shoot in a wide range of lighting conditions without compromising on image quality. From low-light environments to bright daylight, this film ensures sharpness and detail in every frame. Whether you’re new to film photography, or a seasoned skeptic who’s loyal to another type of film, we’ve come up with 10 reasons to try shooting Ultramax 400. The ISO 400 rating gives you all the versatility you need in different light conditions too; especially with the exposure latitude meaning it’s hard to under or overexpose and the dynamic range meaning your shadows and highlights should both hold up in the same photograph too.

Natural skin tones: Kodak Portra 400 film is known for its exceptional skin tones, which are rendered with a natural, lifelike quality. This makes it ideal for shooting portraits. You can see straight away that Ultramax is indeed more sensitive to light, across the spectrum - which corresponds to it's higher ISO. And you can also see that the shape of the yellow curve is slightly more uniform across its peak. This episode will conclude our discussion of the Kodak Gold 200 Film Simulation Recipe, and introduce the next recipe-of-the-month: Kodak Tri-X 400. It will be a great time, with wonderful photographs and discussions. You won’t want to miss it! In the late 1950s, these were replaced with Type S for short exposures and Type L for long exposures, before a newer version called Ektacolor Professional was introduced in the early 1960s. This also came in Types S and L. Often regarded as an inadequate option, only suited for newbies, we’re here to set the record straight: we think that Kodak Ultramax 400 is a great film for both beginners and advanced film photographers alike.