Challenges in Film: Kodak Color Plus 200 Exploration
In the midst of my photographic journey, exploring between the vivid aesthetics of Portra 400 and the cinematic allure of Cinestill 800T, I dived into the distinct characteristics of Kodak Color Plus 200 film.
Unfortunately, my initial experience with this film stock hit a snag—a significant portion of my Kodak Color Plus 200 roll turned out mysteriously blank. Trying to figure out if it was due to an oversight on my part, a camera glitch, a flaw in the film, or a general challenge transitioning from digital to film photography left me with some lingering uncertainties.
Switching from the flexibility of digital photography, where ISO is adjustable, to the fixed ISO of film comes with its own set of challenges. Each film stock, including Kodak Color Plus 200, requires thoughtful consideration based on the subject and shooting conditions. Admittedly, this aspect may not have received the attention it warranted in this instance.
Upon developing the salvaged images from the roll, a noticeable flatness appeared, especially in frames taken within a dimly lit barn. This subdued tonality persisted even in scenes beyond the barn, lending an overall lack of dynamism to the series.
A noteworthy observation was the subtle yet persistent blue cast in the Kodak Color Plus 200 images. This unexpected undertone, personally not to my liking, became a focal point of post-processing efforts. Rectifying this cast through multiple editing sessions proved to be both intricate and time-consuming.
Despite these technical challenges, one standout image taken with Kodak Color Plus 200 captured the essence of an Edward Hopper painting, reminiscent of "Nighthawks." This particular composition demanded extra attention during color correction, where I introduced additional yellow tones to enhance the fluorescent light effect. Despite my efforts, achieving the desired result remained elusive. Considering this, I contemplate a future attempt with a deliberate long exposure to introduce intentional blur or eliminate subjects. If I had just waited a little longer, I would have also been able to attempt this shot with Cinestill 800T and that would have probably been a better stock for this subject.
Despite the encountered challenges and reservations about certain outcomes, I stand on the brink of a subsequent encounter with Kodak Color Plus 200. Overall these images are not very good in my opinion. If I was not documenting my experiences with film stocks, these would never see the light of day. With that said two additional rolls of this film stock await their turn in my film drawer, promising fresh perspectives and better subject matter. I eagerly anticipate revisiting this filmstock with refreshed curiosity and a more refined approach.
Until Next Time.
