Kodak Portra 400 (35 mm) Review
As I've mentioned before, despite having been a photographer for nearly 15 years, I never truly embraced film photography until recently. I explained my reasons for this in my initial blog post, so I won't reiterate them here, but it's something that has lingered in the back of my mind for quite some time.
The Kodak Portra film series has always captivated my attention, even when approached purely from an observational perspective. As an individual deeply passionate about art history and cinema, I was thrilled to try and uncover connections between what already exists in the world and how it resonates with my own artistic style. Portra, in particular, emanates a painterly quality through its pastel tones, invoking reminiscent feelings of artists like Van Gogh or Monet. It also carries a cinematic quality, reminiscent of the style often seen in the works of Wes Anderson. For my inaugural dive into the world of 35 mm film photography, I chose to begin with a roll of Portra 400, recognizing it as a versatile option that harmonizes seamlessly with my shooting preferences.
This first roll found its way into my Canon EOS Rebel G, a camera I acquired from Delaware Camera in Buffalo, NY. I divided this roll into two distinct halves.
The first half was dedicated to my time in Buffalo, where I focused primarily on a special event at The Buffalo Zoo - the Chinese Zodiac Lantern Festival, a recurring event over the past few years. I approached this shoot with some apprehension, as I knew I would be attempting to shoot handheld in low-light conditions. Given my slight natural tremor, it was something I had to be mindful of. For this leg of the journey, I paired the Canon EF 50mm USM f/1.4 lens with my camera. I opted for a fast aperture lens that was also lightweight around my neck since I was carrying my DSLR kit in my backpack. The f/1.4 aperture allowed me to combat the fading light and compensate for my inability to maintain perfect stability at low shutter speeds. In an effort to keep my gear lightweight, I chose not to bring my tripod along on this adventure.
Having long aspired to emulate the distinct tone that Portra offers, I had a fairly good idea of what to expect. However, when it comes to making comparisons between my digital attempts and the real thing, there's really no contest. This portrait of my girlfriend Kels (who also happens to be an incredibly talented photographer you should definitely follow) embodies everything I could have hoped for tonally. I'm particularly enamored by how it flawlessly captures the nuances of the neon lights without any significant highlight blowouts. Moreover, it beautifully maintains her skin tone, even under the mixed neon lighting, infusing it with natural hues throughout. Choosing the 50mm lens as my go-to was a wise decision. Its sharpness and the clear separation it provides between the foreground and background are truly remarkable. This shot came early in the roll, and it immediately reaffirmed why Portra is such a beloved film stock.
As the event progressed, my attention was irresistibly drawn to a Pagoda that stood out amidst the surroundings. Being an admirer of Japan's Pagodas, I couldn't let this opportunity slip through my fingers. The sky was gradually darkening, with wisps of clouds drifting in, setting a captivating mood for the scene. It was the enchanting blue hour, with a faint scarlet sunset on the horizon, delicately tinting the gathering clouds.
Approximately 20 minutes later, Kels and I returned to the Pagoda, where I aimed to capture a straight-on shot. With only a faint glimmer of ambient light beyond the tree line, I chose to slightly overexpose the illuminated Pagoda to accentuate its presence.
Below, you'll find a slideshow featuring a selection of shots from the first half of the roll.
A few days later, Kels and I embarked on a trip to Sterling, NY, specifically to explore McIntyre Bluff's. We had visited earlier in the year, and my curiosity drove me to return and witness any notable changes in the landscape brought about by the shifting seasons. We timed our arrival perfectly, catching the early stages of Golden Hour, which presented a striking contrast to the first half of the roll.
Given that this was a more traditional hike, I brought along my entire lens kit, though I left my tripod behind. The arsenal included a Canon EF 24-105mm L f/4, Canon EF 85mm USM f/1.8, Canon 75-300 USM f4-5.6, and my personal favorite, the Tamron G2 70-200mm f/2.8. My objective for the day was to put my lens collection to the test, assessing compatibility and checking for any potential hiccups when paired with my entry-level vintage body. I had already confirmed that the 50mm worked (at least its autofocus did). However, since this was only my first roll, I remained uncertain about the quality of exposures I'd captured, so I opted not to use it on this occasion.
I can't recall the exact lens I used when we chanced upon these horses gathered closely together, prompting me to execute a U-turn to capture the moment. If I had to hazard a guess, I'd say it was likely the 75-300. The version of this lens I own has a slight crack in the plastic near the lens connectors, which can sometimes result in softer focusing than it used to. This marked the first instance where I felt somewhat constrained by the limitations of the Canon G2. Its three horizontal-only focus points consistently homed in on the surrounding brush rather than the horses. Ultimately, I resorted to manual focusing, and while the image did turn out slightly soft on the horses, I must shoulder the blame for that, not the camera's shortcomings. I should have taken more time to ensure precise focus and employed the appropriate tools for the task. Lesson learned. Nevertheless, I find the image appealing. The cluster of horses intrigued me as I had never seen horses behave in such a manner. The way Portra captures those golden sunlight tones imparts an ethereal quality to the scene.
I love how this image came out. The golden hues are breathtaking, and gazing upon it evokes a deep longing for adventure within me. I can't help but wish I had the opportunity to capture this scene on an 8x10 negative, a 4x5 negative, a 6x17 panoramic format, or even medium format (I'll delve into that topic another day) to seize more of the intricate details in the dunes and the surrounding brush. When I look at this photograph, the colors resonate with me, reminiscent of Van Gogh's Sunflower paintings. Simultaneously, it brings to mind the album cover of Incubus' 'Morning View' or the song 'Amber' by 311. Earlier in the year, I captured an image from the opposite side of this same dune, which I believe complements yet contrasts quite nicely.
I was enamored with the light that day, and I felt quite pleased that most of my lenses appeared to be fully compatible with my setup (except for my Tamron, although I suspect it's more the camera body not accepting the lens rather than the other way around. I tested the lens on Kels' Canon EOS Rebel 2000, and it seemed to autofocus just fine). My intention was to capture some portraits of Kels. I've been amassing a collection of images featuring her facing or walking away from me in remarkable locations, and I wanted to add a film shot to that collection. Given the splendid lighting and the captivating environment, everything seemed to exude a cinematic quality, making it the perfect opportunity. In hindsight, this experience served as a valuable reminder to check horizon lines for straightness. While minor deviations can often be corrected in Photoshop, when it's as off-kilter as in this case, it feels more authentic to embrace the imperfections and use them as opportunities for learning rather than striving for the elusive 'perfect' image.
Here are a few more stills from that day. I also tried to convert one into black and white just to see test how this film stock would handle that.
I also shot a roll of Kodak Tri-X 400TX on the same day, but I'll save that review for later. If you like the tones from these images, you can purchase a roll of Kodak Portra 400 (35mm Version) below.
Until Next Time.
