Your favorite C41 color film

[didier]

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Dear all, 

I started shooting digital in 2014 (M(240)), and exclusively shot B&W film and slides before on my Ms.

I have never really stopped shooting some B&W film but lately started color films (C41).

I tried several films (general purpose, people candid shots, landscape, …) and found out I don’t like (at all) Kodak Ultra 400 (too contrasty), and (not very much) Portra 400 (for the same reason, a bit too contrasty). I do like the CineStill 50, the Portra 160 and the Wolfen 500 (a bit grainy, but a nice low contrast vintage look). Still looking for ideas and insights.

Thanks for you feedbacks and opinions/choices of C41 films 

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[LocalHero1953]

I've settled on Portra 160. Like you I found Portra 400 and 800 too contrasty. I like the more pastel colours of the 160 in bright summer sunshine, which is where I prefer to use it. I have limited experience of other colour films in recent years. I used to use a lot of Kodacolor Gold 100, and Fuji equivalents if that was all that was available (too cool for my liking). 
This is one of my favourite shots with Portra 160. M4 + Summilux-M 35 pre-asph v2, Wimereux, France.

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[FrozenInTime]

Petapixel are reporting Fujifilm Pro 400H is back on the US web site. https://www.fujifilm.com/us/en/consumer/films/negative-and-reversal and debate if this is in error or the sign of a revival.  https://petapixel.com/2025/06/27/fujifilm-could-be-reviving-two-very-popular-film-stocks/

That was my favourite C-41 film of all time since its introduction as NPH. I also greatly miss NPZ and Press 800 ... but that is perhaps expecting too much.

[sometimesmaybe]

3 hours ago, didier said:

I don’t like (at all) Kodak Ultra 400 (too contrasty), and (not very much) Portra 400 (for the same reason, a bit too contrasty). I do like the CineStill 50, the Portra 160 and the Wolfen 500 (a bit grainy, but a nice low contrast vintage look). Still looking for ideas and insights

luckily there are only limited colour film stocks out there, so it shouldn't take long for you to try them all 😅

if you dont like contrast i'd also recommend you stay away from Harman Phoenix 200. one more vote from me re Portra 160

if you want a flatter looking film, you might need to look at Kodak Cine film like, 50D, 250D and 500T. Unfortunately all ECN-2 (unless you get Cinestill or similar, but that's technically cross processed). a lot of labs now will process ECN-2. the scans tend to be flat, but thats by design so that the movie people can colour graded them later (unless your lab does the corrections for you)

if youre on instagram, feel free checkout my portfolio there. it's mostly film with all the film stocks used identified 

 

[erl]

The answer to the question depends on your intended use. For portraiture, IMO Kodak Portra 400 id definitely top of the tree, but also the most expensive. Foe general landscapes, much cheaper films will generally cut it. For stage and theatrical work, the above mentioned FujiPress800 was definitely superior because of the way it handled  a variety of stage lights and filters. I think a large factor in the 'look' of films is both in the processing and the PP. Both of these are more controlling than the emulsion, IMO. Kodak Ektar100 is popular with a lot on this forum.  Personally I find it too red and contrasty, but would be well suited to low contrast, overcast days, to add a bit of 'punch'. Another big factor is the light contrast of the motif. The experiment continues.

[Einst_Stein]

Since now I scan films to Lightroom, instead of darkroom printing, I feel the film's color is no more critical.

However, I found films with lower contrast and lower saturation are easier to handle, such as Kodak Portra. But my decision is mainly on price. Kodak Gold is good enough. Besides, I feel it behaves more "film-ish". If I really want my most preferred color pallete, I use Leica digital. 

By the way, I use film mainly in 120 format. I shoot Hasselblad SWC and Fujifiulm GX680.

Edited June 30 by Einst_Stein

[Sandokan]

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Ektar 100. 

Waiting to develop Santa 100 (a Finnish film)

[erl]

6 minutes ago, Sandokan said:

Ektar 100. 

Waiting to develop Santa 100 (a Finnish film)

Yes, Ektar100 is great for Bleak situations, but is biased toward Red. I would hesitate to use it in strong contrasty light situations unless I was aiming for high saturation. I use to use it for commercial shoots where a certain degree of 'exaggeration' always impressed. 😉

Ektar25 used to be great for landscapes, especially beach scenes. Fabulously fine grain and  printed beautifully in the darkroom. No longer available.

[Sandokan]

3 minutes ago, erl said:

Yes, Ektar100 is great for Bleak situations, but is biased toward Red. I would hesitate to use it in strong contrasty light situations unless I was aiming for high saturation. I use to use it for commercial shoots where a certain degree of 'exaggeration' always impressed. 😉

Fully agree - but where I am, outside of summer, it is bleak  

[oldwino]

I've grown fond of Kodak's Pro Image 100. The colors seem pretty natural to me yes (unlike Gold, which is just too warm), grain is good, and its cheap.

[erl]

3 hours ago, oldwino said:

I've grown fond of Kodak's Pro Image 100. The colors seem pretty natural to me yes (unlike Gold, which is just too warm), grain is good, and its cheap.

I tried that a while back but found I had to do more PP to reach an acceptable colour balance. Portra is definitely the most scan friendly film, but but too bloody expensive. Currently my stock is Kodak Gold 200 and that scans reasonably easily. I may retry the ProImage100 again. The learning curve is fluid.

[gbealnz]

I like Portra 160, shot a fair bit of it in Europe (in 120) in 2018. Agree with Erl, I ended up with a roll of Ektar while in Melbourne a month ago, and it looked somewhat biased to the red.

[grahamc]

I like Portra 800 best (but only in certain applications such as portraits - too expensive for general shooting).  Otherwise, Portra 400 (again too exxy) and Kodak Gold are my favorite C41 stocks - Gold is usually in my camera for general use due to price.

 

[costa43]

I tend to enjoy the warmer tones of Kodak film for the summer vibe so my go to is Gold, often exposed at 100. It’s a classic look that takes me back to my childhood. It also comes in at a good price compared to Portra 400 which is my other colour film of choice when I’m a little more deliberate on what I am shooting, or if I need a faster option.

Edited July 4 by costa43

[Bliz]

Right now 500t for urban scenes, Portra 160 for people and summer colors.

[fotomas]

For 135 Format Fuji Superia Reala for 100 ASA and Fuji Superia 400 for 400 ASA. For larger formats Fuji NS & Pro400H. Unfortunately all long gone.

[bags27]

When I shoot with my Hasselblad (500 c/m), which has that wonderful but vibration-creating shutter, I am more comfortable with a faster film, so it's usually Porta 400 shot at 320. I've completely fallen for my relatively new-to-me 903SWC and can shoot handheld at much slower shutter speeds, so maybe I'll use Porta 160 (which I prefer) for that.

[erl]

2 minutes ago, bags27 said:

When I shoot with my Hasselblad (500 c/m), which has that wonderful but vibration-creating shutter, I am more comfortable with a faster film, so it's usually Porta 400 shot at 320. I've completely fallen for my relatively new-to-me 903SWC and can shoot handheld at much slower shutter speeds, so maybe I'll use Porta 160 (which I prefer) for that.

In situations that permit, Pre-release the mirror of your 500cm and then trip the shutter. Be aware that it is the mirror flopping up that gives the vibration, not the shutter, being a between the lens shutter. I frequently use this technique on my 203FE, which has a focal plane shutter, maybe more vibration. Hand hold in the usual way, but use the forefinger of your RH to trip the mirror whilst viewing and immediately release the shutter in the normal way. A little practice makes it very easy and may avoid the need for  tripod.

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[bags27]

7 minutes ago, erl said:

In situations that permit, Pre-release the mirror of your 500cm and then trip the shutter. Be aware that it is the mirror flopping up that gives the vibration, not the shutter, being a between the lens shutter. I frequently use this technique on my 203FE, which has a focal plane shutter, maybe more vibration. Hand hold in the usual way, but use the forefinger of your RH to trip the mirror whilst viewing and immediately release the shutter in the normal way. A little practice makes it very easy and may avoid the need for  tripod.

Thanks, Eri. I misspoke about the shutter. Of course the mirror, which is why the SWC doesn't vibrate.

I do use the pre-release sometimes, but nearly always when it's on a tripod or resting against something. I find that when in my normal stance, even the upward motion in setting the pre-release can throw off my focus point. Maybe my 500 c/m just has a very stiff pre-release. But I really appreciate the advice and will work on my technique.

Edited Monday at 03:09 AM by bags27

[erl]

46 minutes ago, bags27 said:

Thanks, Eri. I misspoke about the shutter. Of course the mirror, which is why the SWC doesn't vibrate.

I do use the pre-release sometimes, but nearly always when it's on a tripod or resting against something. I find that when in my normal stance, even the upward motion in setting the pre-release can throw off my focus point. Maybe my 500 c/m just has a very stiff pre-release. But I really appreciate the advice and will work on my technique.

Just a a bit of trivia for you. The 203FE mirror has a 'Glide' mechanism. That means instead of just flopping up it 'Glides' the last short distance before closing up. It's specific purpose is to 'eliminate'(?) vibration. I think it is better than my 503CX (my backup body).