In February, I went on a family trip to the Cinque Terre region in northern Italy. I brought with me my Nikon FM2n and some Nikkors (20mm ƒ/3.5, 50mm ƒ/1.8, and 200mm ƒ/4). The three rolls of film that I brought were Ektar 100, Gold 200, and Superia 400. On the first day, it was really sunny so I loaded the Ektar and fired off a shot. When we got to our Airbnb, it was cloudy and according to multiple weather apps, it would stay that way for most of the trip. For this reason, I carefully rewound the roll of Ektar with one exposure and replaced it with the roll of Superia 400. I’d never shot Superia before, but I needed the extra speed since my budget airline didn’t allow for tripod sized objects in carry-on baggage.
Fuji Superia 400
One of the enjoyable aspects of sites like 35mmc, Emulsive, and other places where analogue photography continues to be explored and celebrated in the age of unrelenting advances in digital imaging technology, is the diversity of ways in which people impart value to old film cameras. For me image quality remains an important, though admittedly …
Amelia Island is located on Florida’s Atlantic coast, and it has the kind of laid-back vibe anyone would enjoy. I’ve been visiting almost every summer since the mid-2000s.
The Atlantic Ocean gets a lot of flack for being less than magical, and no, the waters aren’t crystal clear like the Gulf of Mexico, but the beaches of Fernandina just do it for me in the best way. They’re not as crowded as more popular, touristy beaches in Florida, and after years of going it feels so comfortable and familiar.
The Voigtländer Vitomatic I is a 35mm viewfinder camera that was produced between 1957 and 1960. The lens is a 50mm Colors-Skopar 1:2.8. F-stops are 2.8 to 22. Shutter is a Prontor SLK-V with bulb, 1, 1/2nd, 1/4th, 1/8th, 1/15th, 1/350th, 1/60th, 1/125th, 1/250th and 1/300th sec. It has a selenium meter – it gives you a reading, you have to manually set the f-stop and shutter yourself.
The Vitomatic I is all metal and glass, and quite heavy. It has a wonderfully bright viewfinder window.
Let me set things straight: I do love Kodak Portra. It is the color negative film I use all the time. And, probably like many of you guys, could easily deal with it if Portra was the only color film available. However, I recently decided to test out some alternatives. To a large extent, curiosity drove me: Which other looks can I achieve with different film stocks? Another aspect was the price. In Germany, a roll of Portra 400 in 135 comes now at roughly 11 Euros. So maybe I can find a cheaper alternative for the bulk of my work?
In this article, I’m going to talk about my first candidate: Fuji Superia 400. You will read rather subjective impressions based on a single roll, not an in-depth review.