Fujifilm Fujicolor 200 Color Negative Film ISO 200, 35mm Size, 36 Exposure, CA-36

Product Information

Professional, high-image quality, daylight-type color reversal film with superb granularity, and world-class levels of image color saturation and vibrancy.Precise modulation, vivid color reproduction and excellent image quality make this the outstanding film for nature, fashion, products, interiors, and artwork photography.Exceptional performance, ISO speed rating of 50, excellent results in push-/pull processing for a wide range of exposures - from -1/2 to +1 stop, enabling a wider array of photo opportunities. Smooth gradation reproduction with superb depth, thanks to bias-free, brilliant highlights and excellent highlight-to-shadow gradation linearity. I didn't recommend landscape photography for Kodak Gold 200. C200 can handle them better. It won't beat slide film or more professional grade film but together with a good lens - detailed shots are possible. Fujicolor C200 is Fujicolor 200 though, so you can take this as a review of both. For the remainder of it, I’ll be using the name C200 only, as that’s what I’ve shot.

This Fuji 200 Film the ideal choice for superb natural-looking portraits or for just enjoying your analog photography shoots. Faithful reproduction of neutral grays over a wide exposure range from underexposure to overexposure. Depending on where you live and buy your film, you may or may not recognise Fujicolor C200’s box design. But if you’ve ever shot the C-less Fujicolor 200, you’ll probably recognise the canister. That’s because they’re the same. Same canister, same film.Fujicolor 200 often renders white skin tones a little ruddier than real life, but not so much as to be unrealistic. I’ve never shot a person of color with this film, so unfortunately I can’t comment on how it handles nonwhite skin tones. Pentax ME, 35mm f/2.8 SMC Pentax-A Olympus Stylus Epic Zoom 80 Rollei 35B Nikon N60, 28-80 mm f/3.3-5.6 AF Nikkor Konica C35 Automatic The first thing that I noticed after developing the first roll was the pink / magenta cast on most of the film. Unexpected. From what I've read about C200 and what I've seen from other Fuji films - it's green shadows. Not a magenta cast. The cast is not super strong in all pictures but you can definitely feel it. If you appreciate things for what they are and use them for what they were made for, I put forward that C200 is, just like all of those other films just mentioned, special in its own way. The other claim was "image quality and clarity you expect from ISO100 films". I'm not so sure about this one. It definitely has a decent amount of grain. Kodak Gold had the same "issue" ( in quotes because grain is not always bad ). C200 has less grain than Gold but it's there. Not sure what ISO100 film has more grain than C200 but I don't imagine there are many of those.

When I reviewed Fuji’s Industrial 100 film, I mentioned how its greens and reds were the colours that popped the most. C200 is similar with the greens, although the reds – while still strong – come out a little darker and less gaudy than with the Industrial. And while C200 might be average in the film world, consider that it’s a product long-made by one of the very best film manufacturers in the actual world. Compared to most other things on this planet, it does a very good job of reproducing your images. Finely detailed image formation for large-size enlargements and other work requiring high-magnification as a result of the finest grain among ISO 100 color reversal films. I thought that the reason for this might be a failed development process ( I process my own C-41 ). Then I shot and developed the second roll and got the same results. A slight pink / magenta cast. I was extra careful with my development. I also developed another roll after this to see if the chemicals are starting to wear off. Does not look like it - next roll ( Kodak Ektar ) developed fine with no casts.Extremely satisfying color depiction, providing the most brilliant primaries without sacrificing the delicate pastels, for wide-ranging application. As I continue to shoot film and build up experience, I’m finding the more freely I shoot, the more likely it is I’ll have something in the results that I really like. Sharpness itself is good and a sharp lens will deliver sharp results on film. A more professional grade film with more refined grain will yield more detail. For the most part though C200 will deliver more detail than is needed for an average human. And potentially even aliens. I’d suggest for a pro film, things like, fine grain, high micro-contrast and good subjective sharpness, with good colour consistency under a range of conditions – and of course the higher price. In reality most cheaper consumer grade films I find get to 80% of the performance of ‘professional grade’ films. It’s only when being super-critical or shooting in sub-optimal lighting conditions do the differences emerge. The images shown here really, really don’t do C200 much justice – they all look quite muddy and appear under-exposed to me. For instance, with advice from a pro photo lab, I would never even consider pushing any colour film, much less C200! Vivid skin tone reproduction with the world's highest color saturation equal to that of the current Velvia. Superb color tone depiction for rich color reproduction.

Update: some of you guys told me that these days Fuji 200 is just rebanded Kodak Gold 200, so make sure not to overpay as I did here. Leica M6 | MS-Optics 50mm 1.3 Slim | f/2.0 | Fuji 200 Leica M6 | MS-Optics 50mm 1.3 Slim | f/2.0 | Fuji 200 Leica M6 | MS-Optics 50mm 1.3 Slim | f/2.0 | Fuji 200 Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Further reading So, what is Fujicolor C200? Well, first up, it’s Fujicolor 200. Second, it’s probably not a film for producing fine art with. But, in my opinion, it’s a pretty good budget film for when you’re just out there preserving memories.It’s a trend I did my bit to keep going, with these JCH Pan 400 street shots and these CineStill 800T neon signs.