More image comparisons from shooting Lomo 800 and Portra 800 side by side. I personally see very small differences between these negatives. There are no differences that can’t be e xplained by slight variations in temperature, agitation, or the brightness of the film scan between these rolls. Are there any differences between the images after scanning? After scanning these films the first time, I noticed that there were almost no differences in the images. Looking at the images side-by-side above, there are some minor differences. A part of this is no doubt down to the innate image quality of Portra 800. But another part of it must surly be just be how so perfectly it fits my tastes when shot within my established workflow. As I’ve mentioned a few times throughout this post, it’s also incredibly versatile. Combine this versatility and the aforementioned compatibility with my workflow – and my personal tastes – and what I’ve found in Kodak Portra 800 feels to me like it could well be my perfect colour negative film. The grain really comes out when metering at box speed (aka the manufacturer’s recommendation, in this case, 800) and when shooting in low light – but is still manageable and not overbearing. Many photographers like to meter Lomo 800 1-2 stops overexposed at 640 or 400 as well, which reduces grain in images (just like Portra 800). Images by @30mileswest, @isaacmacieira, @lomographyuk, @memphis.mayne, @kjtcasual, @spiffyphotography, @monimonnni, @bnsmona, @pentax_chris Kodak Portra 800

The colors, saturation, and contrast are remarkably consistent throughout the sets. If the rolls of film were different, there would be clear differences in shadow detail, vibrance, and color temperature like in this comparison between Portra 400 and Lomo 400. But none of those differences are present in these two rolls that were shot side-by-side. It seemed to me that a blind test without any brand bias informing my interpretation was the best way to approach the review I had initially planned and so here we are, I hope you find it informative. Naturally, I tried to guess which was which as best as I could. I even enlisted the help of a few friends to weigh in. I’m happy to say that we were all wrong!

The results

Ilford may make Acros II only for Fujifilm, but in turn, Fuji produces Ilford’s chromogenic XP2 emulsion. Both of these manufacturers benefit from the specialization of the other, but Lomography doesn’t produce anything that Kodak couldn’t do themselves. This and the previous image show the unpretentious surroundings of a large supermarket me and my parents used to go when I was a kid. Though I haven’t been shopping there for many years, the place feels strangely familiar. Especially on a deserted Sunday afternoon, it still exhales an uneasy atmosphere. Herrenhausen power station. For more than hundred years, there was a large railway facility nearby. As they used to repair locomotives and carriages, they needed a lot of acetylene gas for welding. Today, wasteland surrounds the power station where once stood an acetylene plant. A facet of Hannover’s industrial past, gone without visual memory. Yet again I was born too late. The first few images are from my first roll with Portra 800. I shot it in a Nikon F75 with a fairly basic zoom lens. I can’t remember exactly, but I suspect I might have decided to load a faster film to counteract the effect or also using a slower lens in the winter months. The 28-70 lens was a little lower-contrast and not quite as high resolution as a lot of the lenses I normally shoot. I also found the results out of the Noritsu to be quite impacted by the slight yellowish-orange cast this scanner is quite well known for. In this example if I use an f4 lens and Lomo 800 film this gives the same exposure as using a 100 speed film with an f1.4 lens. A f1.4 lens is 3 stops faster than f4 and ISO 100 is 3 stops slower than ISO 800. I tend to shoot Portra 160 @100 which slightly over exposes the film but roughly speaking photos with the mentioned lenses and films will give comparable image. As such this is why I share the following 35mm Portra 160 film scans. It helps to give a reference point when comparing the colours and tones from each film. 35mm Kodak Portra 160 sample photos- Romania

Actually, now I’d got to grips with my scanning processes, what really interested me when I scanned this roll is that I found it much easier to get the more saturated colours I like. As a rule, I find that prefer the colours out of consumer films such as Ultramax 400, but I don’t really get on with the higher grain and reduced sense of sharpness I’ve had out of those sorts of films when I’ve shot them in the past. But the important thing is that everything else is the same. You can capture an equally good image using Portra 800 or Lomo 800. Final thoughts I don't think we can go by edge markings for film ID...Lomography obviously has their own custom edge markings on the 800 speed film. We should ask one of the Rons for more info, but I wouldn't be surprised if those numbers/letters were easy to customize in manufacture. On to the three that were shot and I have to say that I was incredibly disappointed with my Natura 1600 results once again (Film 1). This was my third roll and likely my last, which is a good thing, as it’s now discontinued. If you like the results you see here then I encourage you to give it a try. You have nothing to lose but money.Something that I’m really amazed at withLomography Color Negative 800 is that it handles tungsten interior lighting and mixed lighting situations very well; perhaps even better than some digital cameras can. Here are a number of image samples shot over the years. Fujifilm GW690 III The rolls were then developed in Flic Film’s color chemistry kit using the same temperatures and developing times. Then they were dried and scanned using the Essential Film Holder and Negative Lab Pro.

A low-light specialist, Lomography 800 35mm film will be able to keep going well after other films' bedtimesPortra 800 renders natural and almost understated colours during the day but at night, has the potential to become a vibrant, saturated film that absolutely does justice to the riotous colours of Hong Kong’s night markets – in the case of this roll at least.