While Kodak brought the Ektachrome back to life, Fuji on the other hand decided to murder more colour negative and what’s left of their black and white film. The Superia 200 was axed in 2017 which is a shame because the way this film renders colour is nothing short of spectacular. Especially so in broad daylight and very much like its name, superior to the consumer-grade C200.
Grain is fine, an excellent film choice for prints on matte paper. Images sometime turn out a tad pastel other times heart warming, true to life.
Shot on Canon 500N paired to a Canon EF 35mm f/2 II
Many users criticise Fuji Superia 200 for having a tendency to produce red hues or a greenish cast. That may be true in several circumstances, my findings are accurate colours, minimal grain, great contrast and versatility no matter the condition.
Comparing a few photos taken outdoor with daylight using photoshop auto colour only to find things lean more towards the green side of things. Here are some examples:
ANALOGUE: Fujifilm C200
ANALOGUE: Kodak Colorplus 200
ANALOGUE: Fujifilm Proplus II 200
It turns out that most photos show a tint of green, especially when taken indoors, which can be easily corrected in post. Individuals’ skin tones remain nonetheless natural.
Shadows and lights is one of my favourite concepts in photography and I am satisfied with the contrast that this film encapsulate.
Overall, images look rather true to the eyes in terms of saturation, colour and contrast, with minimal grain. If only Fujifilm Superia 200 still is in production, it would be my go-to film in its class.
Shot on 500N paired to a Canon EF 50mm f/1.8 II