Photographer CS Muncy recently spent three weeks testing Kodak's newly released Kodacolor 200 film stock during an extensive road trip along the Pacific Northwest coastline, as well as shooting in New York and covering several news events. The comprehensive field test has provided valuable insights into the performance and significance of this new film release.
Muncy originally planned to shoot entirely on Double X black and white film but quickly realized that the stunning scenery of the Pacific Northwest deserved to be captured in color. While he had some expired Gold 200 film available, he ultimately decided to purchase several rolls of the new Kodacolor 200 stock for the trip. He primarily used a Hasselblad XPan and a Nikon FA camera system throughout his testing period.
After processing the rolls, Muncy expressed surprise at how much he enjoyed the results. The color reproduction impressed him significantly, particularly during a hike through the redwood forests where the film excelled at capturing both the quality of light and the deep green tones of the forest environment. The film's performance in these challenging lighting conditions demonstrated its versatility and color accuracy.
While some photography community members have debated whether Kodacolor 200 represents a genuinely new film stock or simply a rebranded version of existing emulsion, Muncy believes this question misses the more important implications of Kodak's business strategy. The release represents a significant shift in how Kodak approaches its film manufacturing and distribution operations.
Kodak currently continues to manufacture several professional and consumer film stocks, including Ektar 100, Gold 200, Portra 400, and Tri-X 400. However, the introduction of Kodacolor 100 and 200 marks a notable development that extends beyond simply adding new products to their lineup. Most significantly, these new films represent a change in Kodak's business model and distribution strategy.
Unlike most of Kodak's current film offerings, which are distributed through Kodak Alaris, the new Kodacolor films fall directly under Eastman Kodak's control and management. For the first time in more than a decade, Kodak is selling film products directly to distributors rather than working through third-party distribution channels. This change signals the company's renewed commitment to direct involvement in the commercial photography market.
The strategic move comes during a continuing resurgence in analog photography, accompanied by growing concerns throughout the photography community about film availability and affordability. By reclaiming control over sales and distribution channels, Kodak is positioning itself to better manage supply chains, respond more effectively to market demand, and strengthen its presence in an increasingly competitive marketplace.
While Kodak has not publicly detailed additional plans for expanding their direct distribution model, the launch of Kodacolor 100 and 200 clearly represents a significant reinvestment in both film manufacturing capabilities and distribution infrastructure. This development has generated optimism among film photographers about improved accessibility and pricing.
As someone who stocks up on film supplies, Muncy expressed hope that this business model change might eventually allow average consumers to purchase large bulk orders of cinema film stock. He noted that while he currently maintains nearly a thousand feet of Double-X film in refrigerated storage, his shooting pace means these supplies won't last indefinitely. If Kodak were to offer Kodacolor in 100-foot cans for bulk purchase, he indicated it would significantly benefit his photography practice.
Regarding the film's technical performance, Muncy highlighted several positive characteristics of Kodacolor 200. Most notably, the film offers affordability compared to premium alternatives while maintaining excellent performance standards. The grain structure provides a pleasant aesthetic quality that avoids being overpowering, unlike Gold 200 which can sometimes produce excessive grain in certain shooting conditions.
The film also demonstrated impressive exposure latitude and forgiveness during real-world shooting situations. During coverage of a Veterans Day parade, Muncy discovered he had been overexposing images by two full stops, yet the film still delivered reliable and visually appealing results. This exposure flexibility makes it particularly suitable for photographers working in varying lighting conditions or those who prefer not to use light meters extensively.
Based on his three-week testing period, Muncy recommends Kodacolor 200 to other photographers, regardless of whether it represents entirely new emulsion technology or a rebranding of existing stock. He emphasizes that the most important consideration for any film stock is ultimately the quality of the final exposure and overall photographic results, rather than the technical details of its manufacturing origins.
