{"title":"Film:Documentary","description":"","products":[{"product_id":"kodak-alaris-portra-400","title":"Kodak Portra 400","description":"\u003cp\u003eKodak Portra 400 might be the most versatile of the Portra range simply because it sits between the 160 and 800. If you're not sure what kind of light you'll be dealing with, it's a safe bet. It can comfortably be pushed or pulled 1-2 stops which gives you flexibility if you need it. Indoors or outdoors Portra 400 shines.\u003c\/p\u003e\n\u003cp\u003eIts lineage goes back to Kodak's Vericolor line from the 1970s. When Kodak released this emulsion in 1998 it had a specific target market: weddings and portraiture. It renders all skin tones naturally and became the go-to film for photographers shooting people. If you're a photographer looking for natural colour, fine grain and less saturated film, the Portra line is an easy choice.\u003c\/p\u003e\n\u003cp\u003eIt's a great film to pack for a weekend away if you're not quite sure what you'll shoot. It's versatile. It's not just a film for shooting people.\u003c\/p\u003e\n\u003cp\u003ePortra 400 is also available as Ektacolor Pro 400. Exactly the same film, just rebranded. If you're likely to be shooting with plenty of available light Portra 160 is a good option. If light is limited or you want a bit more pop in your colours, consider Portra 800.\u003c\/p\u003e","brand":"Kodak Alaris","offers":[{"title":"35mm \/ Single","offer_id":46709145305276,"sku":"A-P400-35-1","price":47.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ 5-pack","offer_id":46709145338044,"sku":"A-P400-35-5","price":220.0,"currency_code":"NZD","in_stock":false},{"title":"120 \/ Single","offer_id":46709145370812,"sku":"A-P400-120-1","price":45.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46709145403580,"sku":"A-P400-120-5","price":210.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-alaris-portra-400-35mm-36exp-canister_17a90f66-38f0-461b-96c2-e038bad93234.png?v=1778492495"},{"product_id":"kodak-alaris-portra-800","title":"Kodak Portra 800","description":"\u003cp\u003ePortra 800 is the low light superstar of the Portra range. It maintains the natural colour of its siblings without the pronounced grain you might expect in faster films. It's not the first choice in the line in daylight if you want shallow depth of field, but it does handle underexposure well and can be pushed or pulled comfortably.\u003c\/p\u003e\n\u003cp\u003eIts lineage traces back to the 1970s from Kodak's Vericolor range which was reformulated Portra in 1998. Unlike 400 and 160 which were updated in 2010 and 2011 respectively, Portra 800 remains unchanged almost 30 years later. The difference is the colours shot with 800 tend to have a little more pop. Skin tones are still natural and it is still daylight balanced, but the colours have more depth.\u003c\/p\u003e\n\u003cp\u003eIt's an excellent all-rounder. People, product, landscapes, architecture and still life images are all well-suited to Portra 800.\u003c\/p\u003e\n\u003cp\u003ePortra 800 is also available as Ektacolor Pro 800. It's exactly the same film, just rebranded. Both are made by Eastman Kodak. If you are shooting in daylight consider the 160 and 400 variants. If you're working with limited light, shooting with a deep depth of field or are comfortable underexposing then 800 is a great choice if you want subtle but noticeable pop in colour.\u003c\/p\u003e","brand":"Kodak Alaris","offers":[{"title":"35mm \/ Single","offer_id":46709145600188,"sku":"A-P800-35-1","price":60.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46709145632956,"sku":"A-P800-120-1","price":55.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46709145665724,"sku":"A-P800-120-5","price":255.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-alaris-portra-800-35mm-36exp_28d5f6ab-7f95-4015-8a70-ed5295270ee3.png?v=1778492498"},{"product_id":"kodak-eastman-ektacolor-pro-400","title":"Kodak Ektacolor Pro 400","description":"\u003cp\u003eKodak Ektacolor Pro 400 might be the most versatile of the Ektacolor Pro range simply because it sits between the 160 and 800. If you're not sure what kind of light you'll be dealing with, it's a safe bet. It can comfortably be pushed or pulled 1-2 stops which gives you flexibility if you need it. Indoors or outdoors Ektacolor Pro 400 shines.\u003c\/p\u003e\n\u003cp\u003eIts lineage goes back to Kodak's Vericolor line from the 1970s. When this emulsion was released in 1998 it had a specific target market: weddings and portraiture. It renders all skin tones naturally and became the go-to film for photographers shooting people. If you're a photographer looking for natural colour, fine grain and less saturated film, the Ektacolor Pro line is an easy choice.\u003c\/p\u003e\n\u003cp\u003eIt's a great film to pack for a weekend away if you're not quite sure what you'll shoot. It's versatile. It's not just a film for shooting people.\u003c\/p\u003e\n\u003cp\u003eThis is the same emulsion as Portra 400, sold under the Ektacolor Pro name by Eastman Kodak. If you're likely to be shooting with plenty of available light Ektacolor Pro 160 is a good option. If light is limited or you want a bit more pop in your colours, consider Ektacolor Pro 800.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46709146190012,"sku":"E-EP400-35-1","price":47.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ 5-pack","offer_id":46709146222780,"sku":"E-EP400-35-5","price":220.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46709146255548,"sku":"E-EP400-120-1","price":45.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46709146288316,"sku":"E-EP400-120-5","price":210.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-ektacolor-pro-400-35mm-36exp_02e19914-aac2-420e-a502-57f33961f808.png?v=1778492504"},{"product_id":"kodak-eastman-ektacolor-pro-800","title":"Kodak Ektacolor Pro 800","description":"\u003cp\u003eEktacolor Pro 800 is the low light superstar of the Ektacolor range. It maintains the natural colour of its siblings without the pronounced grain you might expect in faster films. It's not the first choice in the line in daylight if you want shallow depth of field, but it does handle underexposure well and can be pushed or pulled comfortably.\u003c\/p\u003e\n\u003cp\u003eIts lineage traces back to the 1970s from Kodak's Vericolor range which was reformulated Portra in 1998. Unlike 400 and 160 which were updated in 2010 and 2011 respectively, Portra 800 remains unchanged almost 30 years later. The difference is the colours shot with 800 tend to have a little more pop. Skin tones are still natural and it is still daylight balanced, but the colours have more depth.\u003c\/p\u003e\n\u003cp\u003eIt's an excellent all-rounder. People, product, landscapes, architecture and still life images are all well-suited to Portra 800.\u003c\/p\u003e\n\u003cp\u003ePortra 800 is also available as Ektacolor Pro 800. It's exactly the same film, just rebranded. Both are made by Eastman Kodak. If you are shooting in daylight consider the 160 and 400 variants. If you're working with limited light, shooting with a deep depth of field or are comfortable underexposing then 800 is a great choice if you want subtle but noticeable pop in colour.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46709146615996,"sku":"E-EP800-35-1","price":60.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46709146648764,"sku":"E-EP800-120-1","price":55.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46709146681532,"sku":"E-EP800-120-5","price":255.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-ektacolor-pro-800-35mm-36exp_8b85b031-9b25-4942-96c9-679a8fb067a0.png?v=1778492507"},{"product_id":"kodak-eastman-gold-200","title":"Kodak Gold 200","description":"\u003cp\u003eKodak Gold might be the most iconic film stock ever released. It was released in 1986 and quickly became ubiquitous — the box was everywhere. It is still the staple of Kodak’s consumer line of films and there are good reasons for that. It’s a great film for people learning to shoot film because it’s very forgiving when under or over exposed. It’s also versatile — a roll can be thrown into a bag knowing that it can be used pretty much anywhere and get good results. A cafe, the beach, the mountains, the backyard, the city streets — all of these scenes lend themselves well to Kodak Gold 200.\u003c\/p\u003e\n\u003cp\u003eIt is daylight balanced so it’s not yellow or blue, but it does tend to register as a warm stock. Reds and yellows in particular are pleasing.\u003c\/p\u003e\n\u003cp\u003eWhile it may be a great film for beginners that doesn’t mean more seasoned photographers should sleep on it. Its versatility and latitude make it a very fun film to shoot with. If you fancy just going out and having some fun without fussing over exposure with a light meter Kodak Gold 200 is an obvious choice. It’s not as advanced as the professional-grade films in Kodak’s line, but that doesn’t mean the results won’t look professional. Its pleasing grain, contrast and colour balance make it a great film to have a couple of rolls handy.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46709146845372,"sku":"E-G200-35-1","price":35.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ 3-pack","offer_id":46709146878140,"sku":"E-G200-35-3","price":95.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46709146910908,"sku":"E-G200-120-1","price":30.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46709146943676,"sku":"E-G200-120-5","price":140.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-gold-200-35mm-36exp_f022a02e-7d18-4335-ba86-6f279f4483ea.png?v=1778492510"},{"product_id":"kodak-eastman-ultramax-400","title":"Kodak UltraMax 400","description":"\u003cp\u003eKodak UltraMax 400 is an all-rounder. It’s a wonderful film to take on holidays. It’s good outdoors or indoors and can handle images that are over or under exposed. Under exposure is less forgiving, but for a film where you don’t want to fuss over exposure in social gatherings this is a solid choice.\u003c\/p\u003e\n\u003cp\u003eWhat makes it a good holiday film is how well it does when shooting different subjects — people, buildings, landscapes — it captures them all faithfully. The contrast is crisp, the colours warmish, but this is a daylight balanced film. It’s this balance that makes it a good film for portraiture, architecture and nature.\u003c\/p\u003e\n\u003cp\u003eUltraMax has a strong lineage. Kodacolor VR-G 400 was first released in 1986 rebranded as Kodacolor Gold 400 then as Kodak Gold 400 and has been known as UltraMax since about 2007. It has the same T-GRAIN emulsion technology as Kodak T-Max — the result is grain that is almost identical to its slower sibling — Kodak Gold 200. Genuinely impressive.\u003c\/p\u003e\n\u003cp\u003eWhether you’re a beginner or seasoned photographer, UltraMax deserves its place in your fridge — one day you might want to shoot a roll without fussing over which roll to take around town. UltraMax could be that film.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46709147173052,"sku":"E-UM400-35-1","price":37.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ 3-pack","offer_id":46709147205820,"sku":"E-UM400-35-3","price":99.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-ultramax-400-35mm-36exp_e6b49e68-fdf3-40b4-9bb5-ba3185dbf4a4.png?v=1778492512"},{"product_id":"kodak-alaris-tri-x-400","title":"Kodak Tri-X 400","description":"\u003cp\u003eThere are icons. And then there are icons. Tri-X is an iconic film stock. Photo-journalists and street photographers often favoured Kodak Tri-X 400 for its character — grain, contrast and latitude were all characteristics that photographers could rely on. Many iconic images were captured with Tri-X. Many iconic names shot Tri-X: Henri Cartier-Bresson, Robert Frank, Garry Winogrand, Don McCullin and Sebastião Salgado are just a few.\u003c\/p\u003e\n\u003cp\u003eWith that history it’s no surprise that Tri-X has been around in some form since 1940 — first as sheet film and later in 35mm and 120 formats. In 2007 it was refined with finer grain and smoother tonal transitions but maintaining the classic, unmistakable Tri-X character. Tri-X is available from both Kodak Alaris and Eastman Kodak — same film, same emulsion, different packaging.\u003c\/p\u003e\n\u003cp\u003eLike most black and white film it's versatile — architecture, portraiture, abstract and landscape photography are all good choices when you have a roll of Tri-X in your camera. But if you're walking around  a city with one roll of black and white, this is the roll.\u003c\/p\u003e\n\u003cp\u003eMost photographers come to Tri-X eventually. It might not be your first roll of black and white — but once you try it, you'll understand why it's endured for over 80 years.\u003c\/p\u003e","brand":"Kodak Alaris","offers":[{"title":"35mm \/ Single","offer_id":46709147336892,"sku":"A-TX400-35-1","price":33.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46709147369660,"sku":"A-TX400-120-1","price":30.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46709147402428,"sku":"A-TX400-120-5","price":140.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-alaris-trix-400-35mm-36exp.png?v=1778491372"},{"product_id":"kodak-eastman-tri-x-400","title":"Kodak Tri-X 400","description":"\u003cp\u003eThere are icons. And then there are icons. Tri-X is an iconic film stock. Photo-journalists and street photographers often favoured Kodak Tri-X 400 for its character — grain, contrast and latitude were all characteristics that photographers could rely on. Many iconic images were captured with Tri-X. Many iconic names shot Tri-X: Henri Cartier-Bresson, Robert Frank, Garry Winogrand, Don McCullin and Sebastião Salgado are just a few.\u003c\/p\u003e\n\u003cp\u003eWith that history it’s no surprise that Tri-X has been around in some form since 1940 — first as sheet film and later in 35mm and 120 formats. In 2007 it was refined with finer grain and smoother tonal transitions but maintaining the classic, unmistakable Tri-X character. Tri-X is available from both Kodak Alaris and Eastman Kodak — same film, same emulsion, different packaging.\u003c\/p\u003e\n\u003cp\u003eLike most black and white film it's versatile — architecture, portraiture, abstract and landscape photography are all good choices when you have a roll of Tri-X in your camera. But if you're walking around  a city with one roll of black and white, this is the roll.\u003c\/p\u003e\n\u003cp\u003eMost photographers come to Tri-X eventually. It might not be your first roll of black and white — but once you try it, you'll understand why it's endured for over 80 years.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46709147533500,"sku":"E-TX400-35-1","price":33.0,"currency_code":"NZD","in_stock":false},{"title":"120 \/ Single","offer_id":46709147566268,"sku":"E-TX400-120-1","price":30.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46709147599036,"sku":"E-TX400-120-5","price":140.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-tri-x-400-35mm-36exp_7227c828-623d-40bc-8e59-97a45e4a71a3.png?v=1778492515"},{"product_id":"kodak-alaris-t-max-400","title":"Kodak T-Max 400","description":"\u003cp\u003eT-Max 400 uses the same T-GRAIN technology as T-Max 100 — flat crystals, fine grain, high sharpness — but at a speed where you can actually shoot handheld.\u003c\/p\u003e\n\u003cp\u003eKodak claims the grain is the finest you'll find at 400 speed. If you're shooting portraits, architecture or documentary work and you want detail in the print without slowing down to ISO 100, this is a good place to start. The contrast is medium and the tones are smooth. It's a clean film.\u003c\/p\u003e\n\u003cp\u003eIt's forgiving too. A stop under and the image holds together with no visible grain penalty. It pushes well if the light drops — you can keep shooting into the evening without changing rolls. The trade-off is that it rewards careful development. HP5 and Tri-X are more relaxed about how you process them.\u003c\/p\u003e\n\u003cp\u003eKodak introduced the T-Max line in 1986 and reformulated the 400 in 2007, bringing the sharpness up to match the 100. It's a refined film with a long history. T-Max 400 is also available as Ektapan 400 from Eastman Kodak — same film, different packaging.\u003c\/p\u003e\n\u003cp\u003eIf you want a 400-speed black and white film where the image is clean and the grain doesn't compete with the subject, T-Max 400 should be near the top of your list.\u003c\/p\u003e","brand":"Kodak Alaris","offers":[{"title":"35mm \/ Single","offer_id":46732408029372,"sku":"A-TM400-35-1","price":40.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732408062140,"sku":"A-TM400-120-1","price":30.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46732408094908,"sku":"A-TM400-120-5","price":140.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-alaris-tmax-400-35mm-36exp_69bfde85-df77-41a1-b234-3f797654e075.png?v=1779036664"},{"product_id":"kodak-eastman-ektapan-400","title":"Kodak Ektapan 400","description":"\u003cp\u003eEktapan 400 uses the same T-GRAIN technology as Ektapan 100 — flat crystals, fine grain, high sharpness — but at a speed where you can actually shoot handheld.\u003c\/p\u003e\n\u003cp\u003eKodak claims the grain is the finest you'll find at 400 speed. If you're shooting portraits, architecture or documentary work and you want detail in the print without slowing down to ISO 100, this is a good place to start. The contrast is medium and the tones are smooth. It's a clean film.\u003c\/p\u003e\n\u003cp\u003eIt's forgiving too. A stop under and the image holds together with no visible grain penalty. It pushes well if the light drops — you can keep shooting into the evening without changing rolls. The trade-off is that it rewards careful development. HP5 and Tri-X are more relaxed about how you process them.\u003c\/p\u003e\n\u003cp\u003eThis is the same emulsion as T-Max 400, sold under the Ektapan name by Eastman Kodak. The T-GRAIN technology was introduced in 1986 and the 400 was reformulated in 2007, bringing the sharpness up to match the 100. It's a refined film with a long history.\u003c\/p\u003e\n\u003cp\u003eIf you want a 400-speed black and white film where the image is clean and the grain doesn't compete with the subject, Ektapan 400 should be near the top of your list.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46732408127676,"sku":"E-EPN400-35-1","price":40.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732408160444,"sku":"E-EPN400-120-1","price":30.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ 5-pack","offer_id":46732408193212,"sku":"E-EPN400-120-5","price":140.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-ektapan-400-35mm-36exp.png?v=1779037052"},{"product_id":"kodak-eastman-ektapan-3200","title":"Kodak Ektapan 3200","description":"\u003cp\u003eEktapan 3200 is the fastest black and white film in the Ektapan range. It's actually closer to an 800-speed emulsion that's been designed to be pushed to 3200 in development. Nothing else fills this space — when you need speed above everything else in black and white, this is it.\u003c\/p\u003e\n\u003cp\u003eIt's a low-light film. Concerts, theatres, dimly lit interiors, street photography after dark — anywhere you're working with whatever light is there and flash isn't welcome. At box speed you can handhold in situations where most films would need a tripod or a compromise you don't want to make.\u003c\/p\u003e\n\u003cp\u003eWhat makes it unusual is the flexibility. If you have more light than expected, rate it at 1600 or 800 for cleaner, finer results. If things get really dark, push it past 3200. That range means you're not locked into one decision when you load the roll. For a film that lives in difficult light, that matters.\u003c\/p\u003e\n\u003cp\u003eThe grain is medium and has the structured, controlled quality of Kodak's T-GRAIN emulsion. It's visible in 35mm — this isn't a clean, fine-grained film — but it's better behaved than you'd expect at this speed. Contrast rises as you push, which gives low-light images a punchy, graphic quality that suits the kind of work this film gets used for.\u003c\/p\u003e\n\u003cp\u003eThis is the same emulsion as T-Max P3200, sold under the Ektapan name by Eastman Kodak. 35mm only. Keep it away from airport X-ray machines — it's more sensitive than standard films.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46732408324284,"sku":"E-EPN3200-35-1","price":49.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-ektapan-p3200-35mm-36exp.png?v=1779040223"},{"product_id":"kodak-eastman-kodacolor-100","title":"Kodak Kodacolor 100","description":"\u003cp\u003eKodacolor 100 is Eastman Kodak's quiet return to the consumer colour line. Released in late 2025, it's the first new consumer colour negative they've put their name on in over a decade — and it slots neatly between the professional restraint of Portra 160 and the warmer pop of Gold 200.\u003c\/p\u003e\n\u003cp\u003eAt ISO 100, the grain is fine and contrast sits just on the gentle side of medium. Saturation is balanced which makes it a film that renders scenes honestly. Skin tones look natural, landscapes look like the landscape, and architecture keeps its real colour. It's daylight-balanced and rewards good light, but its latitude is forgiving when you don't quite nail the exposure.\u003c\/p\u003e\n\u003cp\u003eThis is a versatile film with broad use, not narrow specialty. A roll in your bag means you're ready for most things a daytrip or weekend can throw at you. The character is closer to Portra than Gold: restrained, even-handed, and natural, but at a friendlier price than the professional line.\u003c\/p\u003e\n\u003cp\u003eIt's not the film for low light without a tripod, and it won't deliver the saturated, almost-glossy colour Ektar 100 does. But if you want a single colour film that just gets out of the way and lets the scene speak for itself, Kodacolor 100 is a strong everyday choice.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46732408520892,"sku":"E-KC100-35-1","price":35.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-kodacolor-100-35mm-36exp.png?v=1779195512"},{"product_id":"kodak-eastman-kodacolor-200","title":"Kodak Kodacolor 200","description":"\u003cp\u003eKodacolor 200 is the faster sibling in Eastman Kodak's revived Kodacolor line. Released alongside the 100 in late 2025, it gives you an extra stop of speed while keeping the same honest, balanced colour that makes the Kodacolors worth reaching for.\u003c\/p\u003e\n\u003cp\u003eAt ISO 200, the grain stays fine and contrast sits in the medium range; a step up from the 100's gentler rendering, which gives images a little more definition without pushing into punchy territory. Saturation is balanced and natural. This is a film that records the scene rather than interpreting it, and that restraint is its strength.\u003c\/p\u003e\n\u003cp\u003eThe extra stop of speed matters in practice. Where the 100 needs you to be in good light, the 200 gives you a bit more room. Overcast afternoons, open shade, the golden hour stretching a little longer before you're reaching for a faster film. Its latitude favours overexposure: a stop or two over and you're fine. Underexposure is less forgiving, so when in doubt, give it more light rather than less.\u003c\/p\u003e\n\u003cp\u003eIt's not the film for low light or indoor work, and if you want the warm, saturated look Kodak is known for, Gold 200 is the one. But if you want a reliable, even-handed colour film at a fair price that doesn't impose a look on your images, Kodacolor 200 does the job well.\u003c\/p\u003e\n\u003cp\u003eColorPlus 200 is the same emulsion under the Kodak Alaris name.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46732408553660,"sku":"E-KC200-35-1","price":35.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-kodacolor-200-35mm-36exp_5205bb90-15c9-4c94-825c-3be0542cc3e6.png?v=1780136937"},{"product_id":"harman-phoenix-ii-200","title":"Harman Phoenix II 200","description":"\u003cp\u003eHarman has always been known as a top notch producer of black and white film so when it released Phoenix 200 in 2023 there was a lot of excitement. That film ultimately proved to be an introductory step and was replaced with an improved emulsion in 2025. It was not an incremental improvement; it was fundamental: finer grain, smoother contrast, wider exposure latitude, better highlight and shadow retention and more natural colours.\u003c\/p\u003e\n\u003cp\u003eIt certainly is a more refined film. The colours are cool and distinctive — more pastel than punchy — and contrast is controlled. It can be used in a range of situations from travel to architecture, portraiture to landscapes — but it rewards good light and careful metering. It might not be the first choice for any of these subjects, but give it a bright day and a little attention and it delivers.\u003c\/p\u003e\n\u003cp\u003eThere are a few things to note. It is grainy and the halation is certainly present. This means it’s not your bog standard colour film — it’s a film with oodles of character but does not scream for attention. It’s not for everyone, but there are photographers who love this film for its character and that it looks distinctive. This doesn’t look like Kodak film, and for some, that’s the whole point.\u003c\/p\u003e","brand":"Harman","offers":[{"title":"35mm \/ Single","offer_id":46732408651964,"sku":"H-PHX2-35-1","price":34.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732408684732,"sku":"H-PHX2-120-1","price":28.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/harman-phoenix-ii-200-35mm-36exp_fc96cf6f-b27b-4f14-ba5f-13f68dba0758.png?v=1780057412"},{"product_id":"harman-red-125","title":"Harman Red 125","description":"\u003cp\u003eRedscale photography has been around for decades as a DIY technique — photographers would open a cassette in the dark and reload the film backwards so the light hits the red-sensitive layer first. Harman took that idea and made it into a production film. Red 125 is based on the Phoenix 200 emulsion and is only the second factory-made redscale film available, alongside Lomography's Redscale XR.\u003c\/p\u003e\n\u003cp\u003eThe results are unmistakable. Deep reds, burnt oranges and golden yellows replace the normal colour palette, and the look changes dramatically depending on exposure. Give it more light and the palette opens up with yellows and oranges coming through alongside the red. Less light and it deepens into rich, saturated reds. The contrast is high, the grain is textured, and there's halation in the highlights from the Phoenix base emulsion. It's a bold, graphic look.\u003c\/p\u003e\n\u003cp\u003eIt's a film for bright conditions. Landscapes at golden hour, street photography in hard light, architecture with strong shadows — anywhere with good light and strong shapes. It doesn't do subtle and it doesn't do low light. This is a film you reach for when you have a specific look in mind, not one you'd throw in for a day of general shooting.\u003c\/p\u003e\n\u003cp\u003eRed 125 divides opinion. Some photographers love the warmth and drama, others find it too much. But it's a film worth trying at least once — the results are unlike anything else in your fridge and you'll know immediately whether it's for you.\u003c\/p\u003e","brand":"Harman","offers":[{"title":"35mm \/ Single","offer_id":46732408717500,"sku":"H-RED125-35-1","price":34.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732408750268,"sku":"H-RED125-120-1","price":28.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/harman-red-125-35mm-36exp_59d0fdd4-255d-4206-acd7-070381f34bc0.png?v=1780059764"},{"product_id":"harman-switch-azure-125","title":"Harman Switch Azure 125","description":"\u003cp\u003eThe \"Switch\" name suggests Harman has more experimental colour films planned, but for now Azure 125 is the first — and it's a strong start. It's a colour-shift film that moves warm tones toward cool blues and cyans. The effect varies with exposure and subject, which means results are unpredictable in the best possible way.\u003c\/p\u003e\n\u003cp\u003eThe colour shift is the point. Blues and cyans dominate where you'd normally expect warmer tones, and the effect varies with the subject and the light. Blue skies become orange warm colours turn blue. Skin tones are cool The grain is moderate, the contrast is controlled, and the shifted palette has a quality that looks more like a carefully graded film still than a filter slapped on in post.\u003c\/p\u003e\n\u003cp\u003eAzure wants good light and careful exposure. It's an ISO 125 daylight film with narrow latitude — overexpose and the colour shift fades, underexpose and you get an unflattering green cast. Box speed in bright conditions is the sweet spot. Landscapes, architecture and anything with strong lines and tonal contrast suit it well. It's not a film for every occasion, but for the right subject it produces results you genuinely can't get any other way.\u003c\/p\u003e\n\u003cp\u003eThis is a niche film and it knows it. If you want faithful colour, look elsewhere. But if you want to see a familiar scene rendered in a way you've never seen before, Azure is worth a roll.\u003c\/p\u003e","brand":"Harman","offers":[{"title":"35mm \/ Single","offer_id":46732408783036,"sku":"H-SA125-35-1","price":34.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732408815804,"sku":"H-SA125-120-1","price":28.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/harman-azure-125-35mm-36exp_b1c0b524-d43b-48fd-b537-de5551e64116.png?v=1780059765"},{"product_id":"ilford-hp5-plus-400","title":"Ilford HP5 Plus 400","description":"\u003cp\u003eSome film has to earn its reputation. HP5 Plus did this in 1976 and built it from there.\u003c\/p\u003e\n\u003cp\u003eIf you're heading out for the day with one roll of black and white and you're not sure what you'll find — changing light, indoors and outdoors, people and places — HP5 Plus is a safe choice. It is fast enough to shoot handheld in most conditions and the latitude is forgiving enough that you don't need to nail the exposure every time. It's a good film to learn on and a good film to come back to. That’s not to say it’s a beginner’s film only — some seasoned photographers shoot HP5 almost exclusively because it is a film that has latitude in the camera and flexibility in the darkroom.\u003c\/p\u003e\n\u003cp\u003eIt has grain. It's a conventional emulsion, not a T-grain film like T-Max, so the grain has a classic, textured quality. In 35mm you'll see it. In 120 it settles down considerably. Whether that grain is a feature or a drawback depends entirely on what you're after. For a lot of photographers it's part of why they reach for this film. If you’re shooting landscapes you will see the grain in the sky.\u003c\/p\u003e\n\u003cp\u003eIt pushes well — up to three stops — so if you're shooting into the evening or in a dimly lit room you can keep going without changing rolls. Contrast and grain increase as you push, but it doesn't fall apart. It's also less contrasty and quite a bit cheaper than Tri-X, which makes it easier to shoot regularly without overthinking it.\u003c\/p\u003e\n\u003cp\u003eIf you're looking for a black and white film you can take anywhere and trust to come back with something good, HP5 Plus should be near the top of your list.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46732409012412,"sku":"I-HP5-35-1","price":23.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732409045180,"sku":"I-HP5-120-1","price":22.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ Bulk 30.5m","offer_id":46894722318524,"sku":"I-HP5-35-BULK","price":279.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-hp5-400-35mm-36exp.png?v=1779042471"},{"product_id":"ilford-fp4-plus-125","title":"Ilford FP4 Plus","description":"\u003cp\u003eFP4 Plus is Ilford's medium-speed black and white film. At ISO 125 it slots between Delta 100 and HP5 Plus, and in practice it borrows from both: finer grain than HP5, wider latitude than Delta 100.\u003c\/p\u003e\n\u003cp\u003eThe grain is fine. Not as fine as Delta 100; this is a conventional emulsion, not a tabular grain film. But fine enough that in 35mm it prints well at normal sizes and in 120 it effectively disappears. It's kind to skin tones, which makes it a strong portrait film, and it renders skies without the texture you'd get from HP5.\u003c\/p\u003e\n\u003cp\u003eWhere FP4 really shines is latitude. It's one of the most forgiving films you can load. Ilford document usable results up to six stops of overexposure, which is exceptional. If you're not sure about your exposure, give it more light rather than less and it will handle it. That makes it a good film to take out for the day when you're shooting outdoors and the light is changing.\u003c\/p\u003e\n\u003cp\u003eIt's not a low-light film. At ISO 125 you need good light or a tripod, and it doesn't push well beyond 400. If you want to keep shooting into the evening, HP5 is the better choice. And if you want the absolute finest grain Ilford makes, Delta 100 or Pan F Plus will beat it. But for a day outdoors in decent light where you want clean, detailed images with latitude to spare, FP4 Plus is hard to beat.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46837446803644,"sku":"I-FP4-35-1","price":25.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46837446836412,"sku":"I-FP4-120-1","price":22.0,"currency_code":"NZD","in_stock":true},{"title":"4x5 \/ Single","offer_id":46837444051132,"sku":"I-FP4-4x5-1","price":169.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ Bulk 30.5m","offer_id":46894722252988,"sku":"I-FP4-35-BULK","price":349.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-fp4-125-35mm-36exp_04cdc17c-599a-4f70-85e5-2debedb9e2cc.png?v=1780265895"},{"product_id":"ilford-delta-400","title":"Ilford Delta 400","description":"\u003cp\u003eIlford Delta 400 is a ‘professional’ grade film and sits between Delta 100 and 3200. It’s a film with good contrast, nice detail and fine grain. At ISO 400 it’s a versatile film — exposed correctly it can be shot on cloudy and clear days, at midday or dawn\/dusk. Its versatility is not limited to light — it is a jack of all trades suitable for people, landscapes and street photography.\u003c\/p\u003e\n\u003cp\u003eIts contrast doesn’t scream at you. T-Max 400 has more contrast but in prints held side by side it can be hard to see the difference. It can be pushed and pulled but results tend to be better when shot at box speed. If you under or over expose you should be ok a stop either side. HP5 definitely has more latitude so if you’re unsure about your light meter then HP5 is a safer choice.\u003c\/p\u003e\n\u003cp\u003eDelta 400 is a nice film to keep in the fridge ready for a day when you’re after a more refined image than HP5. They complement each other well at 400 ISO.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46732409274556,"sku":"I-D400-35-1","price":28.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732409307324,"sku":"I-D400-120-1","price":30.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-delta-400-35mm-36exp.png?v=1779067538"},{"product_id":"ilford-delta-3200","title":"Ilford Delta 3200","description":"\u003cp\u003eIlford claims Delta 3200 is the fastest black and white film available and that appears that could be the case. Both it and Kodak’s T-Max\/Ektapan line have an effective exposure of 3200 when pushed. What does this mean — basically a film that is left longer in the developer to create a brighter image. What this gives is a film that can shoot in all low light situations: concerts, parties, events and any situation where you need the maximum sensitivity a film can give you.\u003c\/p\u003e\n\u003cp\u003eBut it’s not a one trick pony. It’s good whenever you need to freeze action — sport, fast-moving subjects or you’re hand-holding a heavy telephoto lens that you can’t keep still. 3200 film held at the same aperture means something you would shoot at 1\/15sec with 100 rated film becomes 1\/500sec with 3200 rated film. That’s the difference between a blurry shot and a sharp one.\u003c\/p\u003e\n\u003cp\u003eWith speed comes a few caveats: less detail and more grain than film rated 800 or below. Some photographers love chasing grain, others see it as something to be limited. What Delta Professional 3200 does provide is something few other films can — the ability to shoot in very low light and the ability to freeze action.\u003c\/p\u003e\n\u003cp\u003eBecause it’s a 3200 film it comes with a warning: do not put this in your luggage or carry-on when flying. Ask for it to be hand checked. Better still, buy it after you fly if you can.\u003c\/p\u003e","brand":"Ilford","offers":[{"title":"35mm \/ Single","offer_id":46732409405628,"sku":"I-D3200-35-1","price":25.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732409438396,"sku":"I-D3200-120-1","price":30.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/ilford-delta-3200-35mm-36exp.png?v=1779712008"},{"product_id":"kentmere-pan-200","title":"Kentmere Pan 200","description":"\u003cp\u003eKentmere Pan 200 is the newest addition to the Kentmere range. It’s a high contrast black and white film with modest grain. It launched in May 2025 to fill the gap between Pan 100 and Pan 400, and it's not just a split-the-difference compromise. It has its own character.\u003c\/p\u003e\n\u003cp\u003eThe contrast is the first thing you'll notice. This is a punchy film. Blacks are deep, highlights are bright, and there's a graphic quality to the images that you'd normally only get by pushing a lower-contrast stock. With Pan 200 you get that look straight out of the box at normal development. If you like bold black and white with strong tonal separation, this delivers it without extra work.\u003c\/p\u003e\n\u003cp\u003eThe grain is fine for 200 speed and the latitude is wider than the high contrast might suggest. Shadows stay clean and you've got room to be a stop over or under without losing the image. It's also forgiving in the darkroom — Harman designed it to tolerate less-than-perfect processing, which makes it a good choice if you're still learning to develop.\u003c\/p\u003e\n\u003cp\u003eIf you want a cheap roll this is a good choice. Kentmere has always been positioned as the affordable alternative to Ilford's main range, and Pan 200 continues that. If you're shooting a lot of black and white and want to keep costs down without sacrificing too much image quality, it's worth considering. Also available in bulk.\u003c\/p\u003e\n\u003cp\u003eIf you want a contrasty, fine-grained black and white film at a good price, Kentmere Pan 200 should be on your radar.\u003c\/p\u003e","brand":"Kentmere","offers":[{"title":"35mm \/ Single","offer_id":46732409569468,"sku":"K-KM200-35-1","price":17.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46732409602236,"sku":"K-KM200-120-1","price":17.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kentmere-pan-200-35mm-36exp.png?v=1779045025"},{"product_id":"kodak-eastman-pro-image-100","title":"Kodak Pro Image 100","description":"\u003cp\u003ePro Image 100 has been in production since the late 1990s, originally made for Asian and South American markets where film sat on warm shelves and waited. Kodak designed it to handle heat and humidity without refrigeration — a practical edge that quietly makes it one of the more travel-friendly colour films you can buy.\u003c\/p\u003e\n\u003cp\u003eAt ISO 100, the grain is fine and contrast sits just on the gentle side of medium. Saturation is balanced which makes it a film that renders scenes honestly. Skin tones look natural, landscapes look like the landscape, and architecture keeps its real colour. It's daylight-balanced and rewards good light, but its latitude is forgiving when you don't quite nail the exposure.\u003c\/p\u003e\n\u003cp\u003eThis is a versatile film with broad use, not narrow specialty. A roll in your bag means you're ready for most things a daytrip or weekend can throw at you. The character is closer to Portra than Gold: restrained, even-handed, and natural, but at a friendlier price than the professional line.\u003c\/p\u003e\n\u003cp\u003eIt's not the film for low light without a tripod, and it won't deliver the saturated, almost-glossy colour Ektar 100 does. But if you want a single colour film that just gets out of the way and lets the scene speak for itself, Pro Image 100 is a strong everyday choice.\u003c\/p\u003e\n\u003cp\u003eKodacolor 100 is the same emulsion under the revived Kodacolor name.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46732543951036,"sku":"E-PI100-35-1","price":30.0,"currency_code":"NZD","in_stock":true},{"title":"35mm \/ 5-pack","offer_id":46732543983804,"sku":"E-PI100-35-5","price":135.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-alaris-pro-image-100-35mm-36exp_f8b0b6dc-e418-4814-a95b-433858b385be.png?v=1780135034"},{"product_id":"kodak-alaris-t-max-p3200","title":"Kodak T-Max P3200","description":"\u003cp\u003eT-Max P3200 is the fastest black and white film Kodak makes. The P stands for push — it's actually closer to an 800-speed film that's been designed to be pushed to 3200 in development. Kodak discontinued it in 2012 and brought it back in 2018 because nothing else fills this space.\u003c\/p\u003e\n\u003cp\u003eIt's a low-light film. Concerts, theatres, dimly lit interiors, street photography after dark — anywhere you're working with whatever light is there and flash isn't welcome. At box speed you can handhold in situations where most films would need a tripod or a compromise you don't want to make.\u003c\/p\u003e\n\u003cp\u003eWhat makes it unusual is the flexibility. If you have more light than expected, rate it at 1600 or 800 for cleaner, finer results. If things get really dark, push it past 3200. That range means you're not locked into one decision when you load the roll. For a film that lives in difficult light, that matters.\u003c\/p\u003e\n\u003cp\u003eThe grain is medium and has the structured, controlled quality of Kodak's T-GRAIN emulsion. It's visible in 35mm — this isn't a clean, fine-grained film — but it's better behaved than you'd expect at this speed. Contrast rises as you push, which gives low-light images a punchy, graphic quality that suits the kind of work this film gets used for.\u003c\/p\u003e\n\u003cp\u003e35mm only. Keep it away from airport X-ray machines — it's more sensitive than standard films. If you're shooting in available light and need speed above everything else, this is a good choice.\u003c\/p\u003e","brand":"Kodak Alaris","offers":[{"title":"35mm \/ Single","offer_id":46732544016572,"sku":"A-P3200-35-1","price":49.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-alaris-tmax-p3200-35mm-36exp.png?v=1779040200"},{"product_id":"kodak-eastman-colorplus-200","title":"Kodak ColorPlus 200","description":"\u003cp\u003eColorPlus 200 has been Kodak's affordable colour negative for years; a quiet, unpretentious film that does the job without drawing attention to itself. It started life in price-sensitive markets across Asia and Europe, and it's built a following among photographers who want a reliable everyday film without paying professional prices.\u003c\/p\u003e\n\u003cp\u003eAt ISO 200, the grain is fine and contrast sits in the medium range, which gives images a bit of definition without pushing into punchy territory. Saturation is balanced and natural. This is a film that records the scene rather than interpreting it, and that restraint is what makes it useful across a range of subjects.\u003c\/p\u003e\n\u003cp\u003eThe extra speed over ISO 100 stocks matters in practice. Overcast afternoons, open shade, the tail end of golden hour; situations where a 100-speed film would start to struggle. Its latitude favours overexposure: a stop or two over and you're fine. Underexposure is less forgiving, so when in doubt, give it more light rather than less.\u003c\/p\u003e\n\u003cp\u003eIt's not the film for low light or indoor work, and if you want the warm, saturated look Kodak is known for, Gold 200 is the one. But if you want a dependable colour film at a good price that stays out of the way, ColorPlus 200 does the job well.\u003c\/p\u003e\n\u003cp\u003eKodacolor 200 is the same emulsion under the Eastman Kodak name.\u003c\/p\u003e","brand":"Eastman Kodak","offers":[{"title":"35mm \/ Single","offer_id":46732544082108,"sku":"E-CP200-35-1","price":30.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-eastman-colorplus-200-35mm-36exp_8f2ba4c6-210f-4a3b-84b1-9f2b432e81bb.png?v=1780142274"},{"product_id":"kodak-t-max-p3200-expired-04-2026","title":"Kodak T-Max P3200 [Expired 04\/2026]","description":"\u003cp\u003e\u003cstrong\u003eThis is expired stock (04\/2026) sold at a discount. The film is sealed and has been cold-stored. Expired film may produce colour shifts, increased grain, or reduced sensitivity — results vary and are part of the appeal for many photographers.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eT-Max P3200 is the fastest black and white film Kodak makes. The P stands for push — it’s actually closer to an 800-speed film that’s been designed to be pushed to 3200 in development. Kodak discontinued it in 2012 and brought it back in 2018 because nothing else fills this space.\u003c\/p\u003e\n\u003cp\u003eIt’s a low-light film. Concerts, theatres, dimly lit interiors, street photography after dark — anywhere you’re working with whatever light is there and flash isn’t welcome. At box speed you can handhold in situations where most films would need a tripod or a compromise you don’t want to make.\u003c\/p\u003e\n\u003cp\u003eWhat makes it unusual is the flexibility. If you have more light than expected, rate it at 1600 or 800 for cleaner, finer results. If things get really dark, push it past 3200. That range means you’re not locked into one decision when you load the roll. For a film that lives in difficult light, that matters.\u003c\/p\u003e\n\u003cp\u003eThe grain is medium and has the structured, controlled quality of Kodak’s T-GRAIN emulsion. It’s visible in 35mm — this isn’t a clean, fine-grained film — but it’s better behaved than you’d expect at this speed. Contrast rises as you push, which gives low-light images a punchy, graphic quality that suits the kind of work this film gets used for.\u003c\/p\u003e\n\u003cp\u003e35mm only. Keep it away from airport X-ray machines — it’s more sensitive than standard films.\u003c\/p\u003e","brand":"Kodak Alaris","offers":[{"title":"Default Title","offer_id":46869029716156,"sku":null,"price":40.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/kodak-alaris-tmax-p3200-35mm-36exp_dcc4658a-5b0c-48c7-90a5-309df97157c8.png?v=1779710815"},{"product_id":"cinestill-800t","title":"CineStill 800T","description":"\u003cp\u003eCineStill 800T is a great film for shooting indoors and low light situations. It is based on Kodak's Vision 3 5219 motion picture cinema film which gives photos that classic cinema look. With a speed of 800 it's one of the few films suitable for concert photography, evening portraiture and city scenes where you want to capture less motion than slower films.\u003c\/p\u003e\n\u003cp\u003eOne of the key characteristics of 800T is its halation — a red glow around bright light sources, caused by the removal of the remjet backing layer that the original cinema film uses. Pointed at a light source you will get pop and glow around the light which makes it a great choice when capturing urban scenes with artificial light. Think petrol stations and neon signs.\u003c\/p\u003e\n\u003cp\u003eIt's not just an indoor and nighttime superstar. It's also versatile in daylight, especially as a portrait film. It's a natural fit for street photography — ISO 800 means faster shutter speeds to freeze moments, and the cinematic rendering gives images a documentary quality.\u003c\/p\u003e\n\u003cp\u003eLike its sibling the 50D it's not an all-rounder, but it's more versatile than people give it credit for. Indoors or at night is where it really hits its potential, but it's no laggard in daylight either.\u003c\/p\u003e","brand":"CineStill","offers":[{"title":"35mm \/ Single","offer_id":46871285235900,"sku":"C-800T-35-1","price":45.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46871285268668,"sku":"C-800T-120-1","price":45.0,"currency_code":"NZD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/cinestill-800t-35mm-36exp_a4943665-d536-4198-ac34-02b2e27ab1c7.png?v=1779831937"},{"product_id":"cinestill-bwxx","title":"CineStill BwXX","description":"\u003cp\u003eIf you’ve ever wondered how you can make your black and white still photography look like Schindler’s List, Raging Bull, Memento or Manhattan then wonder no more — all you need is CineStill’s BwXX. It’s the same Eastman Double-X 5222 emulsion used in dozens of features, respooled by CineStill into 35mm and 120 rolls so it can be processed in ordinary darkroom chemicals. And if you’ve never thought about shooting film that looks like the movies that’s fine too — because this film can do a lot.\u003c\/p\u003e\n\u003cp\u003eBwXX is a film with character. It's punchier than most black and white stocks, with more contrast and more visible grain than you might expect at ISO 250. That grit is part of why it's been a go-to for film directors for decades, and it lends itself well to street photography, architecture and landscapes. For portraiture it's an acquired taste — the prominent grain and high contrast won't suit every subject — but when it works, it works. It's a flexible film that pushes and pulls well and has good latitude. The manufacturer rates it at EI 250 in daylight and EI 200 in tungsten light, but in practice you can rate it at either without any issue.\u003c\/p\u003e\n\u003cp\u003eThis is a film every photographer should try at least once. There’s every chance you'll reach for it again.\u003c\/p\u003e","brand":"CineStill","offers":[{"title":"35mm \/ Single","offer_id":46871285432508,"sku":"C-BWXX-35-1","price":45.0,"currency_code":"NZD","in_stock":true},{"title":"120 \/ Single","offer_id":46874548437180,"sku":"C-BWXX-120-1","price":45.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/cinestill-bwxx-35mm-36exp_09d3be14-0ff3-4833-ac32-f923987e9059.png?v=1779889230"},{"product_id":"cinestill-400d","title":"CineStill 400D","description":"\u003cp\u003eCineStill 400D (Dynamic) has a key difference from its siblings in the CineStill line: it is not derived from Kodak Vision3 motion picture film like 50D and 800T. It is a new purpose-built film for still photographers.\u003c\/p\u003e\n\u003cp\u003eThis is a film anyone who shoots landscapes, architecture or people should consider. Like Portra and Ektacolor Pro 400 it’s an excellent option to throw into the bag for a weekend away. It’s appropriate for a variety of situations whether the light is bright or dim — at 400 ISO there is plenty of leeway if you’re not sure where or when you’ll be shooting.\u003c\/p\u003e\n\u003cp\u003eLike its siblings — 800T and 50D — it is a low contrast colour film with wide latitude. The colour is slightly muted but it represents colourful scenes well without the strength of Kodak’s Ektar and E100. It does share the CineStill halation — a reddish-orange glow around bright highlights — though it's more controlled here than on 800T.\u003c\/p\u003e\n\u003cp\u003eIf you’re after a professional, versatile colour film, CineStill 400D is a fine choice — one you might keep coming back to.\u003c\/p\u003e","brand":"CineStill","offers":[{"title":"35mm \/ Single","offer_id":46874517864636,"sku":"C-400D-35-1","price":45.0,"currency_code":"NZD","in_stock":false},{"title":"120 \/ Single","offer_id":46874517897404,"sku":"C-400D-120-1","price":45.0,"currency_code":"NZD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0760\/8860\/6908\/files\/cinestill-400d-35mm-36exp_a5b16dbe-f3b2-4236-84f3-05618d7184b2.png?v=1779885997"}],"url":"https:\/\/filmco.nz\/collections\/film-documentary.oembed?page=2","provider":"Nelson Film Co","version":"1.0","type":"link"}