Film photography continues to captivate photographers worldwide, with its distinctive color reproduction and grain structure creating an aesthetic that digital photography often struggles to replicate. Photographer Pablo Maraver has completed an extensive 18-month research project, systematically testing and analyzing 14 different 35mm film stocks to create what may be the most comprehensive guide to film color science available today.
Maraver's detailed video presentation goes beyond simple color comparisons, providing viewers with a thorough exploration of color photography's historical development and the technical mechanisms behind modern color film. His analysis focuses specifically on how the three-layer structure of color negative film can be modified by manufacturers to create varying responses to different colors across the spectrum. This technical foundation helps explain why each film stock develops its own distinctive character and visual signature.
The complexity of film color science extends far beyond the emulsion itself, as Maraver carefully explains to viewers. "The color we see in a photo is not the direct or automatic result of the film that we use," he notes in his presentation. "From development to printing or scanning, there's a whole chain of technical and aesthetic decisions that drastically transform the final result. And all of those decisions are guided by the photographer's eye, which in the end is the most decisive factor."
Despite the numerous variables in the photographic process, Maraver emphasizes that each film emulsion provides a distinctive starting point that influences the final image. "Every emulsion has its own character, its approach to skin tones, how it renders greens or blue skies, how it reacts to highlights," he explains. "There is an identifiable aesthetic, almost a personality that remains present even when the images pass through different hands." This inherent character is what Maraver set out to document and compare across different film stocks.
To ensure accurate comparisons between different films, Maraver developed a rigorous standardized testing methodology. He used a Spyder Checker 24 color chart as his reference standard, placing it alongside a set of color prints and illuminating the entire scene with a high CRI LED light source set to a consistent color temperature. Each test shot was captured using the same camera and lens combination, with only the film stock and aperture settings changing based on each film's sensitivity rating.
The testing protocol extended beyond just shooting, with all film development handled by a single laboratory to eliminate processing variables. Maraver then scanned all negatives at home using identical equipment – the same camera, lens, and LED panel – while maintaining consistent white balance settings throughout the scanning process. This meticulous approach ensured that the film emulsion remained the primary variable affecting the final results.
Maraver's comprehensive study included 14 popular film stocks: CineStill 50D, Kodak Ektar 100, Film Onehundred 100, Kodak ProImage 100, Kodak Portra 160, Kodak ColorPlus 200, Kodak Gold 200, Fujifilm 200, Phoenix 200, Kodak Portra 400, Kodak UltraMax 400, Lomography Color 400, LomoChrome 92 400, and CineStill 800T. The selection represents a wide range of film speeds and manufacturer approaches to color reproduction.
One particularly interesting discovery emerged during the testing process regarding Fujifilm 200. Maraver found that this film produced vectorscope results virtually identical to Kodak ColorPlus 200, and noted that Fujifilm 200 bears "Made in the USA" labeling. Based on these findings, he strongly suspects that both films may actually be the same product marketed under different brand names. Whether or not they share identical manufacturing, their performance characteristics appear functionally identical.
Maraver organized his findings into two primary categories to help photographers understand each film's characteristics. In terms of color accuracy – how closely each film reproduces true colors – Kodak UltraMax 400 emerged as the most accurate, joined closely by Ektar 100 and Portra 400. At the opposite end of the spectrum, Harman Phoenix (the original version being discontinued in favor of Phoenix II) and both CineStill variants (800T and 50D) showed the greatest deviation from accurate color reproduction, instead offering more stylized color renditions.
Saturation levels varied significantly across the tested films, with UltraMax 400 again ranking highest, this time accompanied by ColorPlus 200 and Lomography Color 400. Films producing the most subdued saturation levels included Kodak ProImage 100, LomoChrome Color 92 400, and Portra 400. These findings provide valuable guidance for photographers seeking either vibrant, punchy colors or more subtle, muted tones in their work.
Beyond the technical analysis, Maraver offers practical recommendations based on his findings, while encouraging photographers to use the data to make their own informed decisions about which films best suit their artistic vision and subject matter. The research addresses a common challenge in film photography: selecting the right emulsion for specific shooting conditions and desired aesthetic outcomes.
As an additional resource for the photography community, Maraver has created Lightroom presets that digitally emulate the color characteristics of all 14 tested film stocks. These presets, developed from his scientific analysis, are being made available as free downloads, allowing photographers to experiment with different film looks in their digital workflow or to match digital captures to their analog work.
This comprehensive study represents a significant contribution to the film photography community's understanding of color science, providing both technical insights and practical guidance for photographers working in an increasingly popular medium. As film photography continues its resurgence, resources like Maraver's research become invaluable tools for both newcomers and experienced practitioners seeking to master the subtleties of analog color reproduction.
