I think that’s the wrong way to look at it, though. I’m not saying it isn’t average, but I don’t think dismissing as such is the best way to think about it. Not when we could celebrate its averageness instead. If you were to look at the outdated box design, the budget price, the ubiquitous availability and the results it gives, it would be easy to conclude that Fujicolor C200 – or Fujicolor 200 as it’s known in some markets – is nothing special.

This is a consumer film rather than professional film. It’s meant to perform acceptably after having sat on a store shelf for who knows how long. I’ve shot rolls of this stuff that I left at room temperature for years and got good results. C200, which is DX-coded with the number 106254, is processed using the highly common C-41 technique, or CN-16 as Fujifilm call it, meaning any photo lab should be able to develop your rolls once you’ve shot them. Fujifilm works with a pool of valued partners around the world as part of the production process to ensure we can continue to deliver high-quality imaging products to delight customers. This film is definitely not a first choice for professional work, or editorial assignment. It does the job of making a photo, but it doesn’t capture the range of details, highlights, and shadows you would want for a high end assignment. If you’re a street photographer who likes to shoot without thinking, but does think about the budget, this film could also be an option. Think of it as the best film to train with, or to pop into a point-and-shoot.Professional, high-image quality, daylight-type color reversal film with superb granularity, and world-class levels of image color saturation and vibrancy.Precise modulation, vivid color reproduction and excellent image quality make this the outstanding film for nature, fashion, products, interiors, and artwork photography.Exceptional performance, ISO speed rating of 50, excellent results in push-/pull processing for a wide range of exposures - from -1/2 to +1 stop, enabling a wider array of photo opportunities. A few of the more boutique films I’ve reviewed on here are synonymous with specific types of photography; either by design or by how the herd has taken to shooting them. Sharpness itself is good and a sharp lens will deliver sharp results on film. A more professional grade film with more refined grain will yield more detail. For the most part though C200 will deliver more detail than is needed for an average human. And potentially even aliens.

C200 is an ISO200 film. In that sense it's a Fuji equal of Kodak Gold 200 which is also a film meant for the consumer market with ISO200. The real alternative to Gold 200 was actually the Fujifilm Superia 200 but it was killed in 2017. C200 remains as the older tech version of Superia 200. Older because the Superia line of films have a 4th layer of the film. 4th layer that is said to help with color rendition. C200 does not have that.When I reviewed Fuji’s Industrial 100 film, I mentioned how its greens and reds were the colours that popped the most. C200 is similar with the greens, although the reds – while still strong – come out a little darker and less gaudy than with the Industrial. Ignoring the cast that's more prevalent in highlights - it's a good example of the color rendering. Natural but plenty punchy. Final Words

Professional-quality, medium-speed, daylight-type color reversal film with ultrafine grain (RMS *2 : 8), designed to provide medium color saturation and contrast compared to other films in the 100F series.Suited to a wide range of applications, such as product, landscape, nature and fashion photography as well as portraiture.Provides ideal color saturation and contrast, making it suitable for all types of subject matter, along with minimal variation in performance even in long exposures and the ability to be push-processed up to +2 stops with excellent results. Instead of degrading it for not being a special colour negative film like a Kodak Ektar 100 or a Portra 400, I like to recognise it for what it is. A reliable general use film that gives you exactly what you expect, with whatever working camera you have, in almost all good light situations, and at low cost. Update: some of you guys told me that these days Fuji 200 is just rebanded Kodak Gold 200, so make sure not to overpay as I did here. Leica M6 | MS-Optics 50mm 1.3 Slim | f/2.0 | Fuji 200 Leica M6 | MS-Optics 50mm 1.3 Slim | f/2.0 | Fuji 200 Leica M6 | MS-Optics 50mm 1.3 Slim | f/2.0 | Fuji 200 Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Leica M6 | MS-Optics 35mm 1.4 Apoqualia | f/2.0 | Fuji 200 Further reading In that sense, I guess it’s little different to Kodak’s Gold 200 or Colorplus 200 or Ultramax 400, or any of the Ilford consumer grade monochrome films either.So, what is Fujicolor C200? Well, first up, it’s Fujicolor 200. Second, it’s probably not a film for producing fine art with. But, in my opinion, it’s a pretty good budget film for when you’re just out there preserving memories. Fujicolor 200 often renders white skin tones a little ruddier than real life, but not so much as to be unrealistic. I’ve never shot a person of color with this film, so unfortunately I can’t comment on how it handles nonwhite skin tones. Pentax ME, 35mm f/2.8 SMC Pentax-A Olympus Stylus Epic Zoom 80 Rollei 35B Nikon N60, 28-80 mm f/3.3-5.6 AF Nikkor Konica C35 Automatic

Increased resistance to loss in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance. At this point I'm not sure if the cast is a normal C200 thing or not. Maybe the film didn't play well with my development technique. Other films haven't reported issues with it though. Maybe it's a normal C200 look. The cast appears stronger on more over-exposed shots so it could be something to do with that. It's not too strong and you can also fix it in post. Something to be aware of.Color image storage permanence (anti-fading characteristics) equal to that of RVP 100F as a result of new couplers. Outside of any casts the colors appear natural with an extra boost in contrast and a tiny boost in saturation. There is no "vintage warm" look of the Kodak Gold 200. It's also not as punchy as Kodak Gold 200 but they are not far off.