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Review Summary
2011-09-03T21:00:00
I mainly use it for Fashion work.The skin tones on the models come out fantastic. The clothing comes out colorful and very accurate to how I want it to turn out.If you're looking into getting some grain in your photographs, try Portra 400 NC. But if you want grain free, clear, 160NC is best for you.visit my website to see more of my work : [@]
Bryant E.
2011-02-11T19:00:00
Originally, I shot this film under recommendation from a fellow photographer who shoots exclusively film. A digital shooter, myself, I entered this recommendation, skeptically. After scanning my first set of negatives, I instantly fell in love with this film! The colors produced with this film are rich and well saturated, without being overly so. Very little color adjustment was required in post with only one frame being terribly unbalanced. That one frame, as it turns out, was my fault - not the film (mixed light sources). Another wonderful feature is the fact that this film scans VERY well. Being a digital shooter, this film has what it takes to convince me to shoot film, a lot more frequently!
DANIEL H.
2009-05-03T21:00:00
I use this product for location, wedding, and studio photography.
RA P.
2009-01-20T19:00:00
Kodak Portra 160N film far surpasses any film out there for portaiture and I have tried every version of Fuji for comparison. Kodak's Portra film excels in great tonal range and exhibits very little grain. All of my Kodak Portra film generated photos, produced using a Nikon Coolscan 5000 and a high end HP Pro printer shine beautifully. There is no better portrait film.
MARK O.
2007-05-07T21:00:00
Great quality, very satisfied
Lambshark
2007-02-16T19:00:00
Have used portra products for years and am always pleased. Kodak is selling their film division overseas. As far as the US market is concerned...film will soon be a fond memory.
JEFFREY B.
Natural colors, very fine grain and soft contrast. For use in controlled lighting.
Introduced in 1998, these four films shared breakthrough Single Channel Printing technology, employing the same dyes and couplers. The result:
•same spectral sensitivity and spectral-dye density across film speeds
•remarkably compatible final prints, no matter what combination of PORTRA Films shot: 120/220 and 35 mm formats, natural color an d vivid color, 160 and 400 speeds