03_1559_34
Camera: Canon EOS 7
Lens: EF 17-40 f/4L USM
Film: Lucky C200
Dev.: 明室沖掃 (@lucidafilmlab)
New Lucky C200 Film ✨
These photos were shot last weekend, at the same time and in the same place where I was also shooting with my Pentax 6×7 MLU.
In my opinion, the Lucky C200 in 120 format performs slightly better than the 135 format version (just like many other film stocks, such as Kodak Gold 200 in 135 vs. 120). However, the dark-area performance is almost the same between the two formats, and still not as good as other professional films. In both the 135 and 120 versions, when a scene has more than 2–3 EV of contrast, the dark areas tend to show noticeable cyan shifts through the lab scanner.
After shooting several rolls and trying different labs for processing, I feel more willing to choose Lucky C200 as an everyday film stock for gatherings or parties, rather than Kodak ColorPlus 200—even though Lucky C200 has weaker performance in the shadows. As a consumer film, it’s rare these days for companies to redesign emulsions or launch new film stocks at all, so having a newly returned product like this is already quite impressive in today’s market.
Overall, I think 2025 is a wonderful year for analog photography. ILFORD released Phoenix II, Kodak brought back Kodacolor and even introduced some budget point-and-shoot cameras, and Lomography launched the new MC-A camera and LomoChrome Classicolor 200. I hope I can continue diving into analog photography in the coming years—and hopefully, we might even see some classic slide films return to the market someday.
And finally, I want to thank @lucidafilmlab for the processing and scanning. The results from this batch of Lucky C200 turned out really well—I’m very satisfied.
Notice: I’ve also tried processing and scanning fresh Lucky C200 at different photo labs, and the results varied a lot. I’m not sure whether it’s related to the film base or differences in C-41 chemistry and scanner settings, but the outcome can look very different from lab to lab. If your photos come back looking unusually blue or green in terms of white balance, it might be worth asking the lab about their scanner settings—or simply trying a different lab.
03_1559_34
Camera: Canon EOS 7
Lens: EF 17-40 f/4L USM
Film: Lucky C200
Dev.: 明室沖掃 (@lucidafilmlab)
New Lucky C200 Film ✨
These photos were shot last weekend, at the same time and in the same place where I was also shooting with my Pentax 6×7 MLU.
In my opinion, the Lucky C200 in 120 format performs slightly better than the 135 format version (just like many other film stocks, such as Kodak Gold 200 in 135 vs. 120). However, the dark-area performance is almost the same between the two formats, and still not as good as other professional films. In both the 135 and 120 versions, when a scene has more than 2–3 EV of contrast, the dark areas tend to show noticeable cyan shifts through the lab scanner.
After shooting several rolls and trying different labs for processing, I feel more willing to choose Lucky C200 as an everyday film stock for gatherings or parties, rather than Kodak ColorPlus 200—even though Lucky C200 has weaker performance in the shadows. As a consumer film, it’s rare these days for companies to redesign emulsions or launch new film stocks at all, so having a newly returned product like this is already quite impressive in today’s market.
Overall, I think 2025 is a wonderful year for analog photography. ILFORD released Phoenix II, Kodak brought back Kodacolor and even introduced some budget point-and-shoot cameras, and Lomography launched the new MC-A camera and LomoChrome Classicolor 200. I hope I can continue diving into analog photography in the coming years—and hopefully, we might even see some classic slide films return to the market someday.
And finally, I want to thank @lucidafilmlab for the processing and scanning. The results from this batch of Lucky C200 turned out really well—I’m very satisfied.
Notice: I’ve also tried processing and scanning fresh Lucky C200 at different photo labs, and the results varied a lot. I’m not sure whether it’s related to the film base or differences in C-41 chemistry and scanner settings, but the outcome can look very different from lab to lab. If your photos come back looking unusually blue or green in terms of white balance, it might be worth asking the lab about their scanner settings—or simply trying a different lab.