As far as I know, they are all brand-new films. ORWO said that the NC500 is based on old Agfa movie film, but they are making it new.
As to ORWO 200, the company that makes the film isn’t actually selling it yet. But you can find it as KONO Color 200 or OptiColour 200. Not sure if you had a chance to check out my review of this film, but just in case: analog.cafe/r/kono-color-2…
Yeah, I want to try out the new NC200 as well. While NC500 is presumably some old movie stock, the 200 is supposedly a new stock? It’s still not really available here.
BTW, maybe I haven’t emphasised it enough, but I really like the results from NC500. I bought a few extra rolls while it’s still available. And I agree that it needs light! Just like any expired film though ;)
Nice! In hindsight, I feel like ORWO has laid down excellent groundwork for their new ISO 200 film with this one.
Given how (relatively) small that factory is and how complicated it is to make colour-negative film, there’s something special about this particular effort. Especially the part about how they’ve never given up and continued to improve their product for over a decade.
At last I had a chance to shoot a roll of this film. And my conclusion is that it just looks like any other expired but well preserved (refrigerated) 20+ YO film. I got similar results to those from expired Fuji Superia or NPH, including the base fog. ORWO’s mask turns out greenish-brownish just like other expired films I’ve had experience with.
The image at the very top of the article is the intrapositive. It’s a shot of my negative taken on film — specifically, the lower part of the image (the slice in the middle is a piece that I processed with histogram stretching, and the top is an inverted intrapositive). As you can see, it’s dim and has low contrast, but it is a positive; that contrast can be restored with histogram stretching (see this post: analog.cafe/r/how-to-inver…).
Unfortunately, this article doesn’t have fantastic examples of intrapositives. That image is an approximation—if I were to enlarge it, you’d see a fair amount of quality loss. A proper way to do this would be to either create contact prints on film (which can be quite challenging given that you’ll need to be in complete darkness) or you’ll need a similar setup to how people scan their film nowadays — with a stand and a macro lens (but instead of a digital camera, you’d use a film camera).
TBH, I think it would be easier, cheaper, and faster for you to select scenes with less contrast for your slide film (i.e., avoid harsh light and shadows). You can also push your Ektachrome E100 up to EI 400; it’s probably the most forgiving slide film you can get fresh today. Alternatively, you can look for Provia 400 film. It’s discontinued and expired, but most stocks I tried still work great: analog.cafe/search?for=%22…
Reducing dependence on Amazon AWS and guarding against AI slop.
Analog.Cafe stores and distributes a large number of PDFs, high-resolution sample images, and other downloadable content. Previously, it was stored on Amazon S3 for quick, easy access. However, as the company’s uptime stability has recently been brought into question and its business ethics have long been questioned, I’ve decided to replace some of its services.
Substituting the essential tools that are deeply intertwined in all internet activities is not easy. Some of the services Analog.Cafe provides still depend on companies that use Amazon in their own stacks. However, starting today, I am no longer directly relying on AWS to serve any part of this website’s content.
All hosted content is now stored on Digital Ocean, specifically on its servers in Toronto, Canada����. This includes the distributed computing cluster used to process and invert your film negatives via #film Q. All Analog.Cafe data, except for business logic, continues to be served from Toronto, as it has since the website’s inception in 2018.
Thanks, Stephen! Loved your overview, and I particularly appreciate parallels to Agfa Vista, a film I miss dearly. Not just for the colours or the chemistry, but for the idea of a memorable, affordable film that worked well with all labs and was my first emulsion I could truly recognize and appreciate.
For anyone reading this, Kosmo Foto’s overview of the Lucky C200, including samples produced by a local film lab: kosmofoto.com/2025/11/firs…
Great piece, I would have loved to do something like this if I’d had the time but just shot Lucky and did a first impressions post with the pics, no colour-correcting. Really useful comparisons.
Yes, I’ll run some tests on AHU films once I find a way to get some, but I’m not sure if redoing this particular test will yield results that are much different.
Hello Samu, do you have any samples of the issues you’re describing? I’ve been using these kits for the past four+ years with no issues. Pretty much everything you see on this blog is developed using either CineStill, Arista, or Flic Film C-41 kits.
Pro Image is my favourite ISO 100 colour-negative film. I’ve been shooting it since 2017. Since I posted my review of this stock in 2022, I’ve done a lot more with it — from pushing two stops to ISO 400 to overexposing it for pastel tones and improving my own scanning techniques. Today’s update adds everything I’ve learned about it and photography in general in the past three years.
What I love the most about this film is its versatility, shelf stability, and ease of scanning. Of course, it won’t work in every scenario; it’s no good under overcast skies and artificial light. But when it works, it works incredibly well.
This website is a book, five thousand pages and nearly a million words long. Whatever happens to the open web or to me personally, you can keep a piece of it forever.
Six hundred and fourteen articles, essays, guides, and reviews are now available for download as expertly formatted PDFs with high-resolution images.
With the two-column layout, large and inline images, and a new, minimal design built from scratch for the task, each PDF is a zine. Better than anything you can get by hitting “print” on a website, I built these pages for easy viewing.
Film Ferrania is working on reintroducing its films.
The company has been going through a series of internal struggles and transformations during the past two years. But since being acquired by InovisCoat (better known as ORWO), Film Ferrania has been working to restore production. Today, they reconfirmed those efforts.
Unfortunately, there’s no timeline for bringing their films back onto store shelves. Film Ferrania’s email update (see attached screenshot) shares no dates. The email address in the header is invalid, and the contact email on their website is also inactive. I’ll keep looking for ways to reach them and will update this post if I hear anything back!
This may not be an update I’m really waiting for (official film production relaunch), yet the story of Ferrania’s downfall and restoration goes pretty deep:
Like a totally normal person, I look forward to my trips by debating which cameras and how much film I should bring months in advance. Alas, someone took advantage of my wanderlust, and they’re looking for their next victim. A company advertised by a trusted travel search website with fake reviews and an extremely aggressive telephone manner is operating a bait-and-switch scam.
TL;DR: Avoid SkyTrend and beware of Trustpilot surfacing fake reviews.
I’ve used Momondo to find cheap flight tickets for nearly a decade. It has an excellent UI and several ways to share its data on the best times to buy and fly. They typically search their database to surface good options, then direct you to the vendor, presumably collecting affiliate fees upon purchase.
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Robert Pustułka edited on Nov 21, ‘25
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Ylli Kavaja edited on Nov 27, ‘25
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