The image quality is everything we expect from Fujifilm cameras now. The detail rendition is very good, Fujifilm's extensive range of Film Simulations should suit all tastes, and the dynamic range expansion options can be genuinely useful for preserving highlight detail in high contrast scenes.

Please note that there is an honesty limit of 6 rolls per customer during the ongoing global issues with colour film supply** It’s not like a JCH Street Pan 400, or a CineStill 800T, or a Kodak Ektachrome E100; all of which genuinely are special in their own ways, and are often used to shoot their own specialised kind of photography. Street, neon signs, and colourful inanimate objects respectively. There’s plenty of detail in the images, with barely any moiré (striped patterns) – even at ISO 6400. Noise becomes visible only at higher sensitivities of ISO 12,800 and above, but we’re hoping most beginner photographers won’t need to head up to the faster speeds.Video capabilities are much improved, with 4K capture at up to 30fps (compared to the rather disappointing 15fps on the X-T100) and Full HD 1080p video at up to 120fps now possible. The X-T200 has a new HDR video mode that combines multiple frames taken at different exposures to add more dynamic range to standard videos, but is only available at 60fps. A film that delivers high-quality colour renditions and moderate grain, Fujifilm C200 is forgiving with highlights and known for providing reliable results across different lighting situations.

It's officially now the largest and heaviest XF lens currently available, although if you compare the XF 200mm / X-T3 combination to the Canon or Nikon DSLR equivalent, it's still significantly lighter and smaller overall. So much so that you can comfortably use it hand-held for a while, although it's ideally best mounted on a monopod or tripod.The lens reads as a 280mm f/2.8 with an aperture range of f/2.8 ~ f/32 when used with this converter.

These images show that saturation Fujicolor 200 is known for. At snapshot sizes, grain is hard to discern. It becomes noticeable as you enlarge your images, but it’s somewhere between unobtrusive and pleasing. Nikon F2AS, 35-70mm f/3.3-4.5 Zoom-Nikkor Konica Autoreflex T3, 50mm f/1.7 Hexanon AR Pentax IQZoom 170SL Minolta Maxxum 7000i, 35-70mm f/3.5-4.5 Minolta AF Zoom Canon Dial 35-2 Kodak VR35 K12

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But enough with the history, how does the film perform? For such a cheap film, it shoots really well. As of December, 2021, Fujifilm might have started sourcing an existing film from Kodak and labeling it Fujicolor 200 (article here). This is a review of classic Fujicolor 200. Kodak Pony 135, Model C Comes included with a free dedicated XF1.4 × TC F2 WR teleconverter. This is a special teleconverter designed to work with this f/2 lens; the regular Fuji 1.4 × converter won't work at full aperture. If this 1,200×900 pixel crop is about 6" (15cm) wide on your screen, then the complete image printed at this same high magnification would be about 21 × 31" (1.7 × 2.6 feet or 50 × 80 cm). Some of the things that make Fujicolor C200 an average film are the very same things that make it a good choice for your street photography.

There are four equally spaced buttons around the lens barrel, and these are used in conjunction with the focus preset function. They simply recall whatever focus point is set, ideal for returning to a fixed point in action and wildlife photography in particular. The box and lens are completely unsealed. There is no way to know if anyone else has been fiddling with your lens, swapping parts and accessories, or even if it's a used lens. The XC 15-45mm f/3.5-5.6 OIS lens that ships in the box with the camera is quite good as far as kit lenses go, but there are some niggles there as well. The power zoom mechanism on the kit lens isn’t fast, and it’s hard to remember which way to turn the ring to zoom in and out – although if you use it long enough it might become second nature to you. That said, at 15mm, the lens is pretty wide, offering a 23mm equivalent focal length, and a 69mm equivalent when fully zoomed in at 45mm – a decent range for a kit lens. Further to the point, CineStill takes Kodak Movie film and removes the Remjet layer. SILBERSALZ35 literally takes Kodak movie film and cuts it for 35mm still cameras. Is it surprising that one of the big two is rebranding another film? Yes. Do I care? No. What I care more about is the fact that film is pretty expensive. People are going to buy less of it, and the labs are going to suffer as a result. But some film photographers on Reddit have discovered elements of the film’s datasheet are the same as that of Gold 200 from Kodak, Fujifilm’s historic rival in the realm of colour negative film.The manual focus ring is electronic and totally smooth in operation. Focusing of the lens is down to 1.8m (5.9 feet), a maximum magnification of 0.12x. This is reasonably close for a medium to long range lens. AF is fast, silent and efficient, operated via twin linear motors. The film also has a wide exposure latitude, which means you’ll have to try hard to really under or overexpose it. I think a good place to test this out would be a sunny day at the beach, with the strong light and bright sands giving the film the perfect excuse if it couldn’t handle it. With a rounded diaphragm at large apertures that becomes nonagonal at the smallest apertures, it's hard to get 18-pointed sunstars on brilliant points of light.