Film Photography

Fujifilm Superia X-tra 800 vs. Fujifilm Superia Venus 800

I admit, this isn’t much of a test of Fujifilm’s Superia X-tra 800 and Superia Venus 800. But I shot one photograph at the end of one roll, and the other at the beginning, in the time it took to rewind and reload. The conditions were as alike as it gets.


The X-tra is above, the Venus below. I post-processed both images similarly in Photoshop. It’s interesting to me how the two films rendered brown differently. I’m not sure which I like better. Looking through all of the photos on both rolls, the X-tra gave more pronounced grain, and seemed less tolerant of underexposure. But in these two photos, except for the brown tone, it’s hard to tell them apart.

There has been some speculation that these are the same film branded based on distribution, the X-tra 800 offered worldwide and the Venus 800 only in Japan. The spec sheets lay waste to that claim (the X-tra here, the Venus here) — these are different, although similar, films. Check out the curves on page 4 of each spec sheet.

It’s all academic, as Fujifilm discontinued Superia X-tra 800 in 2016, and Superia Venus 800 last year. If you buy either of these films, it’s leftover or expired stock. That was my last roll of X-tra 800, which I kept on hand for indoor candid shots at church. I guess I’ll switch to Kodak Portra 800 for that now.

Analogue Wonderland gave me the roll of Venus 800 in exchange for this mention. They appear to be out of stock (click here to check) — but no worries, they carry more than 200 other films to satisfy any need you can think of. Check out their selection here.

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Film Photography, Travel

Shooting Fujifilm Superia Venus 800

Palmer House lobby

The whole point of fast films is to let you get shots in challenging light. Not just indoors, as in the photo of the stunning lobby of Chicago’s Palmer House Hotel above, but outdoors on overcast days too. Fujifilm Superia Venus 800 did a fine job on a Chicago weekend getaway my wife and I made early in January — prime time for dim, gloomy days in the Windy City.


The generous folks at Analogue Wonderland gave me this roll of film to try in exchange for this mention. I wish I had shot it earlier, as Fujifilm discontinued this film late last year. It’s out of stock at Analogue Wonderland (check on it here). But fear not, they have more than 200 other film stocks to choose from. If you can’t find the film you need at Analogue Wonderland, you should question whether you need it at all.

Red Line

Oh my gosh is it ever great to go into the Chicago subway and make a perfectly exposed photo with all the depth of field you can ask for. Also, the Venus 800 seems to be less grainy, and tolerate greater exposure sins, than Fujifilm’s Superia X-tra 800. That was my go-to ISO 800 color film until it was discontinued in 2016. I shot my last roll of X-tra 800 on this trip, too; I’ll compare the two in an upcoming post.

Central Camera

I shot my Nikon F3 with a 35mm f/2.8 AI Nikkor lens on this trip. I hadn’t shot the F3 in a year, and in that time its light seals finally degraded enough to leak a little light. You can see a faint red band on this photo of the iconic Central Camera sign. The longer I went between shots, the more pronounced the red band. Time for new light seals. I didn’t know this as I shot the roll, of course. When the leak intruded too much, I cropped the photos to remove it, as below.

River view

It was great to to shoot at f/8 for good depth of field, at shutter speeds fast enough for me to hold the camera in my hands. It may have been unusually warm for the first of January in Chicago — temperatures above freezing — but the days were plenty gray.

River view

One day we did get a few hours of partly cloudy skies. The Venus 800 let me choose even faster shutter speeds. It rendered Chicago’s colors beautifully — not too saturated, not too muted. The photo below lines up with my memory of that moment. That’s my favorite outcome for any film.

State Street

Even on a heavily overcast day, the Venus 800 got accurate color while delivering managed grain. My big beef with Superia X-tra 800 is pronounced grain. The Venus is a welcome improvement.

State Street

I’m super happy with the excellent color I got from Venus 800. I shot a roll of X-tra 800 right after I finished this roll and the colors were just meh.

Miller's Pub

Let’s take one more look at the spectacular Palmer House lobby, and pretend the light leak didn’t leave a red streak on the image. I’m used to my digital cameras being able to handle this shot, which I’ve made many times as the Palmer House is my favorite place to stay in Chicago. Only at ISO 800 have I been able to get a credible film photo here.

Palmer House lobby

Finally, I made this mirror selfie in our room on the 20th floor of the Palmer House. Those are my skin tones, all right. Not bad.


Fuifilm Superia Venus 800 is a lovely fast film. It’s a shame it’s discontinued.

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Film Photography

When you shoot old gear, you have to expect it will develop faults sooner or later

Nikon F3, 35mm f/2.8 AI Nikkor, Fujifilm Superia Venus 800

I took my Nikon F3 along on a trip to Chicago with Margaret early this month. I shot two rolls of color and one of black and white in it. The color rolls are back from the processor and immediately upon opening the files my heart sank.

Dollars to doughnuts my F3’s light seals have failed. This red streak appears in direct proportion to how long it was since I made the previous photo. A photo made quickly after a previous photo didn’t leave enough time for light to sneak past the failed seal.

I’m going to try to replace the seals myself. I’ve never done it before, but I’ve read instructions and it looks tedious but totally within my skills. A set of seals with instructions were just $12 on eBay (here). Many thanks to everyone who has “bought me a coffee” with the button at the bottom of each post for your part in buying those seals!

This makes me realize, however, that I should send my F3 out for CLA (clean, lube, and adjustment). This is one of my go-to cameras — indeed, it’s the only camera I’d keep if I could keep only one. I want it to work reliably for the long haul. The friend who donated the F3 to the Jim Grey Home for Wayward Cameras suggested Blue Moon Camera and Machine for the CLA, and so that is where it will go.

Several cameras are in my CLA/repair queue. First up: my Nikon F2A, which has had a fussy meter for as long as I’ve owned it. It’ll go to Sover Wong in the UK. Eric Hendrickson will eventually get both my Pentax KM, which I dropped and damaged the last time I used it, and and my Pentax ME-F, which has an inaccurate meter. I also want to send my Yashica Lynx 14e to Mark Hama to give it an overhaul and correct its meter, which is a stop off.

I have also received a Pentax ME Super and a Kodak Retina IIa from a reader, both of which minor issues. I’ll put test rolls through both as soon as I can, but I’ll be shocked if I don’t enjoy them and want to keep them. They’ll end up in the CLA queue too. The Pentax will go to Eric Hendrickson but the Retina will go to Chris Sherlock in New Zealand.

Finally, my sister-in-law gave me the Kodak Retina Reflex III that had been her father’s. My initial inspection shows that it basically works, though the meter is hit or miss. I’ll eventually put a test roll through it. If it functions well enough mechanically, I’ll send it to Chris Sherlock for overhaul in honor of the family connection.

Readers left lots of great suggestions about where to send cameras for CLAs and repairs in this post.

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