Por qué sigo disparando Portra 400
Una carta de amor a una película, y un argumento muy práctico para un mismo grano en todo el cuerpo de obra.
— Imagen 01, Marais, Paris. Tomada en Kodak Portra 400.
There's a story I tell about Portra 400 that's not exactly true but isn't exactly a lie either. The story is that I shoot it because of a wedding I photographed in 2019, where the bride wore cream and the groom wore tobacco-brown linen and the only film I had in the bag was Portra.
“I don't shoot Portra because it's the best film. I shoot it because shooting one stock makes the work look like one body of work.”
The truer version is that I'd been frustrated for years that my work didn't feel like one thing. Editorial in one stock, weddings in another, personal projects in a third. Portra didn't fix the work but it did fix that.
The practical case
It's forgiving. It pulls beautifully. It pushes acceptably. Skin tones don't need correction. Mixed lighting — tungsten and daylight in the same frame — looks intentional rather than broken.
Fotógrafo con base en Lisboa y Berlín. Nuevos ensayos aproximadamente una vez al mes.