Kodak Gold 200 for 120 | Medium Format Film Review

If you know me in any capacity — through real life or the  online film community — you know I’m a diehard 35mm photographer. Why? The level of grain on 35mm film, the distinct “look” of 35mm photos, and the portability of  35mm cameras. I carried an RB67 once… it didn’t go well for me.

But now my favorite film stock,  Kodak Gold, was recently produced in 120 formats for medium-format cameras, and the world just got brighter.

For the longest time, it was a 35mm-only stock. It was pretty slept on, too, in my opinion; for a while, you could get a 3 pack for $15 (so sorry, this is going to make you feel sick if you bought a film recently). It was what I would consistently reach for when I didn’t feel like paying the same amount for a single roll of Kodak’s more expensive film (*shouts* Portra). It did everything I wanted it to do, always. I would shoot a roll, and it’s like the film understood what I wanted without too much extra work. Ever since I picked up my first roll of Gold, it’s been my go-to for every kind of setting, from sunny days to wildly lit concerts.

I think the prices for Gold 200 skyrocketed because it’s such a solid alternative to the Portra family. Bright pops of color, a warm glow around the edges of most things in your frame, not a bad portrait stock if you’re in the right light — I could go on. But because of that price increase and the subsequent demand, now we have something most film photographers have been talking about and manifesting for years...

What can I say about it? It’s PERFECT and pretty near identical to the results you’d get with 35mm film... in terms of color, tone, and grain. It’s timeless and yet somehow makes you feel like you’re looking into another time when you see photos made with it. I shot 5 rolls and spread them out over mornings, middays, afternoons, and early evenings. The results sang every single time. While I didn’t shoot this stock under cloudy conditions, I have shot its 35mm counterpart under clouds and still gotten rich colors and comfortably warm scenes, so I feel fairly confident about this stock’s ability to handle itself well under any lighting conditions, considering how similar they are.

So, besides the price point, why reach for Gold over Portra with your Hassy in your hand? This one is really a matter of opinion since I know some folks who actually prefer a little less warmth and more consistent colors and tones vs ~extra warm~ and pops of color. But if you are looking for those nice jewel tones and pastels that look like someone just decorated a cupcake, Gold is for you. I didn’t shoot any portraits with this stock, and I know most portrait photographers reach for Portra where that’s concerned, so I’d say stick with that.

Look, I love this film, and you will too. If I had access to a steady stream of it, I would exclusively shoot gold across all of my setups forever. It’ll give you everything you want every time. Check out some of the photos I made with this stock below, and feast your eyes on those colors!