Lomography 100

Lomography 100 is a rebadge, and the OEM source has rotated more than once over the product's lifespan. The current production is widely understood to be a Kodak emulsion cut from larger master rolls, with edge printing pointing toward a Kodak ColorPlus or Gold lineage depending on the batch year. Lomography buys finished stock, repackages it under their own branding, and prices it at a meaningful premium over the same chemistry sold in the parent's livery.

What you load behaves like a consumer-grade C-41 negative from 2026. Grain is finer than Lomography 400 by a noticeable margin and slightly coarser than Portra 160. The color signature leans warm with the yellow-and-magenta bias of the Kodak consumer line. Skin tones come up healthy, foliage sits in the green-yellow side of the range, blue skies render cleanly under direct sun. None of this is a surprise once you accept that the parent stock is doing the work.

Latitude is generous for a 100-speed consumer film. Overexpose by a stop and the highlights hold; rate at ISO 80 in shade and you get cleaner shadows. Mid-day contrasty light is where the limitation shows. The base resists tone-mapping in extreme highlight ranges, and dense skies can flatten if you push the exposure.

Compared with Kodak Gold 200 pulled to 100, the look is almost identical. Against Fujicolor C200, Lomography 100 reads warmer with slightly more pronounced red response. For travel and casual portrait work, it is a competent everyday film at a markup over the same emulsion in a yellow box.

Available in 35mm and 120, sold in three-roll packs through Lomography stores. The 120 is worth the premium because Kodak no longer sells ColorPlus or Gold directly in medium format, making the rebrand one of the few routes to that chemistry in 6x6 and 6x7.

Reciprocity exponent is 1.31. Zone Light Meter applies the correction past one second. A 30-second meter reading becomes about 90 seconds at the negative. For most daylight handheld work that threshold never comes up.