A personal review of Kodak Ultramax 400 — shot on a Canon EOS 300V across three North Norfolk locations in June 2024. The North Norfolk Railway (Poppy Line), Cromer pier and seafront, and Blakeney Quay. What this film does in varied coastal and railway conditions, and where it sits in a practical film rotation.
Kodak Ultramax 400 has a reputation as a dependable all-rounder — the film you load when you want ISO 400 flexibility without the price of Kodak Portra. I’d shot a roll or two before but never in conditions that really tested it. A day on the North Norfolk Coast in late June 2024 changed that. Three locations, varied light, and a Canon EOS 300V — light, compact, and one of the most underrated film SLRs available.
| Film Specifications | |
|---|---|
| Film type | Colour negative (C-41) |
| ISO | 400 — box speed recommended |
| Format | 35mm · 24 or 36 exposures |
| Grain | Fine for ISO 400 — T-grain emulsion technology |
| Colour balance | Daylight (5500K) — warm, slightly saturated |
| Development | C-41 process — standard lab development |
| Camera used | Canon EOS 300V with Canon L Series 24-70mm and Canon 50mm prime |
| Locations | North Norfolk Railway · Cromer · Blakeney Quay, Norfolk |
| Price (UK, 2026) | Approximately £10–£14 per roll |
The Three Locations — How Ultramax Performed
Rather than a purely technical review, this is a location-by-location account of how Ultramax 400 behaved in real conditions across a varied day of shooting. Each location offered something different — and the film responded differently to each.
North Norfolk Railway — The Poppy Line
The heritage railway running from Sheringham to Holt offered the most demanding conditions of the day — high contrast between the bright June sunshine and the deep shadow under the station canopies. Ultramax handled this well. Metering for the highlights, I found the shadow detail came through with more latitude than I expected from a consumer film. The rich warm tones of the vintage locomotives sat sympathetically with the film’s colour palette.
The 24-70mm L at the wider end gave context — station architecture, platforms, the full presence of the engines — while the 50mm prime pulled out the details. Ultramax’s grain remained controlled throughout, even in the darker interior shots.
North Norfolk Railway — Canon EOS 300V, Kodak Ultramax 400, June 2024
Cromer — Pier and Seafront
Cromer in late June is exactly the kind of subject Ultramax was designed for — vibrant, colourful, full of movement and competing tones. The Victorian pier, the beach huts, the blue of the North Sea under a clear sky. The film rendered the blues with genuine accuracy — not oversaturated, not washed out. The seafront atmosphere came through with a warmth that suited the seaside subject without pushing it into artificial territory.
In the busier street scenes I shot handheld at 1/500 — the ISO 400 giving enough headroom to keep shutter speeds fast enough to freeze movement in the bright midday light without overexposing. No issues with highlight retention on the pale beach huts or the white pier structure.
Cromer seafront and pier — Canon EOS 300V, Kodak Ultramax 400
“ISO 400 flexibility without the price of Portra — and in the right conditions, it holds its own against far more expensive films.”
Blakeney Quay — Marshes and Reflections
Blakeney offered the most interesting test — the serene marshlands, the reflective tidal water, the quieter palette of greens and greys that characterises the North Norfolk coastal interior. Here the film’s warm bias became more apparent. The greens of the saltmarsh picked up a slight warmth that made them feel more golden than they were in reality. Whether that’s a positive or negative depends on your taste — I found it worked sympathetically with the late afternoon light.
The reflections in the tidal water were the most technically demanding subject of the day — a wide dynamic range with bright sky reflected in dark water. Ultramax handled it better than I expected, though the very brightest highlights in the sky reflections were the first to block up.
Blakeney Quay marshlands — Canon EOS 300V, Kodak Ultramax 400
The Canon EOS 300V — The Right Camera for This Film
The Canon EOS 300V is a camera I return to when I want something light and unobtrusive. It’s compact enough to carry all day without fatigue, capable enough to use with serious glass, and reliable in a way that much heavier bodies aren’t necessarily better at. On a day like this — three locations, a lot of walking, varied conditions — it earns its place completely. The autofocus is quick and accurate, which matters when shooting fast-moving steam trains or candid seaside moments.
Paired with Ultramax 400, the 300V is a genuinely capable combination for travel and documentary photography. The film’s wide exposure latitude and the camera’s reliable metering work well together — you can shoot quickly without overthinking.
Kodak Ultramax 400 Film
Ultramax vs Gold — The Practical Difference
Having now shot both Ultramax 400 and Kodak Gold 200 in comparable conditions, the practical differences are clear. Gold is finer grained and warmer — it suits still, sunny subjects where you can afford to be at ISO 200. Ultramax is more versatile — the extra two stops of sensitivity open up a wider range of conditions, including the kind of variable British light that Gold doesn’t handle well.
For most practical purposes, Ultramax is the more useful film to carry. Gold is the better choice when the sun is genuinely out and you want the finest grain and warmest tones. If you can only carry one Kodak colour film, Ultramax is the right answer.
Verdict
Works Well For
- Travel and documentary photography
- Varied lighting conditions
- Coastal and outdoor subjects
- Heritage and transport photography
- Street photography in any light
- Beginners — wide, forgiving latitude
- High-contrast situations
Consider Alternatives For
- Fine art portrait work — consider Portra
- Maximum grain control — consider Ektar
- B&W fine art landscape work
- Very low light — dedicated high ISO film
- Cool neutral colour accuracy
Where Ultramax Fits in My Film Rotation
Most of my film photography is black and white — the landscape work at Calleva Atrebatum, Watership Down, and the North Hampshire countryside doesn’t call for colour. But for days like this North Norfolk trip — travel, variety, subjects that benefit from colour — Ultramax earns its place. It’s affordable enough to shoot freely, capable enough to produce results I’m genuinely pleased with, and versatile enough to handle whatever a day’s shooting throws at it.
Looking for B&W film instead?
Fomapan 400 is available directly from the FineArtPics film shop — affordable, capable, and the B&W film used most regularly here.
Visit the film shop →Want warmer tones at lower ISO?
Kodak Gold 200 is the natural step down — finer grain, warmer palette, ideal when the sun is genuinely out.
Read the Gold 200 review →Frequently Asked Questions
What is Kodak Ultramax 400 best used for?
Kodak Ultramax 400 is a versatile all-rounder — best suited to travel, street photography, documentary work, and any situation where lighting conditions are variable. Its ISO 400 sensitivity handles a wide range of light, from bright sunshine to overcast conditions, and its wide exposure latitude makes it forgiving for photographers still developing their metering instincts. It’s one of the most practical colour films currently available in the UK.
How does Kodak Ultramax 400 compare to Kodak Gold 200?
The key differences are ISO (400 vs 200), grain (Gold is slightly finer), and versatility (Ultramax handles more conditions). Kodak Gold 200 suits sunny conditions and produces warmer, slightly more vintage results. Ultramax is more neutral in colour balance and more capable in lower light. If you can only carry one Kodak colour film, Ultramax is the more practical choice for most situations.
Is Kodak Ultramax 400 good for landscape photography?
Yes — particularly for British coastal and countryside subjects in variable light. Its ISO 400 sensitivity handles overcast conditions well, and the colour balance is natural enough to suit landscapes without adding unwanted warmth. For the fine art black and white landscape work that makes up most of my practice, I use Fomapan or HP5+ — but for colour landscape work, Ultramax is a strong choice.
Should I shoot Kodak Ultramax at box speed?
Yes — ISO 400 is where this film performs best. Unlike some films that benefit from rating lower, Ultramax is designed for box speed and produces its best colour accuracy and tonal balance there. If you underexpose, colours can shift slightly and grain becomes more pronounced. Slight overexposure (half a stop) is generally safer than underexposure if you’re unsure.
Where can I buy Kodak Ultramax 400 in the UK?
Kodak Ultramax 400 is widely available from Analogue Wonderland, AG Photographic, Wex Photo Video, and Amazon UK. Prices currently sit around £10–£14 per roll in the UK. See the UK film suppliers guide for current prices and comparisons.
Is the Canon EOS 300V a good camera for Kodak Ultramax 400?
Yes — the Canon EOS 300V is a compact, lightweight 35mm SLR that pairs well with any consumer colour film including Ultramax. Its reliable automatic metering and quick autofocus suit the kind of spontaneous, varied shooting that Ultramax handles best. It’s an underrated camera — capable of using serious glass in a very portable package.
