Lucky C200（乐凯）与柯达金色胶卷（Kodak Gold）

      Analog.Cafe › Film and Darkroom › 14 min read by Dmitri. Published on November 18, 2025. Lucky C200 (乐凯 C200, p.: Lè Kǎi) is a newly produced colour-negative film made in Baoding, Hebei (China). The technology behind its creation may or may not be linked to Kodak’s brief collaboration with Lucky in the early 2000s — however, as will be seen, it has a distinct look compared to any other film available today. In China, Lucky C200 is the least expensive colour-negative film on the market, priced at an MSP of ¥52 ($7.33). Buyers have reported that they spent around ¥65 ($9.15) for the film along with development and scanning services. This cost is significantly lower than the expense of importing Kodak films into China. Nonetheless, depending on the global location, US customers have noted paying around $10 just for the rolls. I paid a similar amount in Canada ($14 CAD). Overall, it’s evidently an economical film. But is it worth trying? This article will delve into the colors, grain, contrast, saturation, and physical properties of Lucky C200, comparing it with Kodak’s renowned budget-friendly film: Kodak Gold. By the end of this article, you should have a clear understanding of whether Lucky C200 is suitable for your project and if it serves as a viable alternative to Kodak's popular “consumer” films.

      In this article: Overview of the experiment and methodologies. Lucky C200 vs. Kodak Gold: comparative analysis under studio lighting. Overexposure evaluations: +1 and +2 stops under controlled light. Underexposure evaluations: -1 and -2 stops under controlled light. Grain comparison. Physical attributes: cartridge design, film base, and distinctive emulsion colors post-development. Which film is superior? Support this blog & gain premium features with GOLD memberships! ☝︎ We are fortunate to have so many options for colour-negative films this year! Recently, there was a significant shortage of film, with photographers experiencing empty shelves everywhere. Currently, Lucky represents the ~6th unique ISO 200 choice among Phoenix, Gold, Kodacolor/ColorPlus, Fujifilm 200 (?), and ORWO NC 200 (also known as KONO Color 200/OptiColour 200).

      Practical outdoor portraits using Lucky C200 and Kodak Gold 200. Although these scenes are undoubtedly not identical, the differences between the films are apparent, especially under controlled lighting. Can you identify which film is which?

      Experiment overview and methods. Lucky C200 and Kodak Gold are distinctly different films. However, they share more similarities compared to others like Harman Phoenix 200 or ORWO NC 200 — the two new colour-negative films from the UK and Germany. C200 and Gold have finer grain than their European counterparts, and they exhibit slightly more nuanced and realistic skin tones. ☝︎ Further reading: “Comparing Phoenix vs. NC200.” ☝︎ Further reading: “Kodak ColorPlus vs. Kodacolor 200 vs. Kodak Gold.”

      The distinctions between C200 and Gold should remain consistent across various development and scanning techniques, but to accurately identify them, controlled settings are essential. This approach will help us better understand the advantages and limitations of both films, as well as set reasonable expectations from each at just under ten dollars a roll.

      Here’s how I designed the experiment:

      Scene: A stationary indoor setup featuring a reference card, a portrait element, and an assortment of props.

      Light: Amaran F21x 5500K with diffusion.

      Exposure: Nikon FE with Nikon AI-S Nikkor 50mm 1:1.8 for Lucky C200 and the same lens on Nikon F2 for Kodak Gold. 𝒇4 1/125 (metered for middle grey), including underexposure (-1, -2) and overexposure (+1, +2) brackets.

      Development: Arista C-41 chemicals, utilizing the same tank for both films.

      Scanning: Scanned all films as digital negatives using Nikon SUPER COOLSCAN 500ED via VueScan.

      Inversion: Employed film Q (an application for inverting negatives without altering their characteristics) along with manual white balance adjustments using reference greyscale masks for artificial lighting conditions.

      Lucky C200, inverted with film Q — no colour corrections.

      Lucky C200 vs. Kodak Gold: side-by-side under studio light.

      Outdoor lighting can change quickly, often without our realization. This variability is one reason why mastering the Sunny 16 rule (a method of gauging light without a meter) is so essential. Even a light breeze can alter the scene, affecting not just element positioning but also the colors and contrast as the reflection angle shifts. A stable light at a consistent angle, a carefully arranged scene, and a meticulously controlled camera lens position

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