Optic Oldschool OptiColour 200 

By Marwan El Mozayen / SilvergrainClassics

What It Is

OptiColour 200 is made in Germany by Optik Oldschool together with InovisCoat. It’s technically based on the Wolfen NC200 emulsion, which was never really released in this form before and sits above the more common NC400/500 films.

In simple terms, you get:

• Natural colors, with strong greens and reds
• Good skin tones
• Noticeable grain for ISO 200
• And — very important — an orange base that makes scanning much easier

Why I Was Skeptical

Wolfen films were always a bit of a gamble for me. Sometimes they gave really interesting, almost vintage-looking results. Other times, they were just unpredictable. I had exposure issues, some light leaks, and scanning (especially on our Fuji Frontier) was often a bit of a fight.

I also never really trusted the ISO rating. I usually shot those films closer to ISO 100–160 to get decent results. Even then, it was hit or miss. On top of that, the whole presentation around these films never felt completely solid. So going into this, I wasn’t expecting too much.

What changed things was talking to the team behind OptiColour 200. They were very open, very clear about what the film can and can’t do, and you could tell they actually understand the material. That made a difference.

Shooting It on 35mm

In 35mm, this film really likes light. If you give it good conditions, it rewards you. If not, it can fall apart a bit. It works well outdoors, and in darker situations it definitely helps to use flash.

One shoot that stood out was in Frankfurt:

• Leicaflex SL2 Mot
• 90mm Summicron
• Overcast light

The portraits came out really nice. Natural skin tones, a bit of texture from the grain, and a slightly editorial look that worked well. It also does surprisingly well in point-and-shoot cameras – as long as there’s enough light.

Medium Format — The Better Choice

In 120, the film really starts to shine. Everything becomes a bit more stable — grain looks better, colors feel more consistent, and overall it just works more reliably. It actually reminded me of older AGFA films from the late ’80s.

It’s not a “perfect” film like Kodak Portra, and it’s nowhere near as clean as Kodak Ektar. But it has a nice balance between natural color and that slightly rough, classic film look.

Look and Feel

What you can expect:

• Natural colors with a bit of punch in greens and reds
• Good, usable skin tones
• Visible grain (especially in 35mm)
• Solid contrast

There’s also a slight glow in highlights sometimes, coming from the anti-halation layer. Nothing extreme, but it adds a bit of character.

Handling and Scanning

Exposure-wise, I’d say: don’t be too tight. ISO 200 works, but giving it a bit more light helps. It can be pushed one stop if needed, but that’s not really where it shines. 

Big plus: scanning is finally easy. Thanks to the orange base, this film works much better on lab scanners like the Fuji Frontier. That alone makes a huge difference compared to older Wolfen films.

Final Thoughts

This is not a Kodak Portra replacement. It’s not trying to be. But compared to earlier Wolfen-based films, this feels like a big step forward. It’s more consistent, easier to handle, and just more usable overall. I went into this pretty skeptical. After shooting it in different situations.

At the end of the day, this is just my personal take but I really like this film. It has become a regular part of my shoots, especially for portraits and when working with longer lenses. I find it works particularly well with fast glass, like a 90mm f/2 or an 85mm f/1.4, but also with classic fast zooms such as a 80 – 200mm f/2.8 for editorial work.

For some reason, I naturally gravitate toward that combination with this film. I use it less for wide-angle work, and I can’t even fully explain why, it just feels right to me. What’s clear, though, is that the larger the format, the better this film performs. In 120, it already shows a noticeable step up in consistency and overall quality.

Looking ahead, I honestly think this could be a very interesting emulsion in large format. If that ever happens, it’s definitely something I’d be curious to explore.

More About Scanning

SilvergrainClassics Magazine

• SilvergrainClassics, issue 7 – Cinefilm for Still Cameras
• SilvergrainClassics, issue 8 – Adventures with ADOX CHS 100 II
• SilvergrainClassics, issue 13 – Hello, Film Photographers!
• SilvergrainClassics, issue 15 – New Color Film Releases
• SilvergrainClassics, issue 21 – Extra, Extra! Read All About It! NEW COLOR FILMS!
• SilvergrainClassics, issue 22 – Film In Airport Scanners – What REALLY Happens to Film in Airport Scanners?
• SilvergrainClassics, issue 25 – The Future of Photographic Film

SilvergrainClassics Website

• Analog / Film Photography Recognized as Cultural Heritage
• Harman Technology Introduces RED
• A New Laboratory Film Scanner For The Analog Future
• Film Photographers Survey 2024
• Cinestill 400Dynamic Color Film for Large Format
• Are Films REALLY Safe In Airport Scanners??
• HARMAN Phoenix, a New Color Film Tested!
• Kentmere 100 – Fashion, fetish & film

More About SilvergrainClassics

Issue 28 of SilvergrainClassics here. And back issues of the magazine at heavily discounted prices.