Don’t Sleep on Portra 160 — Shot on a Leica M6 and Mamiya 7

Welcome to PORTRA in Texas

📸 Kodak Portra 160 Film Review | Leica M6 & Medium Format

There’s a photo I took at 5AM in Wyoming — freezing cold, standing in front of Moulton Barn, shooting one of the most cliché locations imaginable.And somehow… that frame completely changed how I see Kodak Portra 160.

Up until that moment, Portra 160 had never been my film. Like most people, I leaned on Portra 400. It’s forgiving, flexible, and almost impossible to mess up — especially when you’re shooting on a Leica M6 and Mamiya 7

But that Wyoming morning forced me to slow down. Slower film. Intentional exposure. Waiting for the light instead of chasing it.

And suddenly, Portra 160 clicked.

So let’s drive around Texas and talk about why Portra 160 might be one of the best color negative films Kodak makes, and why it deserves way more love.

---

Why Kodak Portra 160 Gets Overlooked

When someone picks up a film camera for the first time, the advice is universal:

“Just shoot Portra 400.”

And honestly? That advice is solid.

Portra 400 has:

• Creamy tones

• Massive exposure latitude

• Enough forgiveness to survive early mistakes

But Portra 160 doesn’t get that same beginner-friendly reputation.

According to development stats from The Darkroom, Portra 160 doesn’t even crack the top five most-developed color films. Portra 400 dominates. Portra 800 — despite its price — still beats it. Portra 160 sits near the bottom of the C-41 food chain.

Which is ironic… because Portra 160 is technically the newest film in the Portra lineup.

Portra 160 vs Portra 400: A Quick History Lesson

Back in the late ’90s, Kodak offered Portra in two variants:

• VC (Vivid Color)

• NC (Natural Color)

These films were designed primarily for printing, not scanning.

As scanning became the dominant workflow, Kodak rebuilt the Portra line using technology pulled directly from their Vision3 motion picture films.

• Portra 400 launched in 2010

• Portra 160 followed in 2011

That means Portra 160 is the most modern Portra emulsion — optimized for scanning, smooth tonal transitions, and controlled highlights.

Does that mean it’s “better” than Portra 400?

Not necessarily.

---

Shooting Kodak Portra 160 on a Leica M6 in Texas

Texas is vast. And I mean four-and-a-half-hours-between-stops vast.

This trip had us bouncing between abandoned gas stations, diners, roadside shacks, and towns that felt like they appeared out of nowhere.

For this shoot, I leaned heavily on my Leica M6, paired with a compact 40mm Summicron, alongside my Mamiya 7. The M6 felt perfect for Portra 160 — light, fast, and completely out of the way.

Right away, Portra 160 started showing its personality:

• Smooth sky gradients

• Clean blues without crunch

• Colors that felt natural instead of loud

Those gas pump shots?Absolutely cooking.

Kodak Portra 160 Color and Latitude on the Leica M6

Kodak markets Portra 160 as:

• Smooth tones

• Fine grain

• Accurate color

That sounds boring on paper.

In practice, it’s exactly why the film works.

Shooting Portra 160 on a Leica M6 in harsh Texas sun puts the film right in its comfort zone. ISO 160 means you’re not constantly stopped down to f/16, and highlights roll off smoothly without nuking the sky.

On the Mamiya 7, the film really flexes — better shadow detail, smoother transitions, and that unmistakable medium format look.

But even in 35mm on the Leica M6, Portra 160 stays sharp, clean, and incredibly flexible in the scan.

---

---

Portra 160 in 35mm vs 120 Film

This trip was the first time I shot identical scenes in both 35mm and 120 Portra 160.

At first glance, the scans came back noticeably different — likely a mix of lens character and format rather than the film itself. Once the color was equalized, the real difference became obvious:

• Medium format holds highlights more gracefully

• Shadows feel deeper and smoother

• Resolution and micro-contrast are on another level

That said, Portra 160 holds its own. Grain is impressively fine, and the latitude gives you plenty of room to shape the image in post.

Why Wedding Photographers Love Portra 160 Skin Tones

There’s a reason Portra 160 is a wedding photography staple.

Skin tones are where this film shines.

Faces look natural.Highlights don’t clip harshly.Nothing feels plastic or oversaturated.

On the Leica M6, Portra 160 renders skin beautifully — and in medium format, it’s even more forgiving. The film does the heavy lifting, regardless of format.

Fun fact: Portra 160 was shot at my wedding, and it ended up being one of our favorite looks — right behind Portra 800.

Pushing Portra 160: What Happens When You Push Film

Eventually, curiosity got the best of us.

We pushed it.

Pushing Portra 160 isn’t something I’d recommend casually — especially in 35mm. Shadow detail drops fast, grain becomes more apparent, and highlights can get mushy if you’re not careful.

In medium format, though, Portra 160 holds up surprisingly well when pushed. The larger negative hides imperfections and keeps latitude usable.

Would I push Portra 160 regularly on a Leica M6?Probably not.

Was it worth experimenting?Absolutely.

---

Why Portra 160 Might Be Kodak’s Most Underrated Film

After seeing all these images — shot on a Leica M6 and Mamiya 7 — something clicked.

Portra 160 is:

• Colorful without being loud

• Sharp without being clinical

• Fine-grained without feeling sterile

• Flexible enough for brutal daylight

And maybe best of all…

Because it’s not the most popular film, it’s almost always in stock.

At nearly the same price point, I’d personally choose Portra 160 over Ektar every time — especially if I’m scanning.

Final Thoughts: Have You Woken Up to Portra 160?

I know I have.

Portra 160 isn’t flashy.It doesn’t scream for attention.But when it clicks with your eye, it really clicks.

In 120, it absolutely sings.In 35mm on a Leica M6, it’s still hot — just a different vibe.

So let me know:Are you seeing the Portra lineup differently now, or are you sticking with your tried-and-true stock?

🎞️ Watch the full YouTube video on Bad Flashes for the complete Texas journey.