Examples of color negative film stocks of the 1990's and early 2000's.  Each one had a different asthetic, color palette, saturation and contrast.  I tried to shoot as many different emusions as I could find.

I have at least a 1000+ color and B+W film negatives, both 120 and 35mm, from my personal archive.  I've been shooting film for over 30 years and have amassed a rather large collection of personal work.  In addition, I've become the proprietory and family historian/archivist for my entire family's collection of analog images.  This includes both parents and grandparents which adds another 1000 or so images.  This doesn't include of the printed photos. I am focusing on just the film images at this time as I have most of the negatives to the corresponding prints.  Those prints were made many years ago on old analog equipement. While some are quite beautiful others have faded into oblivion with color casts.  I have 110, 126, 127 and a variety of medium format negatives and transparencies and of course 35mm. 

Love it or hate it - it was one of Kodak's film icons of the 20th century.  Created for soft neutral and accurate skin tones and wedding dress colors, it was a notoriously difficult film to print for minilabs and the stalwart standard for professional color labs.  VPS was phased out in the late 1990's and replaced by the original Portra series 160NC + 160VC around 2000.  The "S" in VPS indicated "short' for exposures of 1/10 to 1/10,00 of second and was daylight balanced at 5500K. Kodak offered an alternative "L" film stock aptly named Vericolor VPL which was designed for "long" exposes, those greater than 1 second. VPL was balanced for tungsten light around 3400K.