120/220 Film for Medium Format Cameras

in requiem

Q: Which film brand do you use most often?
Fuji: 52.1%
Kodak: 26.5%
Ilford: 14.6%
Agfa: 4.6%
Konica: 1.2%
Other: 0.9%
Total Votes: 328

>Just for fun, Joe:
>
>I think all this talk of dry film plates replacing wet plates is a bunch
>of crap.
>Dry film plates can replace wet plates for commercial needs, but they
>cannot replace the artistic process. Dry film plate cameras have not
>replaced traditional wet plate cameras, have they?

[Ed. note: attention fellow fuji film fans...]
From rollei mailing list:
Date: Sun, 14 Apr 2002 
From: Bob Shell bob@bobshell.com
Subject: Re: [Rollei] Exposure Indexes, First Developers, and dark slides

Paul Kollas at pkkollas@gorge.net wrote:
> This brings up another factor:  JOBO Fototechnic, both in their E-6 Handbook
> and in their instruction sheet accompanying their Tetenal E-6 3-Bath Plus,
> recommend either increasing the first developer time, or increasing exposure
> time by 1/3, for Fuji films (E-6). I have found this recommendation to be
> valid. I asked a friend who has a commercial film processing store if he
> made separate runs for Fuji film, and he said 'no'. As it happens, he is the
> very person who originally pointed out the JOBO recommmendation to me. So I
> am left to puzzle over how widespread is this conundrum?

Fuji E-6 films are incompatible with others, particularly Kodak, and must
not be run in the same batch in dip-n-dunk processors.  If processed
alongside Kodak the Fuji will come out with density and color shifts.
My lab knows this, and never runs the two together, and always runs the
Fuji first thing in the day after the regular daily replenishment of the
chemicals.  The lab owner has tested Agfa, Ferrania, Konica, E-6 films
and all "get along" fine with Kodak.  It is only Fuji that doesn't.

Bob

From: Ron Andrews randrew1@rochester.rr.com>
Newsgroups: rec.photo.misc
Subject: Re: Composition of film?
Date: Thu, 06 Sep 2001 

Andy Ziem wrote:
> 
> What makes up C-41 color film?  Isn't it a red, blue and green layer?
> And also there are UV-filter layers too?  What is this thing that Fuji
> has with a special 4th layer for flourescent lights?
> 
> Andy
> http://www.geocities.com/nitelitephoto/junk.html

     A typical color film has a structure something like this:

overcoat
UV filter layer
fast blue sensitivie layer
slow blue sensitive layer
yellow filter layer
fast green sensitive layer
mid green sensitive layer
slow green sensitive layer
interlayer
fast red sensitive layer
mid red sensitive layer
slow red sensitive layer
anti-halation undercoat
acetate support

The blue, green, and red sensitive layers normally produce yellow,
magenta, and cyan dyes. There are also masking couplers (they start out
as one color and form another color in the developer) and inhibitor
releasing couplers. 

     Fuji's first Reala film had a "4th" emulsion layer underneath the
blue sensitive layers. It was sensitized to blue-green light. Fuji's
literature suggests there were inhibitor releasers in this layer.

Effectively, these inhobitors made the film less sensitive to blue-green
light. Since there is a lot of blue-green light in fluorescent light,
this extra layer makes fluorescent light look more like other light to
the film. 

     This is not ther only way to get the film to "see" fluorescent
light more like other light. Other manufacturers tailor their spectral
sensitizer dyes to avoid the blue-green region.

     Fuji's current line of "4th' layer films put the extra layer under
the green sensitive layers. This makes it easier to apply this technique
to high speed films, but it makes the layer much less effective. It
improves performance a little and it provides an advertisable claim.

Free Film Offer From Kodak
From: Bob Dickerson bdickers@worldnet.att.net

Newsgroups: rec.photo.equipment.medium-format

Subject: Free Film Trial

Date: Mon, 02 Mar 1998 

Kodak is offering two rolls of their newest professional film free.
Call 1-800-336-8868, ext. 200  They offering the E100S or the E100SW
Ektachrome.  
N.B. this offer has no doubt expired, but you might consider calling 
film mfgers free #800 and see if they have any current special deals or offerings! ;-)

From: frankvw@euronet.nl (Frank van Wensveen)

Newsgroups: rec.photo.film+labs

Subject: Unofficial Fuji Film Guide, preliminary version II

Date: Wed, 18 Nov 1998 

Well... the first version of my Unofficial Fuji Film Guide (UFFG) has
generated a lot of feedback and email discussions... Thank you all.
Here is preliminary version II, later than I'd hoped but with more
additions and corrections than I'd expected.

I'm taking a big risk here. :-) Film performance as experienced by the
photographer is not dependent on emulsion only... the lab plays a
*big* role, and so do the circumstances in which a film is used. There
is no 'better' or 'worse' when comparing two different types of
film... it's just that one type of film gives better results when
you're using it to shoot a certain subject in certain conditions and
have the film developed by a certain lab...
So individual experiences tend to contradict each other. As a result,
I've either improved this or really scr*wed up. :-)

If you find any errors, omissions, or inconsistencies in this, please
let me know.

----------[ cut ]----------

*** PRELIMINARY VERSION ***

Unofficial guide to Fuji 35mm film

==================================

1. Consumer film (Fujicolor)

1.1 Color negative film (daylight balanced)

1.1.1 Super G Plus 100/200/400/800

This film has been discontinued and replaced by Superia. It's the
'old' Fuji standard film. Fine grain, medium contrast, good color
saturation, but a little unsaturated in the blues.

1.1.2 Superia 100/200/400

Standard color film. Pleasing skin tones, good sharpness, good
color saturation, medium contrast. Grain may be finer or coarser
than Super G Plus, depending on speed. Slightly better color
saturation than Super G Plus, but not remarkably so.

1.1.3 Superia X-tra

Advertised as "universal" color film. High exposure latitude
(comparable to Kodak Max), but both graininess and color saturation
are marginally better than Kodak Max. Medium contrast. Formerly sold
as Superia 800.

(This is an example of Fuji confusion at its best. At one time or
another, Fuji imported (chronologically) Super G+ 800, Superia 800,
and Superia X-tra 800.  There are also packages that say 'Superia
X-tra' without giving 800 as the speed!)

1.1.4 Superia Reala 100

Excellent color negative film. Good sharpness, excellent color 
saturation, very fine grain. Low to middle contrast, a little less
contrasty than Superia. May have some difficulties with reds, browns
and flesh tones, which makes it a little hard to develop. It would
be a great film for portraiture if it handled flesh tones better.
Fuji sais to be working on this with planned new emulsions.

1.1.5 Super HG 1600

High-speed color negative film. Graininess and color saturation are
not spectacular. Medium to high contrast. Superia X-tra 800 pushed
one stop performs better than HG 1600.

1.2 Color reversal film (Fujichrome)

1.2.1 Fujichrome Sensia (RD)

This film has been discontinued and replaced by Sensia II. 

1.2.2 Fujichrome Sensia II 100/200/400 (RA)

Good sharpness, good color saturation. No bluish cast in shade areas
(as with Kodak Ektachrome), good saturated greens. Graininess varies
from good (100 ISO) to accepatable (400 ISO). Better than most
consumer slide films at the same speeds.

2. Professional film

2.1 Color negative film (Fujicolor)

2.1.1 Super G Plus 100/200/400/800

For some reason, Fuji still advertises Super G Plus in 20 roll pro
packs (135/36) after having discontinued selling the same film as
consumer film. See 1.1.1 for details.                             

2.1.2 HG 1600 a.k.a. Super HG 1600

Fuji can't make up its mind about whether this is a pro film or a
consumer film. They advertise it both as consumer and professional
film. See 1.1.5 for details.

2.1.3 NHG II 800

An 800 ISO film with excellent sharpness, color saturation and fine
grain (comparable to Kodak RG 400 or Gold 200). Medium contrast.

3.1.4 NPS 160 Professional

Daylight balanced low contrast, low saturation film excellently suited
for portrait and wedding photography. Soft flesh tones, good skin
tones. Has difficulty with blue tones. Portrait labs seem to get
better results with this film than allround pro labs, although your
mileage may vary. NPS seems to be loosing popularity as a portrait
film to Provia, which is easier to develop.             

3.1.5 NPL 160 Professional

As NPS, but Tungsten balanced.

3.1.6 NPH 400 Professional

Daylight balanced 400 ISO film for portrait and wedding photography.
Reduced contrast, neutral skin reproduction. High exposure latitude.
Noticably coarser grain than NPS (as can be expected when comparing
400 and 160 speed film).

3.1.7 NHG 400 a.k.a. 400 Professional NHG

This film has been discontinued and replaced by NPH.

3.2 Color reversal film (Fujichrome)

3.2.1 MS 100/1000                     

A 100 ISO "multispeed" slide film that can be pushed up to 1000 ISO,
at the price of increased graininess.

3.2.2 Velvia (RVP)

A 50 ISO film with ultra-fine grain and excellent color reproduction.
Incredible color, saturated but still capable of subtelty. Hailed by
many. Middle to high contrast. Its punchy color rendition make it an
excellent film for product and landscape photography. Does a great
job on shadow areas, performs brilliantly in soft or flat light.
Its high color saturation may sometimes result in too much contrast
in bright light. (E.g. skies, when not a deep blue, may appear
burned-out and whitish. For pale blue skies a lower contrast film
might be better.) Its outstanding acutance (edge sharpness) gives
great detail to images. (It's said to show every single needle on a
pine tree.) An excellent film for scenery. Has severe touble with
flesh tones (red or even purlplish casts). Photographers can't seem
to agree on whether to shot it at EI40 or 50. Some labs seem to have     
difficulties making good prints from Velvia (Astia gives better
results in such cases).

3.2.3 Provia 100 Professional (RDP II)

Much like Velvia, but at twice the speed. Similar sharpness, grain
and resolution, but slightly less color saturation and contrast.
Noticably better at showing browns, golds and flesh tones than Velvia,
and does a better all-round job. Its softer contrast and more subtle
colors make it an excellent portait film. (Provia is slightly more
contrasty than NPS, but not dramatically so.) Provia is the
professional version of the original Sensia consumer film (which has
been discontinued).

3.2.4 Astia 100 Professional (RAP II)

The professional version of Sensia II. A good all-round film. Nice
for the warmer colors as well as soft blues. A little warmer than
Velvia, a little less color saturation than Provia. Good for 
"conventional" portrait work, but for high-quality "glamour" work
Provia might be a better choice. Astia is the professional version
of Sensia II.

----------[ cut ]----------

Regards,

    Frank

Homepage: http://www.euronet.nl/~frankvw

ICQ #: 13800170    

=====
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Medium Format 120 Rollfilms
Film	ISO	1000:1 lpm	1.6:1 lpm	Type
Agfachrome Pro RSX 50	50	125	55	color slide
Agfachrome Pro RSX 100	100	125	50	color slide
Agfachrome Pro RSX 200	200	110	50	color slide
Fujichrome Velvia	50	160	80	color slide
Fujichrome Astia 100	100	135	55	color slide
Fujichrome Provia 100	100	140	60	color slide
Fujichrome Provia 400	400	125	40	color slide
Fujichrome 64T (tungsten)	64	125	50	color slide
Fujichrome MS 100/1000	100-1000	135	55	color slide

Agfacolor Ultra 50	50	140	50	color print
Agfacolor Optima 100	100	140	50	color print
Agfacolor Portrait 160	160	150	60	color print
Agfacolor Optima 200	200	130	45	color print
Agfacolor Optima 400	400	100	50	color print
Fujicolor NPS 160	160	125	63	color print
Fujicolor NPL 160 (tungsten)	160	125	63	color print
Fujicolor Prof 400 NPH	400	100	50	color print
Fujicolor NHGII 800	800	100	50	color print
Konica Impresa 50	50	130	80	color print
Konica SR-G 160	160	100	50	color print

Agfapan APX 25	25	200	n/a	B&W
Agfapan APX 100	100	150	n/a	B&W
Agfapan APX 400	400	110	n/a	B&W
Agfa Scala 200X (slides)	200	120	55	B&W
Agfa Ortho 25 (no red..)	25	350	n/a	B&W
Kodak T-Max 100	100	200	63	B&W
Kodak T-max 400	400	125	50	B&W
Kodak Tech Pan 6415	25	320	100	B&W

What Films Do Serious Amateur & Pro Photographers Use?

Kodak Professional Roll Films

Tips on Origin of US Supermarket Films
Agfa if box says ''Made in Germany''
Konica if box says ''Made in Japan''
3M if box says ''Made in the U.S.A.''