The professional view of photography.

Further information about the Agfa Professional film range at:
The professional view of photography.
http://www.agfaphoto.com/products/range_of_films.html
Agfa-Gevaert AG, D-51301 Leverkusen, Postfach 10 0160
Agfa Professional Films.
Put yourself in the picture.
Quality profile
Agfacolor Optima II
„Everyone has their own view of things. Some call it style,
but I mean more the substance of a photo.
Only when you believe in your view of things, can you begin to take photos.“
Annie Leibovitz
Technology
Contrast
0
15
10
The Scala shooting story
Agfacolor Portrait / Ultra
Agfa Scala 200x
Reproduction of detail
24
18
10
4
Precision
16
26
Agfachrome RSX II
5
12
6
Colour brilliance
Agfapan APX
Push&Pull / Reciprocity
8
14
28
20
Formats
22
30
First and foremost is technology.
Crystal Technology
Innovative technologies as the key to new
Conventional research structures have long been superseded when it comes
The “Crystal Technology” Centre specialises in light-
Enhanced colour
standards in film
to developing such highly complex products as Agfa Professional films. This
has led Agfa to divide basic research between three Technology Centres, each
sensitive silver halides. These tiny crystals, measuring
The sum of the innovations developed in the Technology
of which works on specific film components: crystal technology, emulsion
technology, and layer technology. By specialising and at the same time using
only micrometers (a micrometer is a thousandth of a
an integrating methodology, Agfa is able to focus on developing the decisive
Centres is a new, highly advanced technological stanEnhanced sharpness
innovations that result in a new, impressive level of film performance.
millimetre!), are the building blocks at the very lowest
dard. This new standard also affords greater technical
level and have a decisive influence on the film’s sensi-
scope for equipping Agfa Professional films with special
tivity to light. Development work is aimed at optimising
properties for specific applications. This applies to all
Enhanced grain structure
the inner structure and shape of the crystals, to make
Layer Technology
even better use of light energy.
Ongoing development work on coating methods allows
“Emulsion Technology”
The
thinner layers and a greater number of individual layers.
Emulsions are a highly-developed system of components
innova-
Thinner layers offer improved sharpness and make it
whose interaction is precisely controlled. Where the film
tive
possible to add layers with dividing, blocking, protecting,
has been exposed, the colour coupler substances inte-
Agfa
and filtering functions. In addition to optimising colour
grated into the layers are converted into dyes during
solu-
reproduction, they boost sharpness and increase durabi-
processing. However, interactions also take place within
tion
lity. Layer innovation from Agfa: three colour coatings!
the overall layered structure which can lead to corruption
lies in
The colour coatings are divided into layers with low,
and loss of information. It is therefore necessary to pre-
SEM
medium, and high sensitivity, with different crystal size
vent this interaction as far as possible. Agfa’s innovative
(Sur-
and shape. This gives Agfa Professional films even finer
weapon here is DIR (Developing Inhibitor Releasing)
grain in the
technology, which acts like a sensitive, perfectly tuned
Electron Microscopic
Photograph of SEM Crystals
SEM Crystal diagram
face Enhanced Multistructured) crystals. These crystals
four quality parameters: colour reproduction, sharpness,
Schematic
illustration
layer structure
are flatter and thinner than the conventional cube
areas of the
shapes. They absorb more light and are much easier to
picture where it
ting reactions in the layers,
align in the film layer. This milestone in the development
matters most.
both horizontally and vertically.
This decisive technological
advantages:
advantage gives Agfa Profes-
Fine grain for a given speed, or higher speed with the
sional films significantly
g Symbol for
silver halide
Colour
reproduction
control mechanism, regula-
of crystal technology gives Agfa Professional films key
same grain and better sharpness.
granularity, and sensitivity.
Crystal
technology
Sum
of all
technologies
Layer
technology
Granularity
Emulsion
technology
Sensivity
improved colour saturation, sharpness, and fineness
of grain.
4
Sharpness
5
Details on the subject of precision.
Precision in
Precise film speed
either be too light or too dark, and lacking in brilliancy.
colour balance
Correct exposure is only possible with the correct film
If there is a deviation in the real sensitivity of only 1 DIN,
The colour balance influ-
sensitivity. If actual sensitivity deviates from the claimed
the colour densities in slide films will be reduced by
ences the colour charac-
sensitivity (ISO value printed on the packaging), it will
10%. A difference which the eye registers immediately.
teristics of the film mate-
have a direct effect on the picture especially in the case
That is why Agfa produces the Professional Films in
rial. “Cold” colour
of transparency film. If the speed is too high, over-expo-
specially narrow tolerances of ± 0.5 DIN (± 1/6 stop)
balance shifts the entire
sure results, if it is too slow, the film is under exposed.
and thus ensures an optimum colour brilliance at all
colour spectrum towards
This has a negative impact on colour density and
the blue end. “Cold”
thus on colour saturation: the colours will
The standards to be met by films for
professional and creative photogra-
ISO 200/24°
ISO 160/23°
high-quality material. Precision is
called for, with regard to all quality
ISO 125/22°
criteria. But theoretical research
models are irrelevant to the user.
if the resulting product benefits can
ISO 80/20°
be reproduced precisely and continuously time after time. Precision
Y
spells confidence, reliability, and
continuity, and can only be achieved
by
extremely
tight
ISO 64/19°
times, regardless of the change of emulsion
ISO 50/18°
production
tolerances.
± 1/6 stop
ISO 100/21°
Advanced technology is only of value
1 stop
ing pictures are only possible with
1 stop
phy are particularly high. Great look-
numbers.
colour adjustment of this
kind is a disadvantage when reproducing skin tones
Precision – a precondition for ultimate quality
because blue-tinged skin is unattractive to the observer.
A film possesses numerous quality attributes which
G
“Warm” colour balance, on the other hand, shifts all
R
are a result of its technological make-up. The quality
colours towards red.
of the individual attributes can only be utilised to the
This effect is undesirable as well: green plants look less
full if the film has been manufactured to tight
fresh, green takes on a yellow tinge. In extreme cases,
tolerances. If these tolerances are exceeded, the
±5 CC
a spring landscape can look as if it was shot in autumn.
20
What is called for is “neutral” colour balance: faithfully
15
10
5
picture suffers, resulting in colour casts or dull
colours, for example.
produced from emulsion batch number to emulsion
With Agfa Professional films you can be assured that
batch number.
in every situation the best quality film material is
Agfa Professional films feature highly objective colour
available.
reproduction without visible colour bias. The Agfa
C
Professional tolerances are ± 5 CC units. A value that’s
M
hard to beat!
B
6
Colour balance tolerances
in CC filter units
7
Just what does brilliant mean?
True-to-life colour saturation
Precise colour tone
The aim of film technology is to reproduce colours
separation
realistically, and without distortion. Excessive colour
Precise, true-to-life colour
saturation is just as great a distortion of reality as colour
rendition is only possible if
saturation which is too low.
the correct colour tone is
To prevent this distortion, Agfa uses various technologi-
reproduced exactly. This
cal elements in its Professional films: inter-image effects
requirement is essential to
and filtering layers, each with a specific function, at
achieve perfect colour tone
different levels of the emulsion structure.
separation, particularly when several adjacent colour
The result is that all colours display their own luminous
tones are similar to each other. The most important
intensity, even the subdued tones that are difficult to
technological components in ensuring this are precise
reproduce correctly.
sensitising at the extremes of the UV and IR range, and
The eye does not dissect colours.
When we talk about colours being
vivid, intense, deep, or delicate, we
mean our overall impression. Film
technology has to go into more
detail, building colours out of different components. The colour brilliance of a film is the collective result
of many individual technical details.
Two properties are of decisive importance in this process: colour saturation and colour tone separation.
active inter layers with white couplers.
Agfa Professional films prove that precise colour tone
separation spells greater information density, enhanced
trueness to life, and greater picture depth.
90
RSX II 100
b*
70
50
30
Colour separation of the
primary colour area
10
-50
-30
-10
-10
10
30
50
a*
-30
-50
The greater the area of the
Cielab colour space, the
greater the colour saturation.
Example: RSX II 100 compared
with its predecessor.
-70
8
finely modulated
colour nuances
saturated primary colours
9
subdued colours have best
possible luminous intensity
A balancing act.
Neutral grey balance
Perfectly defined high-
The colour world does not consist only of “chromatic”
lights and shadows
colours (blue, green and red), but also of “achromatic”
Although highlights and
colours. These colours, also known as grey tones, are
shadows are the extremes
reference colours. The eye registers colour inaccuracies
of gradation, they are of
with particular sensitivity because there is a relation to
crucial importance to the
the real grey tone. The scale of grey tones ranges from
picture. If they are not reproduced correctly, a significant
pure white, through innumerable stages of grey to deep
amount of information is lost and the depth of the pic-
black. Professional
ture is much reduced. Poor definition of highlights and
photographers are
shadows is the result of gradation being too steep. The
afraid primarily of
technological answer: to achieve high information density
Gradation is a factor that influences not
only the contrast, but also the colours.
The effects are noticed especially in the
way greys, blacks, and whites, and
areas of low and high colour density
are reproduced. There are two key
aspects here: grey balance and tonal
gradation.
“crossover”: for example from red highlights to green
with Agfa Professional films in these areas as well,
shadows. This error cannot be avoided by using correc-
gradation extremes are toned down in the production
tive filters when taking the picture, but it can be preven-
process. The results demonstrate that Agfa Professional
ted with Agfa’s technology, ensuring a linear contrast
films offer perfect tonal gradation, with smooth,
curve from the highlights to the darkest shadows.
continuous progression.
Producing such a film is a highly complex business, but
it’s worth it. Agfa Professional films display pure whites,
true grey tones without colour cast, and rich, neutral
Characteristic curve
blacks. Grey balance is the criterion for high standard
4.0
Shadow areas:
• neutral blacks
• high definition
Density
photography.
3.0
Middle range:
(straight line, parallel progression)
• high colour fidelity
• neutral grey reproduction
2.0
1.0
Highlights:
• clear whites
• neutral highlights
• high resolution
0
-3.0
-2.0
-1.0
0
+1.0
Exposure 1 x t (intensity x time)
10
Example:
slide film
clear, neutral whites
excellent differentiation of grey tones
11
neutral blacks
Every detail counts.
Impressive sharpness
Fine grain
Producing an image on photographic material can
A grain is the smal-
involve a loss of information in light-dark zones which
lest building block
has an important impact on sharpness. Precise rende-
of a developed film.
ring of these zones is a function of the edge definition
Viewed under a
capabilities of the film.
microscope, it appears as a ball of dyes, also described
To enhance edge effects, Agfa uses a major innovation:
as dye clouds. The finer the grain size, the steadier
DIR technology (Developing Inhibitor Releasing). The
the appearance of the picture. Coarse grains result in a
differences between light and dark are accentuated,
coarse texture.
thereby increasing the level of sharpness registered by
Here too, DIR technology is the perfect solution:
the observer. This gives richer detail and enhanced
The so-called inhibitors prevent excessive development
picture depth.
of silver halide crystals, and ensure a finer, more dense
Detail reproduction is something the eye
registers as an overall effect. Film works
quite differently, though, with several different parameters being distinguished. Two
are of decisive importance: sharpness and
granularity.
grain structure. That in turn is the key to outstanding
detail reproduction.
without DIRtechnology
without edge enhancement
with edge enhancement
exposure
after development
with DIRtechnology
The greater the edge sharpness, the greater
the visual impression of sharpness
enhanced edge effect
12
excellent sharpness
13
extremely fine grain
More room for creativity.
Robust reciprocity characteristics
generally very
Greater confidence, right up to the end result
There are certain photographic situations
Extremely long and extremely short exposure times both
small, e.g. a matter
where the film material has to meet specific
Many different factors contribute to picture results. At
requirements. This applies especially with
influence the speed, colour balance, and tonal gradation
of 1/10 of a stop,
regard to stability and reliability when using
the end of the line, and something which is often over-
long and short exposure times (reciprocity
of the film material.
and may appear
characteristics), and to the ability to make
corrections
The extent of the influence is determined by the
insignificant. But
during
processing
looked, is the processing factor. In the real world there is
(push/pull
behaviour). The reaction of a standard film is
no “uniform process”, because many parameters vary
too extreme and unpredictable, and cannot
reciprocity characteristics of the film:
even these small
poor reciprocity characteristics mean exposure times
adjustments can
water (hardness). On top of that are unavoidable fluctua-
have to be much longer, and can often lead to problems
make a crucial difference to results. This technique
tions in tank temperatures and times. To allow a good
such as colour
requires absolutely stable grey balance. Other appli-
final result, Agfa has introduced a decisive instrument:
cations require a specific shift in sensitivity, e.g. from
precise control of development kinetics. The system
Exposure
time (s)
Colour
correction
(CC filter)
Exposure
correction
(stops)
Example
RSX II 100
casts. Agfa Professional films
owe their excellent reciprocity
characteristics to
/
1 10.000
ISO 200/24° to ISO 800/30°. The pushing that this
/
1 1.000
/
1 100
from laboratory to laboratory, e.g. equipment, chemicals,
meet these requirements.
monitors itself here by constantly
necessitates can have a major impact on colour balance
0
0
Overall result: excellent
directing sequences of the
RSX II 100
neutral
/
1 10
and base blacks. The adverse visual effects associated
development
with this, e.g. colour casts, are countered by Agfa’s use
process towards
1
highly-developed
of a special emulsion technology. This features self10
5B
+ 1/2
100
10 B
+1
a neutral position.
10
know-how
5
controlling development kinetics and a high maximum
The benefit:
regarding the
density level. These measures ensure that all Agfa-
High processing
best possible emulsion ripening process. As a result,
chrome RSX films have exceptional push/pull stability:
stability, minimi-
Conventional film
Agfa Professional films require only low multiplication
colour reproduction
factors, and their colour balance is extremely resilient to
neutrality is main-
unusual exposure times. Within the very wide exposure
tained up to ± 1 stop.
sing the risk of
AP 44 / E6
Process stage
Push 2
Changes in
speed in stops
Colour
balance/
CC units
Example:
RSX II 100
process variation. Result: best possible uniformity
without unwelcome colour casts – irrespective of which
+2
+ 12/3
range of 1 to 1/10000 seconds, Agfa Professional films
These films even cope
do not display any deviation.
well with uprating
5 - 7,5 M
laboratory is used.
+ 11/3
Push 1
+1
Overall result: high push stability
+ 2/3
by 2 stops, making it
+ 1/3
Standard
possible to use them
Stable push/pull behaviour in slide film
in many critical light
In professional photography, the fine tuning of sensitivity
Pull 1
situations.
is usually left to the processing lab. The adjustment is
14
RSX II 100
Picture above
Picture below
Exposure
ISO 100/21°
ISO 400/27°
- 1/3
Processing
Standard
Push 2
- 2/3
Result
– colour density
correct
excellent
– grey balance
neutral
very stable
– gradation
balanced
slightly steeper
±0
0
neutral
-1
5C
15
a
a
You have a task. We have the film.
United in quality
Portrait 160 has extremely fine grain for this film
In professional and creative photography standards are especially high: quali-
The Agfa Professional range of films not only satisfies all
ty, continuity, and the ability to choose film material with regard to individual
criteria are of decisive importance.
the requirements according to individual selection
Within this context, the wide range of professional applications calls for a
variety of different emulsions whose properties are exactly matched to the
criteria, but also offers many common features. Such as
specific area of application.
The Agfa Professional range of films was developed to meet this need. It
a host of quality properties which are to be found across
comprises the necessary speeds in three product lines (colour negative films,
colour reversal films, and black and white films).
the range or in individual product segments.
And specialist films, of course, whose properties are either geared to specific
technical requirements or can be used for creative effects. There are a total of
13 film types available, in different formats, with all emulsions being available
in 135 (35 mm) and 120 (roll film) formats. In addition, a 220 roll film format is
available, as are various sheet-film formats and bulk lengths. In response to
All Agfa Professional films feature:
practical working requirements, the range also includes multiple packs and
state-of-the-art film technology
large rolls.
extremely tight production tolerances
ideal combination of the four quality factors:
film speed, colour reproduction, sharpness,
and grain
balanced tonal gradation
Agfa Professional “specialist” films:
robust reciprocity characteristics
For special requirements
high storage stability
In most Agfa Professional films, the four film-quality
exceptional processing stability
factors are well balanced, in line with their intended use.
in portrait photography. The reduced colour satura-
tion of the film promotes an attractive, natural effect,
and prevents unwelcome skin colouring.
Agfacolor Ultra 50, on the other hand, is designed
for extremely high colour saturation: this property
can be exploited for technical or creative purposes.
C
S
OPTIMA100
Maximum optimisation
of all quality factors
C
Colour saturation
S
Sharpness
a
The following special features apply to CN and
CR films:
speed, making for homogenous, smooth skin tones
Colour reproduction, sharpness, and granularity are
same colour characteristics for all film
speeds
always dependent on film speed. A slow film will
daylight balanced for 5500 K, can be used
in artificial light without problems if a
conversion filter is used
generally have the best values with respect to the other
three factors, and as a result has the best colour
precise colour tone separation
saturation, sharpness, and fine grain in the product line.
neutral rendering of whites, grey tones,
blacks
With increasing film speed, these other factors are all
optimised in equal measure. However, this balance of
The following special features apply to CR
films:
quality factors is not always what is needed in special
extremely stable behaviour during push/pull
processing (effect on colour balance hardly
visible to the eye at ± 1 stop, results good
enough for printing and projection at
+ 2 stops)
applications. For that reason, the Agfa Professional
product range includes specialist films where specific
properties are emphasised. Typical examples are
compatible in reprographic processing
Agfacolor Portrait 160 and Agfacolor Ultra 50.
16
G
F
C
S
E
F
G
G
Granularity
F
Film speed
PORTRAIT 160
Deliberate shift in
quality factors
C
Subdued colour
saturation
G
Extremely fine
grain
F
Increased film
speed
Differing emphasis of the quality factors
17
Images from the back country.
With the Agfa Scala in Southern Spain.
Xavier.
are fertile. Many here live from farming.
Fernandez got to know Xavier in a café in Alicante and
Of course artichokes grow better here than
“No, nobody goes to Orihuela. Benidorm, Alicante?
hired him as an assistant with local expertise. Xavier
anywhere else, say the people of Orihuela.
Yes – but who has heard of Orihuela?” Whoever comes
studies in Alicante, but his home is in Orihuela. It was
With the differentiated grey tones of the
to the small town on the banks of the Segura was either
there that they searched for images that were to tell a
Scala, in an almost lifelike way: they are right.
simple, but intensive story. Not on the tourist-filled coast,
not in the traditional countryside. But in the back
The barber.
country, unassuming, sleepy – but much more “Spain”
The small barber’s shop is a little like a bar.
than the dormitories on the coast.
The door is always open, old men wait to be
shaved, talk about everything on earth. It
The countryside.
smells of eau-de-cologne, perfumed soaps.
A path leads from behind the football pitch to old olive
In the morning before the first customers
trees. The sun was shining on this afternoon. A clear view
come, Senor Jamirez himself often sits in the
and the play of the clouds made the commonplace trees
only barber’s chair. Frank Fernandez was
into interesting subjects. The skill of the photographer
given a new haircut during his visit – but also a most
and the razor-sharp definition performance of the Scala
exception-
One moment that
made the branches of the trees grow out of the picture.
al photo-
shows the builder’s
Olive oil, citrus fruits and wine. The banks of the Segura
graph.
perception for detail
and a strong, cold wind blows down from the snow-
Photogra-
is captured by
covered Sierra de Segura into the valley below.
phed with
Fernandez on the
The weather and life in Orihuela formed the framework
a Scala
Scala 200x sheet
for London photographer Frank Fernandez´s assignment.
200x
film. Then came the
Everything else was up to him – to see and to capture,
35 mm film, pushed to ISO 400/27° and with available
evening, the shops
to show things as they are, without staging, without
light. The sun is low in January, throws long shadows
and the small bakery
lighting and post-treatment. Fernandez worked with the
and a warm light which makes the fronts of old houses
opened once again.
Agfa Scala 200x. A black and white reversal film –
come alive. The sun disappears fast behind the
But more of that
exceptional and, as it turned out, with an exceptional
houses, the right moment for a photograph is short.
later.
born here or has lost his way. It rains a lot in January
amount of freedom.
19
BW reversal films
Scala. The exclusive one.
push
ed
ISO to
1600
In general, optimising a whole system leads to much
the Scala 200x
greater leaps in quality than improvements to single
is exposed as
parts of this system. The Scala 200x is a typical example
ISO 100/21° and
for this. The quality of the final result is not determined
developed for
The follow-up to the successful Scala 200 is the
Scala 200x. “X” (eXtended) stands for a range of
improvements in use thus strengthening the
individuality of the only BW transparency film on
the world market and this in outstanding, prize-
Preferred
application
Scala
200x
Action
Architecture
Beauty
Documentation
Food
Industry
Landscape
Macro
Fashion
People/Portrait
Reportage
Sport
Still life
Animals
Advertising
Product-specific features
Pull-/Pushable
ISO 100/21°1600/33°
Duplicating
Longterm archiving
awarded quality.
by the film emulsion alone, but also
a shorter length of
by the processing. The Scala 200x
time (pull process).
is the result of technical progress
in the field of both emulsion and
Extreme stability of the developed image:
processing (all authorised labs are
The Scala 200x, in combination with the new Scala
equipped with the original Agfa
process (and only in this combination) is ideally suited
Scala process).
for the longterm archiving of historical originals.
The improvements in the
Scala 200x.
Pushable to ISO 1660/33°: an
increase in speed of three f-stops.
Increased maximum density: The considerably wider
density range, in comparison to the BW print, was once
Technical Data Scala 200x
Reciprocity effect – Scala 200x
brilliance and three-dimensionality.
Measured exposure
time (s)
1/10000 – 1/2
1
10
100
Exposure correction
(Stops)
none
+ 1/2
+1
+2
→ Density
again increased – and more tonal range means increased
Pull 1
Standard
Push 1
3.0
Push 2
Push 3
2.0
1.0
0
–3.0
–2.0
–1.0
0
+1.0
+2.0
+3.0
→ lg exposure (Lx · s)
Speed
(ISO)
result is finer definition of the critical
Resolving Power (Lines/mm)
Contrast 1000:1
Contrast 1.6:1
→ Transfer factor (%)
Flatter gradation in highlights: one
Granularty
(RMS-value)
150
100
50
30
highlight areas. The other is the excellent
20
10
suitability for duplicating BW negatives
120
50
2
3
5
10 3
20
0
50
100
→ Lines (mm)
11.0
→ lg sensitivity
200/24°
and transparencies. For this purpose,
2.0
1.0
35 mm film / Push 3: ISO 1600/33°
0
20
21
–1.0
400
500
600
700
→ Wavelength (nm)
BW Negative films
APX. The Realist.
The range of the
Preferred
application
APX25
Agfapan
APX100
APX400
Action
Architecture
Beauty
Documentation
Food
Industry
Landscape
Macro
Fashion
People/Portrait
Reportage
Sport
Still life
Animals
Advertising
Product-specific features
Big
enlargements
Pushable
1-2 Stops
In contrast to colour films, BW films can be influenced in several parameters
Agfa BW film
and can be adjusted, within certain limits, to match the requirements of the later
result.
series has been
conceived to
meet require-
Adaptable parameters
Areas of application
Speed
Light conditions/movement of subject
Gradation
Subject contrast
Sharpness
Reproduction of detail
Fine grain
Homogeneous parts
ments in practice.
Compact, with
APX 400. Reliable for all areas that need speed, not
only as many
limited to its ISO 400/27° basis, but can be pushed up to
types as is tech-
ISO 1600/33°. Permits great flexibility in extreme spheres
nically absolutely
such as available light or rapid movements.
necessary.
The result: three
films which produce first-class print quality and which are
Reciprocity effect – APX 100
with a specifically designed range of developers, cover a
speed range between ISO 25/15° and ISO 1600/33°.
Measured exposure
time (s)
1/10000 – 1/2
1
10
100
Exposure correction
(Stops)
none
+1
+2
+3
Developing
correction (%)
none
- 10
- 25
- 35
Technical Data APX 100
2.0
→ lg Sensitivity
absolutely reliable. Three films which, in combination
1.0
APX 25. Extreme sharpness and fine
Speed
(ISO)
grain – superior in its reproduction of
Resolving Power (Lines/mm):
Contrast 1000:1
Granularty
(RMS-value)
0
–1.0
400
500
600
700
→ Wavelength (nm)
25/15°
200
→ Transfer factor (%)
detail. Absolute smoothness in homoge-
7.0
neous areas, no tearing up of critical
150
100
50
parts. Predestined for murals.
30
20
10
150
2
3
5
10 3
20
0
50
100
→ Lines (mm)
9.0
→ Density
100/21°
APX 100. Optimum level of the print qua-
3.0
2.0
lity parameters sharpness and fine grain
1.0
0
–4.0
in relation to film speed. Great speed
110
–3.0
–2.0
–1.0
+1.0
0
+2.0
→ lg Exposure (Lx · s)
14.0
→ Negative contrast ( )
400/27°
reserves and a wide processing latitude.
0.75
RODINAL SPECIAL
STUDIONAL LIQUID
REFINAL
RODINAL 1+25
0.70
0.65
0.60
22
23
RODINAL 1+50
0.55
2
4
6
8
10
12
14
16
18
→ Developing time (min.)
Colour Negative Films
Optima II Prestige. The allrounder.
Preferred
application
Agfacolor Optima II Prestige
100
200
400
Action
Architecture
Beauty
Documentation
Food
Industry
Landscape
Macro
Fashion
People/Portrait
Reportage
Sport
Still life
Animals
Advertising
Product-specific features
Big
enlargements
Contrast adjustable
during processing
Optima II Prestige
is now based on the same
represents the
technologies, with the specific
current standard
advantages of identical
of film technology
characteristic properties and
in the high-end
harmonising results with mixed
class. With SEM
use.
crystals which are
The Optima II Prestige
flatter and thinner
product line has been
than common
deliberately designed with
crystals and which
a greater balance of colour
possess a 30%
rendition, sharpness and grain, in comparison
higher effective-
to the special application films Portrait and Ultra.
The Agfa colour negative range
offers the “professional” photographer five different films,
each with a different speed
and, in particular, with different
colour saturation. The choice
of film can determine the
colour intensity of the final
image results, before the picture
is taken. Depending on personal preferences for subdued,
enhanced or intense colour
perception.
Or
for
special
tasks, with objective, technically fixed modulation.
ness in converting light to photochemical energy. This
This permits a very wide area of utilisation.
leads to decisive advantages:
Reciprocity effect – Optima II 100
parts due to inadequate fineness of grain.
Significantly thinner layers: Greater sharpness through
Measured exposure
time (s)
1/10000 – 1
10
100
Exposure correction
(Stops)
none
+ 1/2
+ 1 1/2
2.0
1.0
Speed
(ISO)
Colour
saturation
Resolving Power (Lines/mm)
Contrast 1000:1
Contrast 1.6:1
Red
Green
Blue
less diffusion of light.
Substitution of all three
Technical Data
Optima II 100
→ lg Sensitivity
Finer, denser grain: No tearing up of homogeneous
0
Granularty
(RMS-value)
–1.0
400
500
600
700
→ Wavelength (nm)
100/21°
very high
140
50
→ Spectral density
colour couplers: More
4.0
precise colour tone
2.0
Medium density
1.0
Minimum density
differentiation with no
0
500
400
600
700
loss in colour saturation.
200/24°
very high
130
50
→ Transfer factor (%)
→ Wavelength (nm)
4.5
Improved storage
150
100
50
30
stability, particularly in
20
10
2
3
10 3
5
20
0
50
100
→ Lines (mm)
400/27°
high
130
50
4.5
→ Density
moist, warm climates.
Every film in this range
4.0
Blue
3.0
Green
Red
2.0
1.0
24
25
–3.0
–2.0
–1.0
0
+1.0
→ lg Exposure (Lx · s)
Colour negative films
Portrait and Ultra. The specialists.
Agfacolor Portrait 160 Professional.
Agfacolor Ultra 50
Designed especially for portrait photography. With
Professional.
subdued (softer) colour characteristics, extremely fine
The extremely high
grain and outstanding reproduction of skin tone. Due to
colour saturation makes strongly accentuated colour effects
In comparison to the Optima types, the special application films of the colour negative
range possess a specific colour saturation.
Preferred
application
Agfacolor
Portrait 160
Ultra 50
Architecture
Beauty
Experimental
Industry
Landscape
Macro
Fashion
People
Portrait
Still life
Advertising
its subdued
possible. A further advantage: With the Agfacolor Ultra 50
colour saturation
Professional, colours can be increased if contrast is low (mist, fog).
and flat gradation, the Agfacolor Portrait
160 Professional
is also suitable
Product-specific features
for toning down
strong colours
and high contrasts.
→ lg Sensitivity
Technical Data Portrait 160
1.0
Reciprocity effect – Portrait 160
1/10000 – 1
10
100
0
Exposure correction
(Stops)
none
+1
+2
–1.0
Colour
saturation
Red
Green
Blue
Measured exposure
time (s)
400
500
600
700
→ Wavelength (nm)
Resolving Power (Lines/mm)
Contrast 1000:1
Contrast 1.6:1
→ Spectral density
Speed
(ISO)
2.0
Granularty
(RMS-value)
2.0
Medium density
1.0
Minimum density
0
400
500
600
700
160/23°
subdued
150
60
→ Transfer factor (%)
→ Wavelength (nm)
3.5
150
100
50
30
20
10
50/18°
extremely
high
140
50
2
3
10 3
5
20
0
50
100
→ Lines (mm)
4.3
→ Density
Tones
• high contrasts
• intense colours
Enhances
• low contrasts
• subdued colours
Dramatised
colour effects
Pastel
colour effects
Big
enlargements
4.0
3.0
Blue
Green
2.0
Red
1.0
26
27
0
–3.0
–2.0
–1.0
0
+1.0
→ lg Exposure (Lx · s)
Colour reversal films
RSX II. The precise one.
The focus in the development of the RSX II was to mainThe RSX II has been technologically equipped with everything that distin-
tain proven quality features and establish new technolo-
guishes a perfect professional colour reversal film – in the reproduction of
chromatic and achromatic colours, in the modulation of similar colour
gies for even greater precision and stability. A more
tones, in image quality parameters sharpness and fine grain and in the
critical gradation characteristics. Its extraordinary proficiency in long and
precise linearity
Agfachrome RSX II
50
100
200
Action
Architecture
Beauty
Documentation
Food
Industry
Landscape
Macro
Fashion
People/Portrait
Reportage
Sport
Still life
Animals
Advertising
Product-specific features
Push/pull 1 stop
Push 2 stops
Large-size projection
Exceptional
reciprocity
characteristics
short exposures as well as processing stability under standard, push and
pull conditions create the preconditions for reliability in day-to-day
of the grada-
practice.
tion curve leads
to precise modu-
The grey balance of the RSX II, for instance, remains very stable
lation of chroma-
despite a quadruple speed increase (Push 2: ISO 400/27°).
tic colours and a
The physically unavoidable reduction in the maximum
neutral reproduc-
densities remain within very tight limits so that the material is
tion of achroma-
suitable for sophisticated projection purposes as well as
tic colours, even
perfect second originals, despite greatly extended processing.
in shadow areas.
Reciprocity effect – RSX II 100
This results in a
Measured exposure
time (s)
finer differentia-
tion of both intense and subdued colours and therefore
higher rendition of colour, greater depth and three-
1/10000 – 1
Exposure correction
(Stops)
none
Filtration
(CC filter)
none
10
Technical Data RSX II 100
60
+ 1/2
2.0
→ lg Sensitivity
Preferred
application
+1
1.0
10B
0
–1.0
In addition, the maxi-
Speed
(ISO)
Colour
saturation
Resolving Power (Lines/mm)
Contrast 1000:1
Contrast 1.6:1
400
500
600
700
→ Wavelength (nm)
Granularty
(RMS-value)
→ Spectral density
dimensionality.
Red
Green
Blue
05B
1.5
Visual grey
1.0
mum densities were
50/18°
very high
125
55
10.0
0.5
Cyan
Magenta
Yellow
increased; for deeper
0
400
blacks together with a
600
700
→ Wavelength (nm)
100/21°
very high
125
50
→ Transfer factor (%)
better definition in critical
500
10.0
shadow areas – and an
150
100
50
30
20
increased push stability.
10
2
3
5
10 3
20
0
50
100
→ Lines (mm)
200/24°
high
110
50
12.0
→ Density
The RSX II shows its
4.0
Blue
Green
Red
extreme proficiency here.
3.0
2.0
1.0
28
29
0
–3.0
–2.0
–1.0
0
+1.0
→ lg Exposure (Lx · s)
Films with scope.
AGFACOLOR
AGFACOLOR OPTIMA II
ISO
35 mm films
135-24
135-36
35 mm x 30.5 m DP
Roll films
120
5 x 120
50 x 120
5 x 220
Sheet films 10 sh.
9 x 12 cm
10.2 x 12.7 cm
13 x 18 cm
20.3 x 25.4 cm
Sheet films 50 sh.
10.2 x 12.7 cm
100
200
400
100/21°
200/24°
400/27°
R
R
R
R
R
R
R
R
R
R
R
R
Portrait 160
Ultra 50
160/23°
50/18°
R
R
R
R
R
R
R
R
R
ISO
35 mm films
135-24
135-36
Roll films
120
5 x 120
50 x 120
5 x 220
R
R
R
R
R
R
AGFAPAN / SCALA
AGFACHROME RSX II
ISO
35 mm films
135-36
35 mm x 30.5 m DP
Roll films
120
5 x 120
50 x 120
Sheet films 10 sh.
9 x 12 cm
10.2 x 12.7 cm
13 x 18 cm
20.3 x 25.4 cm
Sheet films 50 sh.
10.2 x 12.7 cm
30
50
100
200
50/18°
100/21°
200/24°
R
R
R
R
R
R
R
R
R
R
R
R
R
R
ISO
35 mm films
135-24
135-36
5 x 135-36
50 x 135-36
35 mm x 17 m DP
35 mm x 30.5 m DP
Roll films
120
5 x 120
Sheet films 10 sh.
6.5 x 9 cm
9 x 12 cm
10.2 x 12.7 cm
13 x 18 cm
Sheet films 50 sh.
10.2 x 12.7 cm
APX 25
APX 100
APX 400
Scala 200x
25/15°
100/21°
400/27°
200/24°
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
R
31