AGFA
RANGE OF FILMS
T E C H N I C A L D A T A
AGFACOLOR Vista 100
AGFACOLOR Vista 200
AGFACOLOR Vista 400
AGFACOLOR Vista 800
AGFACOLOR Futura II 100
AGFACOLOR Futura II 200
AGFACOLOR Futura II 400
AGFACHROME CTprecisa 100
AGFACHROME CTprecisa 200
This brochure contains information on the quality and
features of Agfa amateur colour films. More specific data,
figures and charts are given in the appendix.
Agfa colour films are high-grade products for all appli-
cations in amateur photography. The speed ratings
available range from the standard sensitivity, for normal
and very bright conditions, up to high sensitivity for bad
to critical lighting conditions or fast-moving subjects. The
optimum material is therefore available for any situation
which may arise in normal practice.
1
- 1
400
500
General comments Directions for use
Agfacolor Vista & Futura II with Film speed
EYE VISION technology Today s ISO values are a combination of the former ASA and
DIN values. The following table illustrates this point.
A film's colour rendition is governed by a number of factors.
The emulsions' spectral sensitivity or sensitisation is particularly
ISO ASA DIN In comparison to ISO 100/21°
important, when it comes to reproducing true-to-nature colours
100/21° 100 21°
with the maximum accuracy. By means of the EYE VISION
200/24° 200 24° twice as fast
technology incorporated in all the Agfacolor Vista and Futura II
films, it is now possible to match, to a large extent, the films' 400/27° 400 27° four times as fast
sensitisation to the colour perception of the human eye. The
800/30° 800 30° eight times as fast
effect is shown schematically in the following diagrams. The
In principle, all these speeds are for all photographic situations
EYE VISION technology achieves more accurate colour fidelity,
that might occur under normal circumstances (e.g. people,
and largely eliminates the colour falsifications present in films
portraits, landscapes, groups, buildings, holidays, animals,
with conventional sensitisation such as:
plants, flowers, documentation etc.). Nevertheless, it is still
" an unpleasant green cast with fluorescent light (e.g. neon tubes),
worthwhile observing a number of simple rules in the choice of
" a shift towards red in certain blue-coloured flowers (hortensia,
the film speed.
clematis, delphinium etc.),
" the brown rendition of particular green fabric colours,
ISO ISO ISO ISO
" the absence of texture in certain red colours (e.g. roses). 100/21° 200/24° 400/27° 800/30°
Lighting
Spectral sensitivity of the eye
Bright, e. g. cloudless × ×
Medium, e. g. overcast × ×
Weak, e. g. dawn × ×
Moving subject*
Almost motionless × ×
Medium-fast × ×
blue green red
Fast × ×
Lens*
High speed × ×
Low speed × × ×
400 450 500 550 600 650 nm
Flash
(medium light output)
Spectral sensitivity of the film emulsions
Vista & previously Small rooms × ×
Futura II
Large rooms × ×
* Depending on the lighting
Camera setting
blue green red
Modern cameras adjust themselves automatically to the film
speed (by reading the DX code). Cameras without automatic
lighting control must be set manually to the film speed stated
on the pack.
400 450 500 550 600 650 nm
Exposure latitude
Agfacolor Vista 800 Most cameras have automatic exposure control, which sets
the most favourable ratio of exposure time and aperture.
The Agfacolor Vista 800 is the result of a new platform of
Nevertheless, many photographs are not correctly exposed,
photo-chemical technologies. Significant progress in all the
because the automatic control of some cameras cannot cope
fundamental areas of Agfa research has led to a product which
with unusual or critical lighting conditions. Backlit shots are a
achieves an exceptional performance in the principal features
typical example. Without lighting adjustment, the negative or
(the relation of sensitivity to colour rendition, sharpness and
slide may well end up being under-exposed by one or two f-
fine granularity). Some of the components of these leading
stops. Depending on the film type, Agfa films tolerate exposure
technologies are for example:
errors up to 5 f-stops (under-exposure up to 2, over-exposure
" SXM (Surface eXtended Multi-structured) crystals, which
up to 3 f-stops) without noticeable reductions in quality (for
have an extremely efficient light energy yield due to their high
exact figures see "Characteristic values and curves of various
aspect ratio (the ratio between their surface and volume);
films" from page 5).
" six DIR couplers with varying performance characteristics,
which enhance the colour rendition, sharpness and fine Exposure notes
granularity thanks to their exact positioning in the film layers;
When in doubt, it is good to err on the generous side in the
" the integration of colour couplers in the interlayers,
exposure of colour negatives (i.e. stop up = lower f-number),
which increases the number of chromogenic part-layers per
but to be more cautious with slide films (i.e. stop down slightly
colour package to four (instead of three as in the past), and
= higher f-number). In this way you are always on the safe
contributes to increasing the efficiency of the SXM crystals
side: over-exposing a negative film and slightly under-exposing
and finer granularity.
a slide film produces an increase in colour saturation.
2
Daylight Long and short-term effects
Daylight is not just daylight. In the morning and in late afternoon Extremely long or short exposure times can affect the speed
the sun is at an angle. As a result, the light is warmer and and colour balance of the film. This is known as the reciprocity
contains more red. At noon, on the other hand, when the sun is effect.
shining vertically, the light is colder and contains more blue.
The reciprocity effect of AGFACOLOR and AGFACHROME
This quality of the light, which is known as the colour tempe-
films is excellent. If the exposure time is within 1/10 000th and
rature, is measured in Kelvin.
1 second, the colours and speed remain the same. However if
All AGFACOLOR and AGFACHROME films are suitable for the exposure is any longer or shorter, then it may be necessary
use in medium daylight, at a colour temperature of 5 500 to make exposure or colour adjustments (for details see the
Kelvin. If the light is too cold, it can be adjusted with a red filter tables on page 5).
(e.g. R 1.5 or R 3), and if it is too warm, with a blue filter (e.g. B
1.5 or B 3). These corrections should only be used with slide X-ray checks
films.
X-ray checks, which are inevitable before a flight, can
sometimes cause problems. We have found that if an X-ray
Flash
machine is marked Film Safe and the checks do not exceed
Electronic flash-guns and flash bulbs are suitable for medium the usual number, then they do not normally affect a film.
daylight. The guide number of the flash depends on the film Nonetheless films should never be checked in with the normal
speed. Tip: if a subject is dark or far away, you can achieve luggage, but kept with your hand luggage. Visual checks are
better flash photos by stopping up one step. always safer.
This applies in particular to high-speed films, because the
Artificial light
sensitivity of a film to X-rays is proportional to its sensitivity to
visible light.
Artificial light, i.e. light from sources such as photographic
lamps, electric bulbs or fluorescent tubes, has its own
characteristics. Photographic lamps have a colour tempera-
Storage
ture of 3 400 K, electric bulbs 3 200 K.
Remember never to store films under moist or humid conditions.
AGFACOLOR negative films and AGFACHROME slide films
Neither should films be exposed to heat.
are ideal for artificial light. For best results a certain type of
Unexposed films: The cooler an unexposed film is stored, the
filter is required, depending on the light source. However as
longer it will last. Furthermore, we recommend keeping the film
each filter reduces the intensity of the light, this must be
in the original pack, which is moisture-proof (i.e. water-tight),
compensated as follows.
so that the photographic qualities remain stable. Films that
have been stored in a refrigerator should be kept at room
Type of lamp Filter Adjustment
temperature for about two hours before use, as the atmo-
Photographic lamp 80 B + 1 2/ f-stops
3
spheric humidity might otherwise produce condensation on
the cold film. A car glove compartment is not suitable for storing
Electric bulbs 80 A + 2 f-stops
films. If the sun is hot, they can easily develop temperatures of
up to 80°C/175°F. Fumes, such as formaldehyde, can also be
UV blocking filters
harmful. They are released by furniture, cosmetics, adhesives
Each AGFACOLOR or AGFACHROME film contains an and varnish. The camera itself only provides inadequate
integrated UV protection filter which absorbs any invisible UV protection. Instead, put your camera in a polyethylene bag if
radiation contained in daylight. It is therefore not necessary to necessary.
use a UV blocking filter, though it is useful for a physical
Exposed films: Once exposed, a film should be developed as
protection of the lens.
soon as possible. The "latent" image (i.e. the pre-development
exposure) may otherwise deteriorate as a result of long-term
Polarizing filters
storage or unfavourable weather conditions, and this disturbs
the colour balance.
This type of filter is used either for the reduction of reflections,
e.g. on glass and water (though not metal), or for the production
Developed films: The same safety precautions apply to
of certain effects (e.g. a more intensive blue sky). Depending
developed films, i.e. they must be kept in a cool and dry place
on the filter type, the exposure time needs to be increased by
and protected from harmful fumes and direct light.
a certain factor (see the instructions for your camera or filter).
Processing
Colour filters
Film development processes are standardized throughout the
Colour filters are intended for black-and-white photography.
world. Agfa films are process-compatible and are developed
They are not suitable for colour, as they produce considerable
in the following processes:
colour shifts.
AGFACOLOR negative films AP 70/C-41
AGFACHROME slide films AP 44/E-6
3
Sharpness
From production to the finished
International name of the chart: MTF (Modulation Transfer
picture Agfa quality assurance
Function) which defines the sharpness of the image. The higher
Modern production methods and strict inspections ensure that
the transfer factor in %, the lower the loss during transmission
no films are shipped unless they are within Agfa s extremely
of the light.
narrow tolerance limits. To ensure that this high quality standard
References:
reaches the end user, Agfa has incorporated a number of
Exposure: daylight
features to enhance the stability of its products.
Densitometry: visual filter (V)
" High storage stability, which largely prevents any changes
to the qualities of the film during storage, by the retailer or by
Granularity
the customer.
Granularity is the irregular density of an exposed and processed
" Extremely wide exposure latitude, which largely compen-
film surface. The numeric value is based on the RMS (root
sates for any exposure errors that might occur in practice
mean square) method of measurement. The smaller the value,
(e.g. with backlit photographs or a weak flash).
the finer the grain of the film.
" High resistance to processing fluctuations during
References:
development fluctuations which can never be totally avoided,
Exposure: daylight
even if process monitoring is very thorough.
Densitometry: visual filter (V)
Specific product details
Reading: diffused density 1.0 48 µm scanning aperture
The charts and figures shown on page 5 to 8 are briefly
Resolution
explained below, and the conditions of measurement are also
described.
Numeric value which defines the resolution limit for the rendition
of the finest adjacent detail (e.g. lines in a grid). Resolution is a
All the figures are averages of various production runs.
purely visual criterion, affected significantly by the contrast
For some emulsion batches they may vary slightly from
range.
each other, in spite of the very tightly main-tained
tolerances.
References:
Lines per mm with a contrast range of either 1.6:1 or 1.000:1
Spectral sensitivity
Chart to define the colour sensitivity of an unprocessed film. Emulsion design
References:
Each type of film requires an individual emulsion design. The
Equi-energy spectrum schematic diagram below shows the AGFACOLOR Vista 100:
Measured density: 0.5 above minimum density for
Supercoat
colour negativ films
UV filter layer
1.0 above minimum density for
colour reversal films
Blue-sensitive yellow layers
Absorption of emulsion dyes
Yellow filter layer
Chart to define the relative effect of a processed film on incident
light. With colour negative films, it measures the spectral
Green-sensitive magenta layers
sensitization of the subsequent print material, with colour slide
films it measures the viewer s perception under certain defined
standard lighting conditions.
Red filter layer
References:
Red-sensitive cyan layers
Neutral object of medium brightness
Minimum density
Anti-halo layer
Colour density curves
Chart to define the density of dyes in a processed film, depen- Base
ding on the lighting.
References:
µ
Total layer thickness (without base): 16 µ
µm
µ
µ
Exposure: daylight 1/100th sec.
(Other films: see pages 5 - 8.)
Process: AP 70/C-41 or AP 44/E-6
Densitometry: Status A or Status M
Emulsion base
The film base consists of acetyl cellulose and has a thickness
of 120 µm in 35mm films and 110 µm in pocket films. The base
of the films in the Advanced Photo System is made of PEN
(Poly Ethylene Napthalate), and is 90 µm thick.
4
AGFACOLOR Vista 100
The Agfa standard film range
Spectral sensitivity:
AGFACOLOR negative films
2.0
Films Vista 100 Vista 200 Vista 400 Vista 800
ISO 100/21° ISO 200/24° ISO 400/27° ISO 800/30°
System code-no. frames
1.0
135-36 ××××
Blue Green Red
135-24+3 ××××
135-12+3 ××××
0
110-24 ×
0.1
AGFACOLOR negative films for the Advanced Photo System
400 500 600 700
Wavelength (nm)
Films FUTURA II 100 FUTURA II 200 FUTURA II 400
ISO 100/21° ISO 200/24° ISO 400/27°
System code-no. frames
Spectral density:
240-40 ××× 2.0
240-25 ×××
240-15 ×××
Medium density
1.0
AGFACHROME slide films
Minimum density
Films CTprecisa 100 CTprecisa 200
0
400 500 600 700
ISO 100/21° ISO 200/24°
System code-no. frames
Wavelength (nm)
135-36 ××
Sharpness:
150
100
50
20
Characteristic values and curves of the various
films
10
2 5 10 20 50 100
Lines (mm)
Reciprocity effect
Colour density curves:
AGFACOLOR negative films
4.0
Vista 100 Vista 200 Vista 400 Vista 800
3.0
exposure
Blue
1 1 1 1
/10 000 -1 10 /10 000 -1 10 /10 000 -1 10 /10 000 -1 10
reading (s)
Green
2.0
Red
Exposure adju-
0 + ½ 0 + 1 0 + 1 0 + ½
stement (f-stops)
1.0
AGFACOLOR negative films for the Advanced Photo System
0
4.0 3.0 2.0 1.0 0 +1.0
FUTURA II 100 FUTURA II 200 FUTURA II 400
lg exposure (Lx · s)
exposure
Speed: ISO 100/21°
1 1 1
/10 000 -1 10 /10 000 -1 10 /10 000 -1 10
reading (s)
Granularity (x 1000): RMS 4.0
Resolving power:
Exposure adju-
0 + 1 0 + 1 0 + 1
Contrast 1000 : 1 130 lines/mm
stement (f-stops)
Contrast 1.6 : 1 60 lines/mm
Exposure latitude: 2 to +3 f-stops
AGFACHROME-slide films
Layer thickness: 16 µm
CTprecisa 100 CTprecisa 200
DX coding:
Cartridge code: 135-15 = 0 1813 6
exposure
1 1
135-27 = 0 1813 7
/10 000 -1 10 /10 000 -1 10
reading (s)
135-36 = 0 1813 4
Negative code: 113 - 05
Exposure adju-
0 + ½ 0 + 1
Further markings:
stement (f-stops)
Symbols: 4 red squares
Filtration (CC filter) 0 05 Y 0 10Y 05C
Margin marks: AGFA VISTA 100
5
lg Sensitivity
Spectral density
Transfer factor (%)
Density
AGFACOLOR Vista 200 AGFACOLOR Vista 400 AGFACOLOR Vista 800
Spectral sensitivity: Spectral sensitivity: Spectral sensitivity:
2.0 2.0 2.0
Blue Green Red
Blue Green Red
1.0 1.0 1.0
Blue Green Red
0 0 0
400 500 600 700 400 500 600 700 400 500 600 700
Wavelength (nm) Wavelength (nm) Wavelength (nm)
Spectral density: Spectral density: Spectral density:
2.0 2.0 2.0
Medium density Medium density
Medium density
1.0 1.0 1.0
Minimum density
Minimum density
Minimum density
0 0 0
400 500 600 700 400 500 600 700 400 500 600 700
Wavelength (nm) Wavelength (nm) Wavelength (nm)
Sharpness: Sharpness: Sharpness:
150 150 150
100 100 100
50 50 50
20 20 20
10 10 10
2 5 10 20 50 100 2 5 10 20 50 100 2 5 10 20 50 100
Lines (mm) Lines (mm) Lines (mm)
Colour density curves: Colour density curves: Colour density curves:
4.0 4.0 4.0
Blue
Blue
3.0 3.0 3.0
Green
Green
Blue
Red
Red
Green
2.0 2.0 2.0
Red
1.0 1.0 1.0
0 0 0
4.0 3.0 2.0 1.0 0 +1.0 4.0 3.0 2.0 1.0 0 +1.0 4.0 3.0 2.0 1.0 0 +1.0
lg exposure (Lx · s) lg exposure (Lx · s) lg exposure (Lx · s)
Speed: ISO 200/24° Speed: ISO 400/27° Speed: ISO 800/30°
Granularity (x 1000): RMS 4.3 Granularity (x 1000): RMS 4.5 Granularity (x 1000): RMS 5.0
Resolving power: Resolving power: Resolving power:
Contrast 1000 : 1 130 lines/mm Contrast 1000 : 1 130 lines/mm Contrast 1000 : 1 110 lines/mm
Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 40 lines/mm
Exposure latitude: 1½ to +3 f-stops Exposure latitude: 1 to +3 f-stops Exposure latitude: 1 to +3 f-stops
Layer thickness: 18 µm Layer thickness: 19 µm Layer thickness: 22 µm
DX coding: DX coding: DX coding:
Cartridge code: 135-15 = 0 1814 6 Cartridge code: 135-15 = 0 1818 6 Cartridge code: 135-15 = 0 1815 6
135-27 = 0 1814 7 135-27 = 0 1818 7 135-27 = 0 1815 7
135-36 = 0 1814 4 135-36 = 0 1818 4 135-36 = 0 1815 4
Negative code: 113 - 06 Negative code: 113 - 10 Negative code: 113 - 07
Further markings: Further markings: Further markings:
Symbols: 4 red triangles Symbols: 2 red squares Symbols: 2 blue squares
Margin marks: AGFA VISTA 200 Margin marks: AGFA VISTA 400 Margin marks: AGFA VISTA 800
6
lg Sensitivity
lg Sensitivity
lg Sensitivity
Spectral density
Spectral density
Spectral density
Transfer factor (%)
Transfer factor (%)
Transfer factor (%)
Density
Density
Density
AGFACOLOR FUTURA II 100 AGFACOLOR FUTURA II 200 AGFACOLOR FUTURA II 400
Spectral sensitivity: Spectral sensitivity: Spectral sensitivity:
2.0
2.0 2.0
1.0
Blue Green Red Blue Green Red Blue Green Red
1.0 1.0
0
0 0
0.1
400 500 600 700 400 500 600 700 400 500 600 700
Wavelength (nm) Wavelength (nm) Wavelength (nm)
Spectral density: Spectral density: Spectral density:
2.0 2.0 2.0
Medium density Medium density
Medium density
1.0 1.0 1.0
Minimum density
Minimum density Minimum density
0 0 0
400 500 600 700 400 500 600 700 400 500 600 700
Wavelength (nm) Wavelength (nm) Wavelength (nm)
Sharpness: Sharpness: Sharpness:
150 150 150
100 100 100
50 50 50
20 20 20
10 10 10
2 5 10 20 50 100 2 5 10 20 50 100 2 5 10 20 50 100
Lines (mm) Lines (mm) Lines (mm)
Colour density curves: Colour density curves: Colour density curves:
4.0 4.0 4.0
Blue Blue
3.0 3.0 3.0
Blue
Green Green
Green Red Red
2.0 2.0 2.0
Red
1.0 1.0 1.0
0 0 0
4.0 3.0 2.0 1.0 0 +1.0 4.0 3.0 2.0 1.0 0 +1.0 4.0 3.0 2.0 1.0 0 +1.0
lg exposure (Lx · s) lg exposure (Lx · s) lg exposure (Lx · s)
Speed: ISO 100/21° Speed: ISO 200/24° Speed: ISO 400/27°
Granularity (x 1000): RMS 4.0 Granularity (x 1000): RMS 4.3 Granularity (x 1000): RMS 4.5
Resolving power: Resolving power: Resolving power:
Contrast 1000 : 1 130 lines/mm Contrast 1000 : 1 130 lines/mm Contrast 1000 : 1 130 lines/mm
Contrast 1.6 : 1 60 lines/mm Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 50 lines/mm
Exposure latitude: 2 to +3 f-stops Exposure latitude: 2 to +3 f-stops Exposure latitude: 1 to +3 f-stops
Layer thickness: 16 µm Layer thickness: 19 µm Layer thickness: 19 µm
DX coding: 44 - 05 DX coding: 44 - 06 DX coding: 44 - 10
Further markings: Further markings: Further markings:
Margin marks: AGFA FILM/FUTURA II 100 Margin marks: AGFA FILM/FUTURA II 200 Margin marks: AGFA FILM/FUTURA II 400
7
lg Sensitivity
lg Sensitivity
lg Sensitivity
Spectral density
Spectral density
Spectral density
Transfer factor (%)
Transfer factor (%)
Transfer factor (%)
Density
Density
Density
AGFACHROME CTprecisa 100 AGFACHROME CTprecisa 200
The Agfa professional range
This range covers a broad spectrum
Spectral sensitivity: Spectral sensitivity:
of colour negative, colour slide and
2.0 2.0
black-and-white negative films.
Depending on the section of the
range, the available speeds range
1.0 1.0
from ISO 15/25° to ISO 400/27° in
Blue Green Red
the systems/formats 135, 120, 220,
Blue Green Red sheet film and bulk film.
0 0
Agfa professional films have qualities that
are geared entirely towards the require-
ments of professional photographers. They
1.0 1.0
400 500 600 700 400 500 600 700
are produced within extremely narrow
Wavelength (nm) Wavelength (nm)
tolerances, to ensure the maximum
consistency as required by professionals.
Spectral density: Spectral density:
Further details are given in the Profes-
1.5 1.5
sional film technical data brochure (PF).
Visual grey
Visual grey
1.0 1.0
Yellow Magenta Cyan Yellow Magenta Cyan
0.5 0.5
Note
0 0
400 500 600 700 400 500 600 700
The information given here is based on
Wavelength (nm) Wavelength (nm)
the evaluation of typical products at the
time of printing. Slight deviations are
Sharpness: Sharpness:
possible through production tolerances.
150 150
Agfa-Gevaert is constantly endeavouring
100 100
to improve the quality of the products,
and therefore reserves the right to alter
50 50
the product specifications without notice.
Agfa, the Agfa Rhombus, AGFACOLOR,
AGFACHROME and FUTURA are regis-
20 20
tered trademarks of Agfa-Gevaert AG,
Leverkusen, Germany.
10 10
2 5 10 20 50 100 2 5 10 20 50 100
Lines (mm) Lines (mm)
Colour density curves: Colour density curves:
4.0 4.0
Green
Green
Red
Red
Blue
3.0 3.0
Blue
Technical Data AF
Date: 06/2000
2.0 2.0 2nd edition
Agfa-Gevaert AG
1.0 1.0
Communication C.I.
Postfach 10 01 60
D-51301 Leverkusen
0 0
4.0 3.0 2.0 1.0 0 +1.0 4.0 3.0 2.0 1.0 0 +1.0
lg exposure (Lx · s) lg exposure (Lx · s)
Internet: http://www.agfa.com
Speed: ISO 100/21° Speed: ISO 200/24°
Granularity (x 1000): RMS 10.0 Granularity (x 1000): RMS 12.0
Resolving power: Resolving power:
Contrast 1000 : 1 130 lines/mm Contrast 1000 : 1 120 lines/mm
Contrast 1.6 : 1 50 lines/mm Contrast 1.6 : 1 50 lines/mm
Exposure latitude: ½ to +½ f-stops Exposure latitude: ½ to +½ f-stops
Layer thickness: 25 µm Layer thickness: 27 µm
8
lg Sensitivity
lg Sensitivity
Spectral density
Spectral density
Transfer factor (%)
Transfer factor (%)
Density
Density
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