Film Characteristics Table

Hosted by California Creekin' (a kayaking and rafting guide with photos).

FAQ: What are Kodak High Definition, Royal Supra, and EliteColor?
High Definition and Royal Supra were similar films for US and non-US markets, with pro films Royal Supra 200 and 400 having thicker base plastic than High Definition. Elite Color 200 and 400 seem to be European rebrandings of Ultra Color, with the 200 speed jacked up because 100 speed film doesn't sell in Europe. Kodak 400UC is a better film than HD 400 but usually costs a bit more. History: Royal Gold 100 was discontinued, Royal Gold 200 was improved as RB-3 and later renamed HD 200, Royal Gold and Supra 400 were merged into RC-3 and later renamed HD 400, and Supra 800 was renamed Royal Supra 800 without major change. There might be minor emulsion differences for specific markets. Advantix APS films share emulsion technology.

FAQ: How about Fuji Super HQ and Superia?
Super HQ is from excess production capacity and could be anything; Fuji has never issued a datasheet for it. Superia is their normal consumer line but is much less consistent than Fuji professional films such as NPS, NPH, and NPZ. Nexia APS films share emulsion technology with Superia.

Sorted by grain, then resolution, then sharpness. Discontinued films are marked by “old” before their names. Kodak print films are listed separately because the manufacturer does not report RMS, resolution, or sharpness numbers.

                              resolution lp/mm        under     characteristic
                       grain  at contrast  sharpness  over   curve max density  emulsion
                         RMS  1.6:1 1000:1   100%  latitude  blue   green  red   code

Fuji Pro 160S            3      63    125     20     ?/?     2.5 +c 2.3    2.0   160NS
Fuji Pro 160C            3      63    125     20     ?/?     2.7 +c 2.5    2.2   160NH
Agfa Portrait 160       >3.5¹   60    150     11    -1/+3    2.7    2.3    1.8   XPS
Agfa Ultra 100           3.8    60    140     12    -2/+3    3.0    2.5    2.1   Ultra100
old Ektar/ Royal 25      4      80    200º    18    -1/+1    2.8    2.3    1.8   PHR/RZ
Konica Impresa 50       <4      63    160     25    -1/+2    2.7    2.2    1.6   IMPRSA
Fuji Reala 100          <4      63    140²    20    -3/+4    2.7 +c 2.3    2.1   CS-6
old Fuji Reala classic   4      63    125     20   -1½/+4    2.7 +c 2.3    2.1   CS-2
Konica Cent_Super 100    4      63    125     22    -2/+3    2.9    2.4    1.9   C_100
Konica Centuria 100      4      63    125     22    -2/+3    2.9    2.4    1.8   C_100
Konica Pro 160           4      63    125     22    -1/+3    2.6    2.2    1.6   ?
Fuji NPL 160 tungsten   >4  ¹   63    125     20   -1½/+3    2.9 +c 2.4    1.9   NPL
Fuji NPS 160            >4  ¹   63    125     20   -1½/+3    2.6 +c 2.2    1.7   NPS
Fuji Superia 100         4      63    125     19    -2/+2    3.1 +c 2.7    2.4   CN-12
Fuji NPC 160             4      60    125     22   -1½/+3    2.4 +c 2.3    2.2   NPC
Agfa Vista 100           4.0    60    130     15    -2/+3    3.0    2.5    2.1   V_100
Agfa Optima new 100      4.0    50    140     16      ?      3.0    2.6    2.2   100-Y
Agfa Optima II 100       4.0    50    140     16    -2/+3    3.0    2.6    2.2   O_100
old Agfa HDC 100+        4.0    50    130     15    -2/+3    3.1    2.5    2.2   H100-2
old Agfa Ultra 50        4.3    50    140     18    -2/+1    3.2    2.8    2.4   Ultra50
Agfa Vista 200           4.3    50    130     14    -3/+3³   2.8    2.4    2.0   V_200
Agfa Optima new 200      4.3    50    130     14      ?      2.8    2.4    2.0   200-Y
Agfa Optima II 200       4.3    50    130     14   -1½/+3    2.8    2.4    2.0   O_200
Agfa Vista 400           4.5    50    130     18   -2½/+5³   3.2    2.8    2.3   V_400
Agfa Optima new 400      4.5    50    130     18      ?      3.2    2.8    2.3   400-Y
Agfa Optima II 400       4.5    50    130     18    -2/+3³   3.2    2.8    2.3   O_400
old Agfa HDC 400+        4.5    50    130     18    -2/+3³   3.2    2.5    2.2   H400-2
old Agfa HDC 200+        4.5    50    130     14   -1½/+3    3.2    2.5    2.2   H200-2
Fuji Superia 200         4      50    125     22    -2/+2    3.0 +c 2.7    2.3   CA-6
Fuji new! NPH 400        4      50    125     12   -2½/+5    2.7 +c 2.4    1.9   NPH *
Fuji Press/Superia 400   4      50    125     15    -2/+5    3.0 +c 2.7    2.3   CH-7
Konica Cent_Super 200    4      50    100     20    -2/+3    2.9    2.4    2.0   CS_200
Konica Centuria 200      4      50    100     18    -2/+3    3.3    2.7    2.4   C_200
Konica Centuria Pro 400  4      50    100     18    -2/+3    2.9    2.6    2.0   CS_400
Konica Cent_Super 400    4      50    100     18    -2/+3    3.2    2.7    2.4   CS_400
Konica Centuria 400      4      50    100     17    -2/+3    3.2    2.7    2.4   C_400
Fuji old NPH 400         4      50    100     11   -1½/+4½   3.2    2.7    2.4   NPH
Fuji Press/Superia 800  <5      50    125     13   -2½/+5    3.2 +c 2.8    2.5   CZ-5
Fuji NPZ 800            <5      50    115     11   -3½/+5    2.6 +c 2.4    2.2   NPZ
Konica Cent_Super 800    5      50    100     16      ?      3.4    2.8    2.4   CS_800
Fuji NHG II 800          5      50    100      7   -3¼/+4    3.2    2.8    2.5   NHGII
old Fuji Superia 800     5      50    100      7   -2½/+4    3.1    2.7    2.4   CZ-3
Agfa Vista 800           5.0    40    110     17    -2/+5³   3.2    2.9    2.4   V_800
Konica Centuria 800      5      36    100     16    -2/+3    3.3    2.8    2.4   C_800
Konica Cent_Super 1600   6      50    100     14      ?      3.4    2.7    2.4   C_1600
Fuji Press/Superia 1600  7      45     90     10    -2/+4    3.0 +c 2.75   2.5   CU-3
Konica 3200 @1600        9      40     80      6    -1/+3    3.0    2.6    2.2   SRG
old Fuji HG 1600        10      40     80      8   -1½/+3    3.1    2.7    2.1   CU-1
                                                                  c = cyan layer

                  Kodak PGI   resolutionº   sharp  latitude  blue   green  red   code

old Ektar/ Royal 25     <25     80    200    exHi   -1/+1    2.8    2.3    1.8   PHR/RZ
old Supra 100            27      ?      ?    exHi   -2/+3    3.0    2.5    2.0   Sup100
old Royal Gold 100       28      ?      ?    exHi   -2/+3    3.0    2.5    2.0   RA-2
UltraColor 100           31      ?      ?     24    -4/+4    3.0    2.5    2.0   UC100
EliteColor 200           32      ?      ?     24    -3/+5    3.0    2.5    2.0   UC200
old (Royal) Supra 200    32      ?      ?     24    -2/+3?   3.0    2.5    2.0   ?/RS200
High Definition 200      32      ?      ?    exHi   -2/+3?   3.0    2.5    2.0   HD200
Portra 100 tungsten      33      ?      ?    exHi     ?      3.0    2.5    2.0   100T
Portra 160 NC            36      ?      ?     32    -2/+3    2.8    2.3    1.8   160NC
old Pro 100              36      ?      ?    exHi   -2/+2    2.8    2.6    1.9   PRN
old Supra 400           >36¹     ?      ?    vHi    -2/+5    3.2    2.7    2.2   Sup400
old Pro 400 MC          >37¹     ?      ?    vHi    -0/+3    2.7    2.3    1.9   PMC
old Vericolor 3 160      39      ?      ?     18    -0/+3    2.8    2.5    2.0   VPS
old (Royal) Supra 400    39      ?      ?     22    -2/+5?   3.1    2.6    2.1   ?/RS400-2
High Definition 400      39     50      ?    vHi    -2/+5    3.1    2.6    2.1   HD400
old Ektapr Multispeed   >39¹     ?      ?    vHi    -2/+4    3.3    2.8    2.3   PJM-2
Portra 160 VC            40      ?      ?     30    -2/+3    3.0    2.5    2.0   160VC
Portra/ UltraColor 400  <40²     ?      ?     22    -3/+5    3.1    2.6    2.1   400UC
EliteColor 400           40      ?      ?     22    -3/+5    3.1    2.6    2.1   UC400
old Royal Gold 200       41      ?      ?    exHi   -2/+3    3.0    2.5    2.0   RB-2
old Ektapress 400        41      ?      ?    vHi    -2/+5    3.3    2.8    2.3   PJ400
old Royal Gold 400       41      ?      ?    vHi    -2/+3    3.3    2.8    2.3   RC-2
old Pro 400              42      ?      ?    vHi   -1½/+2    3.0    2.5    2.0   PPF
Proimage/ Profoto 100    43      ?      ?    vHi    -2/+3    3.2    2.6    2.0   P_100-5
Portra 400 NC            44      ?      ?     26    -2/+4    2.9    2.4    1.9   400NC
Bright Sun Gold 100      45      ?      ?    vHi    -2/+3    3.2    2.6    2.0   GA-6
Sun & Flash Gold 200     47      ?      ?     hi    -2/+3    3.2    2.6    2.0   GB-6
Portra 400 VC            48      ?      ?     16    -2/+3    3.1    2.6    2.1   400VC
Max Versatility 400      48     50      ?     hi    -2/+4    3.2    2.6    2.1   GC-8
new Portra 800           48     50      ?     20    -3/+5?   3.2    2.6    2.1   Por800
Max Versatility + 800    48      ?      ?     hi    -3/+5    2.9    2.7    2.3   GT-4
Max Versa+ (Zoom) 800   >48¹    40      ?     hi    -2/+5    3.2    2.6    2.1   GT-3
old Gold Max 400         49      ?      ?     hi    -2/+3    3.2    2.6    2.0   GC-6
(Royal?) Supra 800       50      ?      ?     hi    -3/+6    3.2    2.6    2.1   Sup800
old Portra 800           50     40      ?     hi    -2/+5    3.2    2.6    2.1   Por800
old Ektapress 800        53      ?      ?     hi    -1/+5    3.2    2.4    2.1   PJ800-2
old Gold Max 800         57      ?      ?    med    -1/+5    3.2    2.5    2.1   GT-2
old Pro 1000             57      ?      ?    med    -1/+2    3.0    2.5    2.0   PMZ
old Royal Gold 1000      57      ?      ?    med    -1/+2    3.0    2.5    2.0   RF
old Ektapress 1600       57      ?      ?    med      ?      3.0    2.5    2.0   PJC

        B&W; films       RMS    resolution   sharp  latitude  blue  green   red   code

Gigabitfilm 25 B&W;        4     90¤   900      ?      ?      Rodinal             Copex
Gigabitfilm 40 B&W;        5     90¤   720      ?      ?      Rodinal             Copex
Tech Pan 25 B&W;           5     85¤   320     40    -1/+2    Technidol 1.2-1.8   TP
old Agfa Pan 25 B&W;       7     80¤   200     21    -1/+2?   Refinal 6min 2.6    APX25
Fuji Neopan 100 B&W;       7     60    200      ?      ?      ?                   Acros
T-Max 100 B&W;             8     63    200     50    -2/+3    T-max dev 1.9-3.1   TMX
Kodak BW400CN C-41       <9     50?   125?    20    -2/+4    3.1    2.6    2.1   BW400CN
Agfa Pan 100 B&W;          9     ?     150     17    -2/+3?   Refinal 6min 2.6    APX100
Ilford XP2 Super C-41     9?    50?   125?    15?   -2/+4    lux 1 toe, 1.9      XP2
Portra B&W; 400 C-41       9     50?   125?    15?   -2/+3    3.1    2.6    2.1   400BW
T400CN B&W; C-41           9     50?   125?    15?   -2/+4    2.5    2.2    2.0   TCN
B&W; Select 400 C-41       9?    50?   125?    14?   -2/+4    3.1    2.5    2.0   BWC
Tri-X 400 B&W;           9-16    50    100     25    -1/+3    T-max dev 1.6-2.9   TX
T-Max 400 B&W;            10     50    125     30    -2/+3    T-max dev 1.5-3.0   TMY
Fuji Neopan 1600 B&W;     16     ?     ?       ?       ?      Acutol dev 1+14
old Tri-X 400 B&W;        17     50    100     25    -1/+3    T-max dev 1.6-2.9   TX
T-Max P3200 @1000        18     40    125     16    -3/+3    T-max dev 1.8-2.9   TMZ

        slide films     RMS   resolutionº   sharp  latitude  blue  green   red   code
                                                   <
Fuji Astia 100F           7    >60   >140     8      ?/?     3.5    3.5    3.3   RAPF
Fuji Velvia 100F          8    <80¹   160¹   14     -1/+1    3.7    3.8    3.4   RVPF
Fuji Velvia 100 (Japan)   8    <80¹   160¹   14     -1/+1    3.7    3.8    3.4   RVP100
Fuji Provia 100F          8     60    140    14     -1/+1    3.6    3.4    3.3   RDP3
Fuji new Sensia 100       8     60    140     8      ?/?     3.3    3.3    3.1   RA
Ektachrome 100g           8     55?   125?   10     -1/+1    3.8    3.6    3.2   E100G
Ektachrome 100gx          8     55?   125?   10     -1/+1    3.8    3.6    3.2   E100GX
new EliteChrome 100       8     55?   125?   10     -1/+1    3.8    3.6    3.2   EB-3
Fuji Velvia 50            9    <80¹   160    21     -1/+1    3.7    3.8    3.4   RVP
Kodachrome 25           9-11    63    100    24     -1/+1    3.5    3.6    3.8   KM
Kodachrome 64          10-12    63    100    18     -1/+1    3.4    3.5    3.7   KR
old Fuji Provia 100      10     60    140    11     -1/+1    3.6    3.4    3.3   RDP2
old Fuji Astia 100       10     55    135    10    -1¼/+1¼   3.5    3.4    3.3   RAP
Fuji Sensia II 100       10     55    135    10    -1¼/+1¼   3.5    3.4    3.3   RA
Agfa RSX 50              10     55    135     9     -1/+1    3.4    3.9    3.5   RSX2
Ektachrome 100s          10     55?   125?   16     -1/+1    3.8    3.6    3.3   E100S
Ektachrome 100sw         10     55?   125?   16     -1/+1    3.8    3.6    3.3   E100SW
EliteChrome 100          10     55?   125?   16     -1/+1    3.8    3.6    3.3   EB-2
Agfa RSX 100             10     50    130     7     -1/+1    3.4    3.9    3.5   RSX2
Agfa CTprecisa 100       10     50    130     7     -1/+1    3.4    3.9    3.5   CTp
Fuji MultiSpeed @200     11     55    135    10     -1/+1    3.2    3.4    3.0   RMS
old Fujichrome 100       11      ?      ?     ?     -1/+1     ?      ?      ?    RD
Konica Chrome R-100      11     50    125     8     -1/+1    3.3    3.2    2.9   R100
Agfa Scala 200 B&W;       11     50    120     6     -1/+1    gray only 3.0 std   200x
Ektachrome 100vs         11     50    100    11     -1/+1    3.7    3.5    3.2   E100VS
EliteChrome EC 100       11     50    100    11     -1/+1    3.7    3.5    3.2   EBX
Ektachrome 100+          11     50    100     8     -1/+1    3.8    3.5    3.1   EPP
Ektachrome 100           11     50    100     7     -1/+1    3.7    3.4    3.1   EPN
Ektachrome 200           12     50    125     5    -1½/+1½   3.7    3.6    3.2   E200
EliteChrome 200          12     50    125     5    -1½/+1½   3.7    3.6    3.2   ED
Agfa RSX 200p            12     50    120     6     -1/+1    3.4    3.2    3.4   RSX2
Agfa CTprecisa 200       12     50    120     6     -1/+1    3.4    3.2    3.4   CTp
Fuji Sensia [3] 200      13     60    140    12     -1/+1    3.4    3.2    3.1   RM > 957102
Fuji MultiSpeed @400     13     55    135    10     -1/+1    2.9    3.2    2.7   RMS
Fuji Provia 400F         13     55    135     8     -1/+1    3.4    3.3    3.2   RHP3
Fuji Sensia [3] 400      13     55    135     8     -1/+1    3.3    3.2    3.1   RH > 258404
Fuji Sensia II 200       15     50    125     7     -1/+1    3.4    3.2    2.9   RM
old Fuji Provia 400      15     40    125     5     -1/+1    3.3    3.2    3.1   RHP
Fuji Sensia II 400       15     40    125     5     -1/+1    3.3    3.2    3.1   RH
Kodachrome 200         16-19    50    100    16     -1/+1    3.1    3.2    3.5   KL
EliteChrome 400          19     50    125     3     -1/+1    4.0    3.4    3.2   EL
Ektachrome P1600       17-38    63     80     3     -1/+1    2.8    2.9    2.6   EPH
Fuji Provia 1600         25     40    100     7     -1/+1    2.6    2.4    2.2   RSP

¹ These films seem grainier or lower-res than their manufacturer ratings
² Reala seems > 125 lp/mm; 400UC seems < 40 PGI; RAPF exceeds RDP3 resolution by 5% 
³ Agfa 400's -1/+3 latitude reported by manufacturer is too conservative
º unreported Kodak numbers from Pop Photo or http://medfmt.8k.com/mf/lenslpm.html
¤ as measured by Erwin Puts, see http://medfmt.8k.com/mf/resolution.html

Data taken from Agfa, Fuji, Kodak (old), and Konica websites, and previously published information, so accuracy cannot be guaranteed. Exposure latitudes of slow films extrapolated from DX codes, but 400+ speed films were tested using a single sun-and-shade scene and judging results from Agfa minilab and HP S10 film scanner. Please e-mail corrections and emendations to me at CreekinYahoo.

Diffuse RMS (root mean square) measures the size of dye clouds, or grain as it was called with black & white film. RMS is simply a measurement of the variability in density using a densitometer trace across an area of even tone. Film with RMS 5 is twice as grainy as film with RMS 4. Resolution is lower in dark (low-contrast) areas than in bright (high-contrast) areas, so is measured at 1.6:1 and 1000:1 contrast levels, specified in line pairs per millimeter (lp/mm); double this number to get dots per millimeter. Sharpness is measured by MTF (modulation transfer function) at different values of lp/mm; numbers show where MTF crosses below 100%. Characteristic curves measure film contrast and color saturation. Maximum values for blue, green, and red are listed as a rough guide to the contrast of different films.

For a complete list of slide films by speed, see this table by R.T. Dowling. Slide film RMS measures differently than for print film, because RMS is correlated with contrast and slide film is contrastier. Divide slide film RMS by 2.5 to get a rough equivalent. I believe B&W; film RMS is comparable to slide film, maybe a bit lower. RMS 4.0 ~= PGI 28, RMS 4.5 ~= PGI 41, and RMS 5.0 ~= PGI 53, but the equivalence is not linear and there seems to be a lot of slop in the reporting of RMS numbers. (Or else RMS does not really measure perceived grainyness; blue sky dotting seems to be mostly a function of low-contrast resolution). Thanks to Michael K. Davis for this conversion formula: RMS = (PGI / 0.5335) ^ (1 / 2.8669).

In his 1997 book Post Exposure, Ctein reports that a typical color negative paper can record about 65 lp/mm, while B&W; paper can reach about 125 lp/mm. This is at odds with the generally accepted wisdom that it is useless to scan prints at more than 300 dpi (only 5.9 lp/mm).

For guidelines about which film to use when, see this Nikonians Film Guide by J. Ramón Palacios. To judge results visually, see Grain Tests for negative and slide film by ZeuS, or ISO 800 Film Comparisons by Rob Miracle. For film scanning it's worth knowing about the phenomenon of Grain Aliasing.


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