For The Fujifilm Film Fans

The popularity of analog film is often debated, but there is still enough demand to drive fraudulent production and even to save ACROS from being discontinued. That being said not many have taken the time to write about analog Fujifilm in recent years, but Lambdaandy posted an interesting analysis of many old forms of Fujifilm on weibo, which you can read here. Lambdaandy compiled all of his Fujifilm rolls and posted a brief analysis of each with some sample photos to demonstrate the film’s character.

It’s a very long post and the best way to read it is with Chrome’s translate feature if it doesn’t bug out and refuse to translate. I am going to post the translated text below, but be sure to check out the actual post/Updated post for the individual film samples if you are an analog film fan.

Translated Text:

Practical photography – practical photography, it can be said that it is nothing to shoot two, just like taking a picture and sending a microblog to send a circle of friends. In the 1980s and 1990s, Fuji created the FUJIFILM SUPER series. This series is equivalent to the subsequent SUPERIA series and the current C series. It is also the most commonly used type of color negative film that people use most, and it is the most classic consumer film of Fuji consumer. After the film was taken, only the preliminary work was completed. At this time, no image can be seen. It is necessary to develop the film and optically enlarge or scan it into an electronic image to view. The color negative film is used in the Kodak C-41 process standard. As far as the punching process is concerned, as long as the syrup is active and the temperature control is good, it will be stable and a satisfactory final image will be obtained. Color negative film can also increase or decrease the sense, but personally feel as much as possible to increase or decrease the sense, the effect is easy to doubt life.

The main color of the cassette is Fuji Green, with a red and white note. This volume is the most popular volume in the 1980s and 1990s, except for Kim Kodda. The SUPER HR series was released in 1986 and is almost a small update every year. This volume has 135 and 120 rolls, 35mm and 24, respectively. The color texture and grain are almost close to the late SUPERIA film. The photos taken a long time ago are now taken out to see the age that always makes my eyes thick. Feeling, for everyday use, it is very practical photography like the C series. This is a very useful volume, and it doesn’t pick the machine (as it was at the time). This volume is a long time, and the volume you can buy will make you use the spirit to collapse.

The main color of the cassette is Fuji Green, with a larger red and white note. The SUPER HG series was released in 1986. At that time, the fourth layer of photosensitive layer was used, which is more like the flavor of SUPERIA. I think this volume It was born for the test of the SUPERIA big iteration. The information currently found shows only 135 volumes, and only 24 and 36 have been seen. The color texture is almost close to the SUPERIA 100. As long as the light is right, the sharpness and the details are displayed in milliseconds, I always feel that Fuji has a strong codeword in the design of the cassette, so many words, so many fonts, so many font sizes, all still quiet nice.

The main color of the cassette is Fuji Green, and it is equipped with a purple strip in the PRO series. This volume is a US version of the Wal-Mart channel volume. Fuji has many volumes in the United States that rely on the WALMART cassette and rely on its various stores for sale. The importance of it. The information currently found shows only 135 volumes, and only 24 and 36. The guess from HQ may be the abbreviation of HIGH Quality. After all, the purple strip of PRO uses at least that the volume should be a semi-professional film. In terms of color and grain details, I don’t think there is any kind of flavor in the PRO series. The feeling of being a C200 is quite a normal film. There is nothing special about it.

The main color of the cassette is Fuji Green, with cold purple squares and blank characters. This cassette is very modern in design. The geometric pattern and the typesetting of the characters are very flat. The design of this cassette is very special. This volume has only seen 35mm and 36 rolls. The photo quality of this roll is close to the current ordinary 400 rolls. The filming effect is not very delicate or the color is very brilliant. It is more common, but it is a high-speed roll.

One of the most famous film series in the 21st century is SUPERIA. Since 1998, it has been iterating over the SUPER series and has been working on the entire Fujifilm tail. This series includes SUPERIA 100, 200, 400, X-TRA 400, 800 after 2003, VENUS 400 and 800 after the same year, as well as 1600 and NATURA 1600 in the same year, and Japan’s domestic sales in 2009. The SUPERIA PREMIUM 400, together with one of the most classic REALA 100, has been made into the Fujifilm series. In this short period of more than a decade, these top-grade consumer-grade films have gradually stopped production and are slowly being forgotten. Science and technology are running forward every day. There is nothing to be deplorable. The most regrettable thing is that while the film is gradually disappearing, my money has disappeared.

Fortunately, I have used some film. I am glad that I have used some SUPERIA. In the days after generations, I am afraid I can only read various stories about the film in various historical messages.

The series of SUPERIA belongs to a kind of film that I love. The color is real, the particles are fine enough. With a better camera, the sharpness is also better. Although they all have a little bit of Fuji Green, it seems that this tone is also defined. Asians are introverted and widowed.

The main color of the cassette is Fuji Green, with orange-red strips, the most commonly used one, the color and the particles are not said, with Fuji’s faint blue-green, the shooting is a little melancholy. It was born in 1998 until it was discontinued in 2009 (and has since been supplied to the market). The grain texture is more modern and closer to digital imaging (perhaps the opposite). Both 135 and 120 have produced rolls. The historical position and ability of this volume is not replaced by c100, it is not expensive.

The main color of the cassette is Fuji Green, with red and purple strips, a day-to-day outdoor daylight-type film, which has almost the same performance as 100. It is also a volume that continues to be produced after 100 production stops, but it has not been adhered to for too long. After all, 200 and 100 are only one touch sensitive, and there is almost no difference in sharpness, color, and granules, so 200 is determined to become the final replacement of the 100 productivity volume. The volume was discontinued in 2017, after which the 4th color layer was removed, and the old technology c200 was used to reverse iteration, but to be honest, the current c200 is not worse than the SUPERIA 200, but it is always driven by the heart. The particles are more obvious and the color is slightly stiffer. This volume is available in both 110 and 135 types. The 35mm cassette was updated in 2003, and the entire series has been optimized visually, and the entire SUPERIA series has been unified. Here, I would like to say that in every region of the world, Fuji will use the local text as much as possible to make a localized design of the cassette (as Kodak and other brands do the same), and now with the global design of various products, the region The implementation is no different, so when you do not stop production in China, you are not the SUPERIA of the Chinese cassette, it may be parallel.

The main color of the cassette is Fuji Green, with sky blue strips. In 2003, X-TRA was born. Now the previous SUPERIA 400 has been replaced, adding new photographic technology, and the skin color is more powerful, but in the end, This is still the effect of 100, but the speed is high and the particles are large. In contrast, I prefer the quality of 100 and 200. After all, 400 belongs to high-speed film, and it kills medium-speed film in use. When it comes to vitality and sales profit, X-TRA 400 has to be the longest-lived SUPERIA. It was not until 2019 that after a period of suspension in other regions, the supply was officially stopped in Japan. It can be seen that Fuji cut the last bundle of leeks from the 400 captain. This film is available in 135 and 120 styles. X-TRA can be more than 100 and 200 in the 35mm cassette design. There are American version, supermarket version, Japanese version, etc. Some versions also remove some photosensitive layers, but still use X- The name of TRA, after all, is a big shipment, you can shoot it, no one cares.

The main color of the cassette is Fuji Green, and the final unified visual box design. It has been around since 2000 and was re-released as X-TRA in 2003, still in the standard SUPERIA color. From the grain texture can be directly judged to be ultra-high-speed film, the particles are really big. No special needs or less use of such high sensitivity, large particles, very spicy eyes. Film is different from digital. Today’s 800 digital sensitivity is far more delicate than film, and it can basically be used as the sensitivity for everyday use. The physical properties of the film determine that he can’t compare the development of CCD. This volume has been discontinued until 2016, it is not easy, so the consumption power determines the survival of a product, more people prefer to consume high-quality negatives. This volume is only 135 type.

The main color of the cassette is Fuji Green, and the final unified visual box design. Color and texture are still SUPERIA, no need to repeat, after the emergence of NATURA is also the same root, this was born in 2000, the vitality is better than 800, until 2017 is discontinued, it can be seen that photography consumers are very fond of high speed, super high speed Film, there is no limit to the usage scene. Personal opinion, high sense does not mean that it must be used at night. When the light is bright, he can use it better. The high-sensing volume has to say that it is transported and stored. It is stored below 10 degrees and less than the ray machine. This volume is only available in 135 types.

The main color of the cassette is Fuji Green, with a blue-purple curved strip and black curved strips. This volume is a high-speed volume that was sold in Japan in 2009. In a sense, she is the X-TRA 400 in Japan. Fuji may want to make PREMIUM 400 more advanced. It is called a name. To the roots, he is still an X-TRA, but Fuji in this film’s training, claims to better correct the Japanese skin color, so that the effect of shooting portraits is more natural, so the price is double that of X-TRA. This roll only produces 35mm negatives, with 27 and 36 sheets.

I remember that in 2003, Kodak’s digital camera was used. The slightly embarrassing effect is really no better than his own film, but after all, digital technology has made irreversible changes to the image collection, convenient and fast. In the same year, Fuji introduced a film series named after Venus, VENUS film, which sounded like a god with the same brilliance. This volume has a total of two photos 400, 800. VENUS appeared as an ultra-fine grain film (400 has 400 details, 800 has 400 details), and wants to achieve a new height in high-speed and ultra-high-speed details, but digital technology is next In the past few years, this volume has been quietly shaped into an invisible wall. Therefore, VENUS is basically sold only in Japan and a small part of Asia. Today, he has to become an alternative to X-TRA 400&800. Rolled up, I hope this volume should not be discontinued too early.

The main color of the cassette is Fuji Green, with a deep purple curved strip. The volume of this volume is fine, but unlike the standard film grain of other films, it is more like the stacking of digital noise, and it is as delicate as a dot matrix. The texture is different from the usual negative film, the color is still consistent with the Fuji green tone, and then covered with a layer of super-violet light. It is wonderful to say that he is very good, but he always feels a little uncoordinated. However, watching the time is long, I really like this tone. This volume is also a lot of latitude, owing to 3-4 files, all feel that it can be pulled back, it is indeed a very digital volume. This volume is only available in the 135 type, and the 35mm film has 27 and 36 sheets.


The main color of the dark box is Fuji Green, with a lemon-yellow curved strip. The particles are really fine. It is almost the same as the official propaganda. The details are almost catching up with the 400. The color is the same as that of the same door. The film was discontinued, and soon Fuji could only produce this film. This type of volume is only 135, divided into 27 and 36.

There are always a few favorite things in the world that can’t be left behind. There are always a few of the most loved films in the film era. This is one of them, only one of them. REALA 100 is a film that cannot be forgotten.

The main color of the cassette is Fuji Green, and it is equipped with REALA’s unique gold decorative strip, which makes up the most classic color negative cassette. With the birth of SUPERIA in 1998, REALA 100 was quietly born in the next small period of time. This is also Fuji’s first color negative film with a fourth layer of cyan photosensitive layer. It also has extremely fine particles. Ultra-high performance with minimal contrast. This volume gives me the most sense of beauty. It makes me think that he makes the photo a touch of champagne. From there, there is a smell of sulphur dioxide. This is probably the reason why I love this volume. . But such a perfect volume was also dead in 2012, and a small amount of inventory was slowly digested in 2013. This is also the case, and the price at the time of his departure was speculated at a price that could hardly be owned. This volume is available in 135 and 120 formats. You can buy it and earn it. You can experience the most brilliant flavor of the film era.

As one of the only film manufacturers, Fujifilm has quietly put its professional negatives on the shelf. It used to use a fairly wide range of PRO series, which gradually faded out of the current niche market. Fortunately, it is now OK. I bought the PRO160NS and PRO400H. The PRO series was iterated once. [Before 2004, it was called NPS, NPC, NPL (tungsten light film, others are daylight type), NPH, NP]. It is generally recognized that this is not a change of the shell, it is to change the name, and do a new design of the cassette. In 2004, I may realize that I haven’t sold out for many years, and I finally struggled.

The main color of the cassette is Fuji Green, with a very professional purple strip. The base number of this volume is PN400N. Only 135 are known, and only 36 are seen. It is only sold in Japan, and the output is small. The ones that can be seen on the market are all flowed out from Japan. In fact, there is no difference between the characteristics and the PRO400H. They are all replacement products of NPH400. For the specific effect, please refer to the PRO400H. .

The main color of the cassette is Fuji Green, or it is equipped with a very professional purple strip, big gold. NPH400’s pro-son, there are 135 and 120 volumes, most of the 35mm volumes sold in the region are 36, global goods, is also a kind of PRO volume, which belongs to high-speed film (film age is really poor, now a mobile phone) It used to be ultra-super ultra-super high-sensitivity.) The color is still very Fuji. Under bright conditions, the particles are still close to 200 sensitized. Under low light, the particles will be more obvious, and the dark part will also have a loss. If it is underexposed or overexposed, the dark part will make you doubt life. The PRO series is optimized for human skin. For the PORTRA of KODAK, I personally prefer the foundation of the kind of bomb that PORTRA expresses skin tone, Skintone. So you can think of the PRO series as Fuji’s portrait volume.

The main color of the cassette is Fuji Green, the professional purple strip and the gold-colored strip make up this professional 800 volume. This volume is the predecessor of PRO 800Z. The color feeling is consistent with the particle and the descendant 800Z. The grain texture is The superior products in each high-sensitivity volume have enough detail as long as the light is good enough. It is a kind of film that I like very much. It is relatively short-lived, only from production in 2002 to 2004. Both 135 and 120, 35mm are basically 36 sheets.

The main color of the cassette is Fuji Green, which is also equipped with a very professional purple strip. NPZ800’s pro-son, NPZ800 was released in 2002. In 2004, it was named PRO800Z. It is a professional ultra-high-speed film called natural color. It is also a volume in the Fuji portrait series. The particles are not too 800, more than the other 800 particles. Finer, the sharpness of the details is slightly close to 400, and the color and texture are personally biased towards Fuji’s Reala, but not as beautiful as Reala’s optimization, the color is indeed more natural and true. The volume has 135, 120, and 36 of 35mm. If the ultra-high volume is not well transported and stored, the particles will weigh a lot.

Fuji once had a film series that has been publicly sold in an unofficial form – PROPLUS film, which he claims to be professional film and still a portrait lens, has been contending with Kodak’s proimage, the price of the two rolls is not much different, and the performance is almost the same. (In addition to the color cast on each of the characteristics of each family). Some people say that he is exactly the same as SUPERIA, but as you can see from some information, he made a certain color correction based on the yellow skin of Asians. This kind of roll has two production sites, one is Japan and the other is India, so you can see a volume of PROPLUS with strange words on the market. From the sales area, this volume has been basically distributed to some underdeveloped areas, and now you can see the retained links on the Fuji official website in Mexico. Said that he is a professional volume, perhaps just a literal understanding on the dark box, in that year he was even cheaper than the SUPERIA 100, then I really do not understand how professional this professional is. This volume is still a little worse in sharpness, and the performance is not outstanding, but this volume is based on the user base of the year, good and crazy. This series has two generations, both of which are 35mm volumes. The specific history and provenance are no longer available.

The main color of the cassette is Fuji Green, with an orange-red strip. The color performance is closer to SUPERIA 100. When the exposure is more than two or three, the volume will be cramped and biased towards many strange colors. The sharpness is not so bad. Ok, a kind of law-abiding volume, but the low price of the year made this volume quite good.

The main color of the cassette is Fuji Green, with a cold purple strip. I think there is not much difference between the PROPLUS II 100 and the PROPLUS II 100. There is really nothing to say. For the negative film, the difference between the first and the second, especially Fuji’s photosensitive technology, can almost And line up. Of course, in the film era, two product lines, earning two dollars, nothing bad.

There are always special moments in life, maybe when you are drunk, maybe when you are farting, it may be when you get lost. Just like these special moments, Fuji will also bring you some very special but very ordinary films, adding a very relaxed taste to your time.

Sensitivity 800 is the standard for mainstream high-speed film in the era of color negative film. Many companies have various types of EI800 film, but FUJIFILM seems to have always been a benchmark, whether it is the lowest-end FUJICOLOR, the professional PRO series, and then all kinds of various In the small category, there are 800 photographic films. There are two types of film that seem to be showing two extremes.

The main color of the cassette is Fuji Green, with a khaki strip. This is a kind of journalist’s volume, or literally can be understood as a media-specific volume. The release version of this volume is 35mm36 sheets/volume X20 volume big box packaging, which tells you lively that this volume is a fast continuous shooting, no need to News, sports, interviews, not even shooting, I am sorry that you bought such a big box. This volume can’t be said to perform well from color to particle to detail. His color is as real as possible, and the granules are not much different from the common 800. There are no details in the dark, but it is enough for general news interviews and daily manuscripts. After all, this volume is not expensive. The quality is in line with the positioning. This volume was discontinued in 2008 and has been dragging production until 2009. In my heart, this volume can be directly removed from the press, and it can be sold as c800.

The cassette is a Fuji Green. In 1949, “Photo-Pac” created the Disposable camera, but it was finished at the time and then mailed and rinsed. Until 1986, Fuji began to launch the true Single-Use Camera. Also called QuickSnap, which is the camera used in this QuickSnap film. I believe that many people have been photographed by this camera when they were young, and of course they still have to buy it now. This kind of thing really satisfies many consumers who can’t afford a camera and want to take pictures without a camera. But in the era of mobile phones, this kind of camera machine is also launched. I am afraid I have to hahaha. The effect of this volume is quite unexpected. The color perception and the granules are still outstanding, and more than expected, Fuji may not want this cheap machine to smash his signature (this volume is I removed from the disposable camera, using other cameras to shoot) , used a relatively good photosensitive material. Only 35mm rolls, most of which are 24, 27, 36.

For color negatives, sensitivity 100 and 1600 are two peaks, which are also the senses of the two horizons, as well as the beginning and end of the color negative.

The main color of the cassette is Fuji Green, with a red hollow wide note. This is a long-lasting volume, which is earlier than the year I was born. It can be said that it was the time machine of the 70s and 80s. You can see it that has been passed down to the present. A lot of old color photos, a lot of them are used as a carrier to let you see history. Of course, he is also the predecessor of the SUPER series. He is listed as the HR series. It contains 100-1600 sensitivities. This volume has 135 and 120 types. 35mm film has a variety of sheets. In that era, there were many kinds of needs, of course. The 36-piece is still the mainstream. This volume has been produced until the early 1990s, and it has existed for a while at the same time as the SUPER series. Flushing for this kind of historical volume, to peace of mind, no one knows what climate you have experienced in this volume, so there is no evaluable color effect and granules, ecstasy. There was still a very horizontal HR1600 in the year. After many iterations, SUPER HR is now Fuji’s archive and surveillance film.

The main color of the dark box is pink and green, and the word Fuji Green is commonly used in the country. It is said to be used in conjunction with Fuji’s own moonlight machine to have a moonlight taste. In fact, this volume is a taro film for Fuji Moonlight. Her film base is SUPERIA 1600 (both collinear production in 2003). NATURA 1600 was officially discontinued in 2018. Although it can be bought, it is also in a state of gradual disappearance. When the volume is the most expensive, it can sell 50 volumes in China (not including the super-high price after the production is stopped). For such a good profit, Fuji has no reason not to cut the bundle of leeks. Don’t think that he is called moonlight and still 1600 light, you can really shoot at night, wake up, in the case of insufficient light, any photosensitive volume will increase the particles and a lot of loss of dark details. For this ultra-high-speed sensitized roll, transportation and storage are more critical than rinsing, high cold and high heat alternate and multiple times over security inspection machines, basically this volume is similar to the 6400 sensitivity particles. Use it and cherish it. 35mm film, 36 sheets.

A lot of things happened in the last years of the twentieth century. Hong Kong has returned, Macao has returned, the euro has circulated, and digital equipment has come. Fortunately, traditional film still exists as the main force. At the same time, Fujifilm has updated most of its own film products, but the FUJICOLOR series, which has no suffixes, has been pieced together, but from the code on the film base, the more widely known name is Fuji C series, c100, c200. , c400 (which is also known as the business volume (sold in Japan), photo-revolutionary, see the film base can be said to be c series). This series of volumes is also the most common and common volume available today.

The main color of the cassette is Fuji Green, the main font is black, and the national text and design typesetting cassettes are available, but the unique logo is FUJICOLOR+ sensitivity number. The volume is only 135, the number of sheets is 12, 24, 27, 36, and the 12 hearts have never been seen. The color is very regular. After the brown film base of the color negative film is chasing the color, it is basically a very positive color. It will not be said where the deviation is. The particle and the sharpness are not much worse than the superia in the case of the light. Tolerance is not good, this can’t ask too much. As long as the syrup of the rinse is active enough, the volume will not have the color of the bun, and I have seen many of the bases that have been washed out. Oh, it’s not too transparent, it’s brown, and it’s rare to meet the test strip. .

The main color of the cassette is Fuji Green, and the main font is black. The volume is only 135, and the number of sheets is 27 and 36. The volume performance, particle size, and sharpness of this series are almost equal (except for 400 particles), and the performance of 200 is basically the same as 100. This volume is also a volume that can continue to be seen on the market. It also cuts the 4th color layer and returns to the volume of the SUPERIA 200 using a traditional coating process for cost reduction.

The main color of the cassette is Fuji Green. The volume is only 135, the number of sheets is 27, 36, and many of these photosensitive rolls are used in disposable cameras. After all, they belong to high-speed film and can handle more scenes. This volume has the same quality as the other sensitivity rolls of the C series, except for the large particles. I want to use it to bring you a bright photo, maybe he will disappoint you, but it is a stable, inexpensive and still discontinued but still available volume, but also there are embarrassing requirements?

Note: The film cassettes I collect are limited and cannot represent the entire brand. Two photos behind each cassette image were taken with this type of film. The film scanning device is Fuji SP3000, and the final result is for reference only.

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