Fujichrome MS 100/1000 Professional · The best part of this film is that if you just want a very...
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Product shot Photographed by the authors at E.I. TOO. E.I. 200 Fujichrome MS 100/1000 Professional Fuji's newest film family all fit inside just one cassette! Fujichrome MS 100/1000 is a transparency film that can be exposed at ISO 100,200, 400, 800, or 1000. This solution is not unique, as push-processing has been around for years. The differ- ence is that Fuji is working for a more consistent quality match as the film is pushed to higher ISO speeds. This is now possible by in- corporating all the latest technolo- gies from other recent Fiji trans- parency emulsions. To ensure quality multi-speed consistency, five Fuji technology players help make it one of the best universal emulsions on the market. We realize that some of the tech- nology information can be dry or just plain boring, but we need to establish a base of information to show you just how the film works. So bear with us as we make a quick tour through the microscopic layers that make this film work. DDG, MFIU AGC, SUFG and of Course, DIR DDG (Distinctively Developing Grain) technology is an improved version unique to Fuji films. As the film speed is increased, the tonal bal- E.I. 400 ance, color balance and color accuracy changes are mini- mized over previous emulsions. When the concept of pushing films first came along, each push in speed raised the tonal curve, increased the contrast, and had a marked effect on the grain size. DDG technology minimizes these effects so that it becomes difficult to discern rolls shot at different speeds. MFIL (Multi-functional Inter- mediate Layer) technology is also improved for the new MS 100/1000 emulsion. Each layer is treated separately with this technology and has the respon- sibility of maintaining a true color balance as the film is pushed to the maximum range. AGC (Accurate Gradation Control) is a technology brought over from other emul- sions and is used to maintain a super-fine grain structure throughout the pushing pro- cess. The result of the grain con- trol is cleaner, smoother tonal gradations from highlight to shadow. SUFG (Super Uniform Fine Grain) technology has been used in many of Fuji's previous emulsions and is the main tech- nology that keeps grain pattern even and very fine. This, in 40 RANCEFINDER • JANUARY 1999
Transcript of Fujichrome MS 100/1000 Professional · The best part of this film is that if you just want a very...
Product shot Photographed by the authors atE.I. TOO. E.I. 200
Fujichrome MS 100/1000Professional
Fuji's newest film family all fitinside just one cassette! FujichromeMS 100/1000 is a transparency filmthat can be exposed at ISO 100,200,400, 800, or 1000. This solution isnot unique, as push-processing hasbeen around for years. The differ-ence is that Fuji is working for amore consistent quality match asthe film is pushed to higher ISOspeeds. This is now possible by in-corporating all the latest technolo-gies from other recent Fiji trans-parency emulsions.
To ensure quality multi-speedconsistency, five Fuji technologyplayers help make it one of the bestuniversal emulsions on the market.We realize that some of the tech-nology information can be dry orjust plain boring, but we need toestablish a base of information toshow you just how the film works.So bear with us as we make a quicktour through the microscopic layersthat make this film work.
DDG, MFIU AGC, SUFG andof Course, DIR
DDG (Distinctively DevelopingGrain) technology is an improvedversion unique to Fuji films. As thefilm speed is increased, the tonal bal- E.I. 400
ance, color balance and coloraccuracy changes are mini-mized over previous emulsions.When the concept of pushingfilms first came along, eachpush in speed raised the tonalcurve, increased the contrast,and had a marked effect on thegrain size. DDG technologyminimizes these effects so thatit becomes difficult to discernrolls shot at different speeds.
MFIL (Multi-functional Inter-mediate Layer) technology isalso improved for the new MS100/1000 emulsion. Each layeris treated separately with thistechnology and has the respon-sibility of maintaining a truecolor balance as the film ispushed to the maximum range.
AGC (Accurate GradationControl) is a technologybrought over from other emul-sions and is used to maintain asuper-fine grain structurethroughout the pushing pro-cess. The result of the grain con-trol is cleaner, smoother tonalgradations from highlight toshadow.
SUFG (Super Uniform FineGrain) technology has beenused in many of Fuji's previousemulsions and is the main tech-nology that keeps grain patterneven and very fine. This, in
40 RANCEFINDER • JANUARY 1999
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turn, gives a sharper image with nice tonalgradation.
DIR (Development Inhibitor ReleasingCompound) technology has been aroundfor some time and works on the individuallayers to keep colors from crossing overinto each other. For example, the reds of avery saturated flower will not bleed its col-ors into the adjacent green leaves, or intosubtle tones in the red itself. This traitkeeps color reproduction realistic from E.I.100 to 1000.
Keeping track of the LI. you use only re-quires that you mark or scratch the squareon the film canister that represents your E.I.push speed. If you shoot at the normal rat-ing of ISO 100, you can mark the "N" orjust not mark the film at all. A "PI" pushrequires an increase in processing time from6 to 8 minutes. "P2" should be at 11 min-utes, "P3" at 14 minutes, and "P4" will varyfrom 14-15 minutes. It is critical that yourun tests ahead of time to verify that yourrated E.I. speed matches the processingtime setup for that speed. Most film proces-sors match pretty closely at normal process-
DIFFUSE RMSGRANULARITY VALUE
Film Speed RMS GranularityISO 100 10E.1.200 11E.I. 400 13E.1.800 15E.I. 1000 16
ing, but start to vary as the processing timeis increased.
The tech sheet for MS 100/1000 is quiteextensive and has a lot of informationabout using the film under tungsten light,fluorescent lights and flash, and alsoincludes reciprocity failure data. Most ofthe filters and times are similar to pastfilms, but you should check the data sheetfor each recommendation. You can down-load the tech sheet from the Fuji's web site:[www.fuji.com].
One interesting item on the tech sheetwe have not seen before is an RMSGranularity rating for the film at different
film speeds. These values are a good yard-stick to see what happens to the sharpnessof the film as you push it.
Testing and Results
Fortunately, this film test hit at a goodtime of the year. A hot-air balloon race wason our shooting schedule, and we alsoneeded an excuse to make a couple of tripsacross the Oregon countryside. The balloonrace was a challenge because the extremelighting ratio was more than most filmscould handle. We loaded one roll afteranother, increasing the ISO setting 1 stopeach time. Using a special computer pro-gram built right into our Model 5 Wing-Lynch film processor, we were able to seteach "P" time. If there was any change intemperature, the on-board computer re-cal-culated a new time on-the-fly and adjustedthe time as it processed the film. Thus theaccuracy of these tests were to one second,and tf<> of a degree in temperature.
The results of the 100, 200, and 400speeds were almost i dentical, and we
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would be hard pressed to tell the differencewithout a high-power loupe. We did noticethat when we moved to LI. 800 and 1000there was some increase in the base densi-ty. This was only noticeable when we shotimages with scene ranges greater than mosttransparency films can handle. The filmdoes work very well at these high settingswhen the lighting is flat and the scenerange goes from off-black to white.
After we processed the next batch of filmfrom our countryside trip, we were able toconclude additional results. We noted thatthe grain remained very fine throughoutthe process, and did not get out of handwhen it reached the upper limit of E.I.1000. We also noticed that the color satura-tion, and tonal values remained the samefrom ISO 100 to LI. 1000. This means thata photographer could shoot at any speed,mix them in a slide show, and they wouldall match closely in quality and color fideli-ty. Exposure latitude from ISO 100 to LI.400 remained pretty much at +/- % stop forusable images. The exposure latitude fromLI. 800 to 1000 was a little bit less. We alsonoted that the film performed very well inshady areas that would normally produce ablue shift.
The best part of this film is that if youjust want a very fine grain ISO 100 film, itwill do a great job. The extra potential forpushing is like have additional film familymembers in your camera bag. You don'thave to decide on the ISO until just beforeyou load the film into your camera.
At present, Fujichrome MS 100/1000Professional will be available in 35mm cas-settes, bulk 35mm, 120 and 220 film sizes.The film can be processed in either E-6 orCR-56 film chemistry. Selecting a goodfilm in today's marketplace is a no-brainer.They are all pretty good. It's just a matter ofpreference and unique specifications foreach film. If you like the convenience ofhaving a high quality transparency film,yet still want the choice of several filmspeeds, we think you need to give Fuji'sMSlOO/lOOOatry.
Jack and Sue Drafahl are freelance journal-ists/photographers living in the Pacific Northwest.They have owned and operated a custom lab andservice bureau, Image Concepts, for many years.They can be reached at: [email protected]/.
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