Color positive films Fuji Astia 100F.- the more color-neutral of transparency films made by Fuji. Fuji FP 100 C.- An instant film by Fuji , ISO 100 sensitivity, compatible with Polaroid 689 films. Fuji Provia 100F.- Vaunted by Fuji as having “the smoothest and sharpest performance of any 100 ISO color film in the world”, Provia has effectively become a natural choice for many professional photographers. Less saturated than Velvia, it will be more suited to studio and portrait photography. Fuji Provia 400F.- A remarkably fine-grained film for this level of sensitivity. Fuji Provia 400X.- The successor to Provia 400 F, with enhanced saturation. Fuji Velvia 50.- The Velvia range of transparency films was introduced in 1990. Its extreme resolving power and fine grain made it a direct competitor to the Kodachrome series, with easier to use chemistry (E6). Many discussions took place as to whether Velvia’s saturated colors were more or less “true” than Kodachrome ones. The fact remains that Velvia enjoyed considerable commercial success and was considered by many as the newer reference in transparency films. Kodak Kodachrome 25.- The successor to Kodachrome II, and thus in a direct line from the original Kodachrome, launched way back in 1936. This legendary product is the first color film ever intended for the mass market. To reconstruct colors, it used a subtractive method designed by Godowsky and Mannes. Its sharpness, extremely realistic colors, and archival stability would amply make up for its drawbacks: very low sensitivity and a complex developing process. Kodak Kodachrome 64.- From 1974 onwards, the successor to Kodachrome-X; both had the notable advantage of allowing shooting with 11⁄2 stops less light than the original Kodachrome 25. Kodak Kodachrome 200.- The only high-sensitivity member of the Kodachrome family (1986). Kodak Ektachrome 100 VS.- While Kodachrome was the reference in outdoor photography for both professionals and advanced amateurs, Ektachrome has for half a century remained the reference for studio photography. Easier to expose, available in a wide range of sensitivities and formats (including the largest formats of sheet film), and much easier to process (the E series of process chemistry was manageable even by a skilled amateur), Ektachrome became a byword for transparencies in general. The 100 VS is one of its ultimate versions, with “vivid and saturated colors” (Kodak). Kodak Ektachrome 100 GX.- A less saturated version of Ektachrome than the 100 VS, with warm skin tones and extremely fine grain. Kodak Elite ExtraColor 100.- A highly saturated transparency film, well suited to the contemporary taste for vivid colors. Kodak Elite Chrome 200.- The consumer version of Ektachrome films, also to be developed in the E6 chemistry. Kodak Elite Chrome 400.- This film is described by Kodak as producing “rich and vibrant colors even in dim daylight conditions”. Polaroid Polachrome.- A transparency film for instant development. One had to buy a small device, hand-powered, which would develop each image in a couple of minutes, after which the photo was mounted. Polaroid 669.- A peel-apart Polaroid medium-format film for instant prints, ISO 80. Has also been unofficially employed for transferring photos onto paper or fabrics. Polaroid 690.- A higher sensitivity version (ISO 100) of the above film, both belonging to the large “Type 100” series. Generic Fuji Astia 100.- This emulation corresponds to a very early version of DxO FilmPack when film calibration was performed differently from the way it is today. The calibration process has been improved since: see “Fuji Astia 100”. Generic Fuji Provia 100.- See above. Generic Fuji Velvia 100.- See above, with regard to both generic emulations and the Velvia range. Generic Kodak Ektachrome 100 VS. See above, with regard to both generic emulations and the Ektachrome range. Generic Kodak Ektachrome 64.- See above, with regard to both generic emulations and the Ektachrome range. Color negative films Agfa Ultra 100.- Appeared in 2003, this film has very high saturation. Agfa Vista 200.- An all-purpose film, with a eye-pleasing color rendering and wide exposure latitude. Fuji Superia Reala 100.- The Superia brand was aimed at mainstream amateurs, while the Reala range used pioneering technology (a fourth sensitive layer) to achieve improved white balance. The combination has been well appreciated by expert photographers. Fuji Superia 200.- A direct competitor for Kodak’s Gold, this is the member of the Superia family with the finest grain. Fuji Superia X-Tra 800.- The fastest multi-purpose film in the Superia range. Fuji Superia HG 1600.- The high-sensitivity film in the Superia range, was used, for example, in concert photography by advanced amateurs. Kodak Elite Color 200.- This range of consumer films was intended to give a relatively strong level of saturation “without sacrificing skin tones”. Kodak Elite Color 400.- The high-sensitivity member of the Elite Color range described above. Kodak Portra 160 NC.- Aimed at professionals shooting portraits or marriages, this film has been constantly praised for the quality of its skin tones, and the fidelity with which it reproduces clothing. Has rapidly become a classic among classics. NC stands for “neutral colors”. Kodak Portra 160 VC.- The “vivid colors” (VC) member of the Kodak Portra family. Lomography Redscale 100 (DxO FilmPack Expert version only).-A very creative film, whose strong orange effect is produced by exposing the negative on the reverse side. Cross-processed film Cross-processed - Kodak Elite 100.- Cross-processed - Fuji Superia 200.- Black and White films Agfa APX 25.- Agfapan 25, now discontinued, was a famous film made by Agfa. Its grain was one of the finest ever, with a nominal sensitivity of ISO 25. It was used for decades for shootings where a long exposure time was not critical, such as landscape or microphotography. It appears here in its APX version, which was Agfa’s answer to Kodak’s T-grain series. Fuji Neopan Acros 100.- This film prided itself on delivering “the world's highest standard in grain quality among ISO 100 films”. Fuji Neopan 1600.- A high-speed ISO 1600 film that has been prized for the “classic beauty” of its grain. Ilford Delta 400.- Introduced in 1990, this is the first film based on Ilford’s “core-shell crystal technology”, the company’s answer to Kodak’s T-grain films: more sensitive crystals without a higher grain. Ilford Delta 3200.- The ultra-high-sensitivity product in the Ilford range, based on their “core-shell technology“. A direct competitor to Kodak’s T-max 3200. Ilford FP4 Plus 125.- A workhorse of classical photography, this film was available in many formats, including sheet, and has been characterized by Ilford as “unrivalled (... for) its very fine grain, outstanding sharpness and high acutance (... with) enormous latitude for exposure error above and below its nominal sensitivity”. Ilford HP5 Plus 400.- A classic, and the arch-rival of Kodak T-Max, it has been characterized by Ilford as a “medium contrast film (...) especially suitable for action and press photography (... which) has been formulated to respond well to push processing and film speeds up to (ISO) 3200”. Ilford HPS 800.- A lesser-known ultra-high-speed film, the ISO 800 HPS was removed from the range in the late 1960s. It was replaced, years later, by the Delta 3200. Ilford Pan F Plus 50.- In 2004, the Ilford company described this as “an extremely fine grain black and white film with outstanding resolution, sharpness and edge contrast”, well suited to mural size enlargements. Its moderate contrast was appreciated by many. Ilford XP2 .- Just like its rival Kodak BW 400CN, this ISO 400 film, which comes in both 135 and 120 formats, has the advantage of being developed in any easy-to-find C41 processing lab. Kodak BW400CN.- Praised as “the finest-grained chromogenic film in the world” by its maker Kodak, this film is actually not comparable to ordinary B&W films, since once developed, it no longer contains silver crystals, but dyes instead. The major advantage of Kodak BW400CN is that it can be developed in an easy-to-find C-41 process. Kodak HIE (High-speed infrared).- Infrared light, not visible to our eyes, can be captured by specially-designed films. This famous film, now discontinued, was difficult to expose, focus, and develop. But the creative images it would record were often worth all the trouble. Kodak HIE filtered.- Many infrared images were recorded using a dark red or even a black filter, which would block the visible radiation, letting only the infrared wavelengths reach the film. The resulting images showed dark skies, black water, and a kind of aura around highlights. Kodak T-max 100.- The least sensitive film in Kodak’s T-max range, with ISO 100 (pushable to 200) sensitivity and very fine grain. A classic. Kodak T-max 400.- The standard for fast B&W films, this one had found the perfect combination of speed and grain. A favorite among reporters. Kodak T-max 3200.- With ample reserves of sensitivity (2 stops, to 12,500), 3200 has been used both for low-light press photography and for surveillance purposes. Kodak Tri-X 400.- A vintage look, and an illustrious list of achievements. Polaroid 664.- A classic Polaroid film, medium speed (ISO 100), mainly intended for proofing on studio shoots. Polaroid 667.- A very high speed (ISO 3000) black-and-white panchromatic film, often used for scientific purposes. Polaroid 672.- The ISO 400 reference in the Polaroid range. Rollei IR 400.- A recent ISO 400 infrared film.