SCOTT ADAMS

Superia Reala or Superia 100? Fuji's Top 100s

There are many ways to maintainhigh photo image quality. The purity ofthe camera lens, the quality of lightfalling on the subject, and film choiceall contribute to maintaining the bestimage quality. Over the years, filmemulsions have made some prettydynamic changes. When you want theget the best image possible, ISO 100

film emulsions are a great choice. Sincethere are a lot of brands and variationsto select from, making the right choicemay not be all that easy. Fuji recentlyannounced a film lineup that is de-signed to meet all amateur photograph-ic needs. Superia features five differentfilms: 100, 200, 400 X-TRA (800) andReala (100).

Now, you may wonder why two ISO100 films are in the same film family.Even though color negative films todayhave such wide exposure latitude, Fujirealizes that not all photographic situa-tions are alike. Thus, they have devel-oped two films that cover almost anysituation demanding a high quality ISO100 film.

Superia Reala is the film to choose when you have a scene withlots of subtle tones in which you want differentiation.

Superia / 00 is the film choice to make when maximum colorsaturation is critical.

40 RANCEFINDER • SEPTEMBER 1998

Superia 100

Superia 100 incorporates the new FujiSureColor Technology. Originally de-signed for Fuji's APS format, Superia 100incorporates three special film tech-nologies. The "Super Uniform FineGrain" (SUFG) technology is a refine-ment of Fuji's Superia grain structure.This improvement maintains a consis-tent emulsion speed, and increasesexposure latitude. The "High-Sharp-ness" technology works to improve theeffects of the DIR couplers, and main-tain an even better edge effect. Theoverall sharpness of the emulsion isgreatly improved by this technology.The "New Real Tone" technology workson areas in the emulsion to improvethe quality of skin tones, yet maintainsa full color spectrum. This technologyalso improves storage characteristics inboth raw and exposed film for maxi-mum image consistency.

Superia 100 employs "high sharpness" technolo-gy for images that demand critical sharpness.

Most of the time when I shoot anISO 100 film, I use the Superia 100. Itworks extremely well with macro na-ture using flash, scenics and studioimages where maximum color satu-ration is critical. I have also found thatSuperia 100 works very well in theworld of underwater photography. Theemulsion seems to cut through theblue cast better than most other filmemulsions.

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I also use Superia 100 for much ofmy digital work. It works extremelywell in a film recorder where digitalimages are transferred back from pixelsto grain. Slides, black and white nega-tives and color negatives can bescanned into the system, and then out-put back onto Superia 100 film as abrand new negatives.

Superia Reala

Reala actually has been around forsome time and is the workhorse forthose photo situations that differ fromthe norm. When Fuji made the namechange, they "optimized" this film,which probably meant that sometweaking was done to the emulsion.I'm guessing that Fuji opted for the oldadage of "If it ain't broke, don't fix it."

In extremely contrast/ situations, Superia Reala'sability to faithfully render detail in extremes of thetonal scale make it the right choice.

The exposure latitude of Superia Re-ala is extreme. My initial tests showedat least a seven stop printing latitude! Ifyou want to pull as much detail as pos-sible in a high contrast scene, then thisis the film to choose. On the flip side, ifyour scene is low in contrast, Superia100 would be a better choice. SuperiaReala also works extremely well inmixed lighting situations. This ex-tremely complex emulsion has anadditional layer that partially re-alignsthe overall color balance, so that diffi-cult lighting situations can be printed

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Superia Reala exposed withcamera-mounted flash.

easily. The grain structure of this emul-sion is extremely fine, so you can easilymake large, high quality prints. SuperiaReala's wide exposure latitude coupledwith its extra layer makes it an excellentcandidate for portraits, either in the stu-dio or outdoors.

Several shooting situations alwaysmake me reach into my camera bag andpull out the "When all else fails" film-Superia Reala. When I have a portrait totake and I want to guarantee the bestskin tones possible, this film is great. Ihave also found it useful for photo ses-sions of products with very subtle colortones. I know that when I have to takephotographs in a room with tungstenand fluorescent lighting, Superia Reala is

Superia 100 is an ideal choice whenlow contrast scenes need vivid colors.

the film that'll save the day.The subject's tonal value, scene con-

trast and the type of light illuminatingthe subject all factor into my filmchoice. But my film choice is justthat—mine. It is the results of muchtesting and an extensive comparison ofresults. In order for you to properlymake your film choice, you must runyour own tests and evaluate your ownresults. I think that you'll discover thesame thing that I did—Fuji's 100s areSuperia!

Scoff Adams is a freelance journalist/photog-rapher living in the Pacific Northwest.

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