Colour reversal · Natural

Agfa Agfachrome RSX II 100

Clean whites, quiet greens: Agfa's late slide film.

Planned media

Agfa slide colour: dense greens and deep shadows. Original vs Ashigrain.

Agfa Agfachrome RSX II 100

stock
Agfa Agfachrome RSX II 100
mode
Reversal
film_format
35mm still (135)

At a glance

Exposure index
100
Daylight
Introduced
1998
Discontinued
Process
E-6
Prints on
Reversal, viewed directly

About the film

When Shutterbug tested Agfachrome RSX II 100 Professional, Peter K. Burian found its whites pure and free of any cast, its greens subtle rather than striking, and its reds, yellows and blues vivid without losing detail.

It was Agfa's improved successor to Agfachrome RSX 100 Professional, which had already won a European award as colour slide film of the year. Agfa presented it at photokina in 1998, after introducing a consumer counterpart, CT Precisa 100, at the PMA show that February; Agfa claimed a higher maximum density, more linear colour curves, cleaner greys and an inhibitor system that sharpened definition and colour in greens and blues. Agfa's professional guide of September 1998 lists it beside RSX II 50 and 200, for its AP 44 process or E-6, and says its colour neutrality holds in full when pushed or pulled by one stop. Burian found its contrast moderate and its latitude wide enough to hold shadows and highlights in harsh midday light, and the magazine's editor, Bob Shell, praised its skin tones. The film was still in Agfa-Gevaert's professional range in August 2004, the year Agfa-Gevaert sold its photo business to an investor group; the new AgfaPhoto GmbH filed for insolvency in May 2005. Amateur Photographer reported that Agfa-Gevaert was still making the discontinued RSX 200 emulsion as an aerial film, and that Lomography sold it in 120 as a slide film.

Sources for this history
  1. Agfa Professional Films, Technical Data PF, Agfa-Gevaert AG
  2. Agfachrome RSX II 100 And CT Precisa 100, Shutterbug
  3. Technical Data: Agfa Professional Films (F-PF-E4, 08/2004), Agfa-Gevaert AG
  4. Technische Daten: Agfa Professional Filmsortiment (F-PF-D4, 07/2003), Agfa-Gevaert AG
  5. Insolvenz-Poker um AgfaPhoto, photoscala
  6. Vor sieben Jahren gingen bei Agfa die Lichter aus, dpa (newsroom.de)
  7. Colour film not dead as Agfa's RSX 200 medium-format emulsion reborn, Amateur Photographer
  8. photokina '98: Agfachrome RSX II for precision down to the last detail, Agfa-Gevaert AG
  9. photokina '98: Press Lounge, Agfa-Gevaert AG
  10. Agfachrome Professional Reversal Films (product page, May 1998 capture), Agfa-Gevaert AG
  11. Agfa at PMA '98: Agfa introduces Agfachrome CTprecisa, Agfa-Gevaert AG

The look

A daylight ISO 100 slide film from Agfa's last professional range, viewed directly with no print. Shutterbug's test found pure, cast-free whites, restrained greens and vivid reds, yellows and blues that kept their detail, with moderate contrast and wide latitude.

Planned media

Agfachrome colour in hard daylight.

Agfa Agfachrome RSX II 100

stock
Agfa Agfachrome RSX II 100
mode
Reversal
film_format
35mm still (135)

Planned media

Dense greens and warm light on a slide film.

Agfa Agfachrome RSX II 100

stock
Agfa Agfachrome RSX II 100
mode
Reversal
film_format
35mm still (135)

Best for

  1. Flowers and autumn foliage
  2. Snow scenes and white architecture
  3. Portraits in harsh midday sun

Among the films

FilmSpeedGrain, RMS σD · lower is finerYears made
Technicolor Process IITechnicolor Process II−2⅔ stops vs Agfa Agfachrome RSX II 100 · grain coarserEI 16−2⅔ stops.0201922
DS-5MDS-5M−1⅓ stops vs Agfa Agfachrome RSX II 100 · grain finerEI 40−1⅓ stops.0051979
Kodak Aerochrome III 1443Kodak Aerochrome III 1443−1⅓ stops vs Agfa Agfachrome RSX II 100 · grain coarserEI 40−1⅓ stops.0242001
Kodak Vision3 50DKodak Vision3 50DMade since 2011, in production · −1 stop vs Agfa Agfachrome RSX II 100 · grain finerEI 50−1 stop.0052011–
Fujifilm Velvia 50Fujifilm Velvia 50Made since 2007, in production · −1 stop vs Agfa Agfachrome RSX II 100 · grain finerEI 50−1 stop.0092007–
Agfa Agfacolor Ultra 50Agfa Agfacolor Ultra 50−1 stop vs Agfa Agfachrome RSX II 100 · grain finerEI 50−1 stop.0051995
Kodak Kodachrome 64Kodak Kodachrome 64Made 1974–2009 · −⅔ stop vs Agfa Agfachrome RSX II 100 · grain the sameEI 64−⅔ stop.0121974–2009
Fujifilm Fujichrome 64T Type IIFujifilm Fujichrome 64T Type II−⅔ stop vs Agfa Agfachrome RSX II 100 · grain finerEI 64−⅔ stop.0102002
Ilford Ortho PlusIlford Ortho PlusMade since 1997, in production · −⅓ stop vs Agfa Agfachrome RSX II 100 · grain coarserEI 80−⅓ stop.0151997–
Polaroid Type 669Polaroid Type 669−⅓ stop vs Agfa Agfachrome RSX II 100 · grain coarserEI 80−⅓ stop.0241981
Svema LN-9Svema LN-9same speed vs Agfa Agfachrome RSX II 100 · grain finerEI 95same speed.0071988
Fujifilm Astia 100FFujifilm Astia 100FMade 2003–2012 · same speed vs Agfa Agfachrome RSX II 100 · grain finerEI 100same speed.0082003–12
Agfa Agfachrome RSX II 100Agfa Agfachrome RSX II 100this filmEI 100this film.0121998
Agfa Agfacolor Optima II 100Agfa Agfacolor Optima II 100same speed vs Agfa Agfachrome RSX II 100 · grain finerEI 100same speed.0051998
Kodak Ektar 100Kodak Ektar 100Made since 2008, in production · same speed vs Agfa Agfachrome RSX II 100 · grain finerEI 100same speed.0052008–
Kodak Ektachrome 100DKodak Ektachrome 100DMade since 2018, in production · same speed vs Agfa Agfachrome RSX II 100 · grain coarserEI 100same speed.0142018–
Fomapan R 100Fomapan R 100Made since 1980, in production · same speed vs Agfa Agfachrome RSX II 100 · grain coarserEI 100same speed.0221980–
NK-2NK-2same speed vs Agfa Agfachrome RSX II 100 · grain coarserEI 100same speed.0131980
Fujifilm FP-100CFujifilm FP-100CMade 1992–2016 · same speed vs Agfa Agfachrome RSX II 100 · grain coarserEI 100same speed.0231992–2016
Eastman Color Negative 5247Eastman Color Negative 5247+⅓ stop vs Agfa Agfachrome RSX II 100 · grain finerEI 125+⅓ stop.0051983
Agfa Agfacolor Portrait XPS 160Agfa Agfacolor Portrait XPS 160+⅔ stop vs Agfa Agfachrome RSX II 100 · grain finerEI 160+⅔ stop.0071995
Kodak Vision3 200TKodak Vision3 200TMade since 2010, in production · +1 stop vs Agfa Agfachrome RSX II 100 · grain finerEI 200+1 stop.0072010–
Kodak Tri-X Reversal 7266Kodak Tri-X Reversal 7266Made since 2003, in production · +1 stop vs Agfa Agfachrome RSX II 100 · grain coarserEI 200+1 stop.0252003–
Kodak Vision3 250DKodak Vision3 250DMade since 2009, in production · +1⅓ stops vs Agfa Agfachrome RSX II 100 · grain finerEI 250+1⅓ stops.0072009–
Fujifilm Eterna 250DFujifilm Eterna 250DMade 2005–2013 · +1⅓ stops vs Agfa Agfachrome RSX II 100 · grain finerEI 250+1⅓ stops.0042005–13
Kodak Aerocolor IV 2460Kodak Aerocolor IV 2460Made since 2009, in production · +1⅓ stops vs Agfa Agfachrome RSX II 100 · grain coarserEI 250+1⅓ stops.0132009–
Eastman Double-X 5222Eastman Double-X 5222Made since 1960, in production · +1⅓ stops vs Agfa Agfachrome RSX II 100 · grain coarserEI 250+1⅓ stops.0151960–
Fujifilm Pro 400HFujifilm Pro 400HMade 2004–2021 · +2 stops vs Agfa Agfachrome RSX II 100 · grain finerEI 400+2 stops.0042004–21
Kodak Vision3 500TKodak Vision3 500TMade since 2007, in production · +2⅓ stops vs Agfa Agfachrome RSX II 100 · grain finerEI 500+2⅓ stops.0072007–
Kodak Vision2 Expression 500TKodak Vision2 Expression 500T+2⅓ stops vs Agfa Agfachrome RSX II 100 · grain finerEI 500+2⅓ stops.0092003
Fujifilm Eterna 500Fujifilm Eterna 500Made 2004–2013 · +2⅓ stops vs Agfa Agfachrome RSX II 100 · grain finerEI 500+2⅓ stops.0042004–13
Fujifilm Eterna Vivid 500Fujifilm Eterna Vivid 500Made 2009–2013 · +2⅓ stops vs Agfa Agfachrome RSX II 100 · grain finerEI 500+2⅓ stops.0042009–13
Kodak Portra 800Kodak Portra 800Made since 2000, in production · +3 stops vs Agfa Agfachrome RSX II 100 · grain finerEI 800+3 stops.0082000–
Kodak T-Max P3200Kodak T-Max P3200Made since 1988, in production · +3 stops vs Agfa Agfachrome RSX II 100 · grain coarserEI 800+3 stops.0191988–
Kodak Ektachrome P1600Kodak Ektachrome P1600+4 stops vs Agfa Agfachrome RSX II 100 · grain coarserEI 1600+4 stops.0381999

Science & sources

Agfa Agfachrome RSX II 100 calibration chart: OriginalAgfa Agfachrome RSX II 100 calibration chart: Processed
Synthetic test chart (grey ramp, ColorChecker, hue sweep, point highlights) before and after the full Ashigrain pipeline: reversal branch, Super 35 4-perf, default controls, exposure +0.57 stops to match the original's mid-grey, frame 0.

A daylight colour reversal film with an exposure index of 100. Its positive image is shown directly, without a print stage. Agfa printed separate dye curves and a visual neutral for it.

Response curves and the evidence behind the model

Compare manufacturer data with the Ashigrain model on the same axes. This shows the calibration to source curves; comparison with photographed film is a separate question.

Characteristic response

Density against log H (lux-seconds) for channels R, G, B. R circles, G squares, B triangles, N diamonds; filled markers and solid lines are digitised, open markers and dashed lines are simulated: digitised and simulated.−3.0−2.0−1.00.01.02.0log H (lux-seconds)0.01.02.03.04.0Density

RMS granularity

RMS granularity (σD) against Density for channels R, G, B. R circles, G squares, B triangles, N diamonds; filled markers and solid lines are datasheet-based, open markers and dashed lines are simulated: datasheet-based and simulated.0.00.51.01.52.0Density0.00.020.040.060.08RMS granularity (σD)

Density variation (σD) measured through a 48 µm aperture. Where the datasheet gives a single grain value, the response away from that point is an approximation.

ChannelDensityDatasheet-based σDModel σD
R0.30.0054790.0057
G0.30.0035510.003702
B0.30.0066560.006901
R0.60.0108650.011302
G0.60.0070920.007393
B0.60.0160180.016609
R10.0167940.01747
G10.0112940.011773
B10.0266980.027683
R1.50.0244790.025464
G1.50.017980.018743
B1.50.0415970.043131
R20.0291640.030338
G20.0250780.026142
B20.0590210.061198

Model limits

These images show the film model in use. Spectral response, lighting and viewing conditions include approximations, while halation, bloom, grain size, weave and flicker are not fully measured for each film. A real film capture also depends on development and print timing.

  • Custom lighting spectra, camera metering and the spectral reflectance inferred from fixed-white-balance footage are modeled assumptions, not measurements of this film.
  • The source prints one visual MTF curve, not separate red, green and blue curves. The model applies it to all three layers.
  • The source publishes one RMS granularity value, 10.0 × 10⁻³, without saying whether it is read at gross or net density. Grain is proxied from Kodak Ektachrome 100D (5294), so the granularity values shown are that film's, not measurements of RSX II 100.
  • The source prints separate cyan, magenta and yellow dye curves and a visual neutral; dye amounts are derived from that neutral.
  • No minimum-density spectrum is printed, so the reversal base-density spectrum is approximated. Reversal push and pull have no published curves and use a generic model.
  • No antihalation layer is printed for this film; an undercoat is assumed. Halation strength, radius, layer weights and bloom are not measured.
  • Individual dye amounts, layer interactions and push/pull behaviour are approximated where the datasheet provides no calibration. Grain size is assumed; published RMS granularity does not specify dye-cloud size.
  • Characteristic response outside the published exposure range is an extrapolation, not measured film data.
  • Veiling projection flare is not measured in the available sources. Its modeled contribution lifts screen blacks; it is not a measured projection-contrast claim.

Film guide: assumptions and practical choices

Sources

  1. Process: Agfa Professional Films, Technical Data PF, Technical Data PF, 09/1998, 1st edition, p. 4
  2. Characteristic curves: Agfa Professional Films, Technical Data PF, Technical Data PF, 09/1998, 1st edition, p. 9
  3. Diffuse RMS granularity: Agfa Professional Films, Technical Data PF, Technical Data PF, 09/1998, 1st edition, p. 9
  4. Exposure index: Agfa Professional Films, Technical Data PF, Technical Data PF, 09/1998, 1st edition, p. 9

Bring this film into your grade.

Every film is included in one purchase, with no subscription.

€99 + VAT