AshigrainColour print · Print film
Gevacolor Print 9.85
Agfa-Gevaert's thin-layer print film for small formats.
Agfa-Gevaert's 1971 print as a labelled surrogate on Agfa CP30's curves: a 1970s European release-print look. Original vs Ashigrain.
At a glance
- Introduced
- by 1971
- Process
- ECP-1
- Maximum density
- ≈ 4.0
About the film
Gevacolor Print Film Type 9.85 was an Agfa-Gevaert colour print film, presented as new in a July 1971 paper in the Journal of the SMPTE by Verbrugghe, Seys and Eynard.
The Timeline of Historical Film Colors dates it to 1971, citing that paper. The authors meant it for universal use in colour printing and processing systems, and its very thin emulsion layers made it especially suitable for small formats. It was a conventionally designed colour positive, with its own coupler in each of its three layers. The authors credited careful coupler selection and the thin layers for its sharpness and colour saturation. It was developed in a commercial colour developer based on CD-2, and it could be processed alongside similar print films in the same solutions and times without contamination. Gevacolor Print Film Type 986 succeeded it in 1975, with finer grain.
Sources for this history
- A New Color-Print Film for Universal Applications in Color Printing and Processing Systems (Journal of the SMPTE 80(7), July 1971), abstract, Society of Motion Picture and Television Engineers
- Gevacolor Print Film T 9 85, Timeline of Historical Film Colors, University of Zurich
- A New Gevacolor Print Film: Type 986 (Journal of the SMPTE 84(6), June 1975), abstract, Society of Motion Picture and Television Engineers
The look
Gevacolor Print Film Type 9.85 was an Agfa-Gevaert colour print film presented in 1971, with very thin emulsion layers that suited small formats. Its makers credited it with good sharpness and colour saturation. Ashigrain's version is a labelled surrogate, a model inspired by the print rather than a reproduction.
Best for
- European colour prints of the 1970s
- 16 mm and small-format print looks
- Comparing Gevacolor print generations
Compare print films
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this two-colour print (a labelled surrogate) every colour falls between blue-green and red-orange: how deep the blacks go, how the highlights roll off and which lights keep their hue.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how dark the reds and greens print.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how dark the red neon and skin print.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how the coloured lights and skin translate to grey.
The same Vision3 500T night frame on each print film. On this blue-sensitive black-and-white print the colour negative turns grey: how deep the blacks go, how the highlights roll off and how the coloured lights and skin translate to grey.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Vision3 500T night frame on each print film. On this two-colour print (a labelled surrogate) every colour falls between a blue and a red dye: how deep the blacks go, how the highlights roll off and which lights keep their hue.
The same Vision3 500T night frame on each print film: how deep the blacks go, how the highlights roll off and how the colour separates.
The same Kodak Vision3 500T night frame, printed on each film.
- Kodak Vision Premier Color Print Film 2393
- Eastman Color SP Print Film 5383
- Eastman Color Print Film 5384
- Fujifilm Eterna-CP 3521XD
- Du Pont Color Release Positive Type 275
- Fujifilm Eterna-CP 3523XD
- Kodak Vision Color Print Film 2383
- Fujifilm Eterna-CP 3513DI
- Eastman EXR Color Print Film 5386
- Eastman Color Print Film 5381 (1972)
- Eastman Color Print Film 5385
- Agfa CP30 Colour Print Film
- SuperCinecolor
- Cinecolor (two-colour)
- Gevacolor Positive 953
- Gevacolor Print 9.85
- Gevacolor Print 986
- Gevacolor Print 982
- Ferraniacolor Positive
- 3M Color Positive 650
- Fujicolor Positive F-CP 3510
- Fujicolor Positive F-CP 3519
- Fujifilm Eterna-CP 3512
- Eastman Color Print 5381 (1950)
- Eastman Fine Grain Release Positive 5302
- Ansco Color Print 848
- Kodak B&W Print Film 2302
- Svema TsP-11
- Svema MZ-3
- ORWO PF 2 Positive Print Film
- Technicolor Dye Transfer (1997 revival)
- Svema TsP-8R
- Shostka Colour Positive (1950s)
- Technicolor Dye Transfer (Process IV)
- Gasparcolor Print
- Trucolor Print (two-colour)
- Kodak Vision Color Teleprint Film 2395
Science & sources
A labelled surrogate inspired by the print, not a reproduction of Type 9.85, shown after Gevacolor Negative Type 682. No data of this film is registered: its characteristic curves, spectral sensitivity, MTF and dyes are those of Agfa Print CP30, a proxy chosen from the Agfa-Gevaert lineage, unchanged. No process is named for it; ECP-1 is an assumption and is not modelled.
Response curves and the evidence behind the model
Compare manufacturer data with Ashigrain’s response on the same axes. These curves show how the model is calibrated to its sources; they do not establish a match to photographed film.
Characteristic response
Model limits
These images show the film model in use. Spectral response, lighting and viewing conditions include approximations. Halation, bloom, grain size, weave and flicker are not fully measured for each film. The look of real film also depends on development and print timing.
- This is a labelled surrogate inspired by Gevacolor Print Film Type 9.85, rather than a reproduction of it. The 1971 paper was read as an abstract only, and no curve of this film is registered.
- The characteristic curves, spectral sensitivity, MTF and dyes are those of Agfa Print CP30, a proxy, unchanged. Choosing a proxy from the Agfa-Gevaert lineage is an assumption.
- The thin emulsion layers credited for its sharpness are not modelled.
- The source names a CD-2 developer but no process. Process ECP-1 is an assumption, and process is not modelled.
- The neutral aim is an assumed grey-balanced aim (0.994 / 1.000 / 1.004, Status A); the proxy's own aim is not used.
- The source gives no printer lamp or filter spectra. Their spectral response is approximated.
- The available sources do not measure veiling flare during projection. The model approximates its contribution to lifted blacks on screen, so the result is not a measured projection contrast.
Reciprocity: not modelled. Exposure time has no effect on this film.
Film guide: assumptions and practical choices
This preview combines the print film with the named camera negative. In this comparison, the print has no separate exposure index or measured grain response.
Sources
- Characteristic curves: AGFA PRINT CP30 colour print film product info / technical data, 17/10/2011, p. 5
- Process: Verbrugghe, R. G. L., Seys, W. A. and Eynard, R. A.: A New Color-Print Film for Universal Applications in Color Printing and Processing Systems. Journal of the SMPTE 80(7), July 1971, pp. 559-563, abstract page, journal.smpte.org abstract page (Journal of the SMPTE vol. 80 issue 7, published 1971-07) as served 2026-10-28, p. 1