AGFA'S TRIADE FILM SYSTEMThree Optimized Color-Print Filmsby Jack and Sue Drafahl

Photographers to-day have camerasystems, lens sys-tems, lighting sys-

tems, tripod systems, and even back-ground systems. The idea behind theseequipment "systems" is to allow thephotographer greater flexibility andversatility when using specific equip-ment. It seems only natural that a man-ufacturer would follow up with a filmsystem, enabling photographers to ap-ply specific films to specific tasks. TheAgfa Triade System offers three procolor-negative films, each optimizedfor a specific type of photography.

A NEW DIMENSION IN FILMTECHNOLOGY

Agfa's primary goal was to developa series of films that would provide theprofessional and serious amateur pho-tographer with film emulsions tomatch specific photographic applica-tions. They wanted to provide filmswith different degrees of color satura-tion. Ultra 50 has ultrahigh color satu-ration (and relatively high contrast),while Optima 125 has natural color sat-uration (and normal contrast), andPortrait 160 has relatively muted satu-ration (and lower contrast).

The Triade films' color reproductionis achieved in large part through con-trol of inter-image effects, which coun-teract color crossover (and thus reduceunwanted color shifts and increase col-or saturation): The inter-image effectsare stronger in the more-saturated Ul-tra 50 film, and weaker in the less-satu-rated Portrait 160 film. Sharper spec-tral sensitivity for red light, and (in Ul-tra 50) a new particularly pure magen-ta dye also improve color saturation.

Another improvement in color re-production is due to the employment ofthree colormasks, instead of the usualtwo—a first in any color-negative film.The new third mask compensates forfaulty yellow absorption, thus produc-ing cleaner reds and brighter yellows.

Image sharpness has been increasedthrough the use of improved DIRcouplers, which produce very strongedge effects. Improved grain structureis provided by new developments inparticle size, tighter distribution, and amore homogeneous crystal structure.

48 PHorographic/March 1991

Agfa Portrait 160

AGFA ULTRA 50

When you are in photographic situa-tions where high color saturation, ex-tremely fine grain, and high contrastare desired, then Agfacolor Ultra 50should be your choice. We found thishigh-contrast color-negative film to beideal for outdoor situations where lowcontrast impairs overall color satura-tion. Foggy, overcast weather is a per-fect candidate for such a film, evenwhen the color in the scene seems to besomewhat muted. Ultra 50 is also greatfor architectural photography, where

the photographer wants to accentuatelines and give maximum contrast to theshape of the structure.

Indoors, we found the Ultra 50 to begreat for studio-lighting situationswhere you need to use flat lighting, butstill wish to maintain maximum colorsaturation. We found that colored sub-jects on a white background photo-graphed very well on the Ultra 50. Thewhites stayed clean, and the color satu-ration was at its maximum.

We also found the Ultra 50 to bewell-suited for scientific and medical

photography. In the microscope, for in-stance, lighting tends to minimize thecontrast and color saturation of mostconventional films. The Ultra 50 keepsthe contrast high while maintaining anexcellent level of color saturation. Oth-er specialized situations, such as UV(black) lighting, high-contrast colorcopy, and multiexposures all lendthemselves to the Ultra 50 emulsion.

We found exposures acceptable from-1 to + 2 stops, with little loss of quali-ty. We did find that you could adjustthe contrast a little higher or lower byintentionally overexposing/underex-posing the film within its acceptablelimits. When exposure times exceededone second, we found a +0.5-stop reci-procity-failure correction necessary.Exposures beyond 10 seconds requiredat least 2 stops' more exposure. Copywork with 3200 K lights required an80A filter and an additional 2 stops ofexposure, rating the film at El 12.

Printing the Ultra 50 negatives re-quired a 20-point red increase overmost of our standard printing filterpacks. Because of the higher contrast,we also found that testing had to be ona tighter spread than we were normallyused to. We found printing Ultra 50negatives very similar to printing Ek-tar, Kodak's higher-contrast color-neg-ative film.

AGFA OPTIMA 125

For situations requiring accurate re-production of the colors and their vari-ous shades, Optima 125 would be yourbest choice. Outdoor scenics in fullsunlight and or bright shade lend them-selves to the Optima emulsion. With anexposure latitude of-1.5 to +3 stops,this film is versatile and accurate in itsreproduction of subtle hues to fully sat-urated colors. We found we could also"tweak" the contrast a little more byintentionally over- or underexposing

within the exposure-latitude limits ofthe film.

Indoors, we found the contrast andreproduction levels were very wellsuited to both direct flash for journal-ism and reflected flash for studio work.When we used the Optima 125 withtungsten lighting, we found it best touse the 80A filter and increase the ex-posure by two stops (El 32). Reciproc-ity failure of the Optima 125 emulsionwas very similar to Ultra 50, which re-quired +0.5 stop for exposures over 1second and +2 stops for exposuresover 10 seconds. Printing packs for theOptima 125 emulsion required an addi-tional 15 points of red.

AGFA PORTRAIT 160

When photo conditions dictate lowercontrast and color saturation, then youmight try the new Portrait 160 emul-sion. Here, Agfa has restrained colorsaturation as well as contrast to cap-ture those details in the deep shadows,yet still keep the highlights from burn-ing out. Portrait photography is wellsuited for this emulsion, as it usuallyrequires these features. We found thehigher speed helpful for studio flashphotograph, where we wanted as muchcontrol over depth of field as possible.

With a -1-stop to +3-stop latitude,Portrait 160's contrast can be tweaked

Agfa Optima 125 Agfa Ultra 50

considerably by varying the exposure.Portraits on this emulsion had cleanhighlights, detail in shadows, and avery lifelike appearance.

We found that this emulsion alsohad several ideal applications in thephoto lab. Because of its lower con-trast, we found that Portrait 160 couldbe used as a continuous-tone copy filmfor both black-and-white and color flatart. Again, we recommend the 80A fil-ter and +1-2 stops' exposure compen-sation. We also found that this emul-sion could be used for making goodcopy negatives from color slides in theslide duplicator. Printing packs re-quired 10 points of red added to ourstandard color-negative printing pack.We found the Agfa Portrait 160 verysimilar to Kodak's VPS III in printingand final presentation.

CONCLUSION

Agfa's introduction of variable-col-or-saturation films provides photogra-phers with more tools to use in control-ling the final image. These new filmsallow photographers to choose justhow much color saturation they need,

while still maintaining neutral grays.The Triade films are available in 24-and 36-exposure 35mm rolls, as well asin 120 format. The 120 roll films can beretouched on both sides of the film.Agfa's Triade film system helps opennew doors to expand a photographer'screativity.

Agfa films are distributed by AgfaCorp., 100 Challenger Rd., RidgefieldPark, NJ 07660; (201) 440-2500. II