GA — 034 Color negative

FujifilmReala 100

Faithful, natural color; reviews call it neutral, even dull, or slide-like

Manufacturer
Fujifilm
ISO
100
Type
Color negative
Process
C-41
Formats
135, 120, 220
Datasheet
AF3-967E

Also known as Fujicolor Superia Reala (rename, confirmed [1]).

Status checked [2]

After: beach cabin under storm clouds, with the preset inspired by Fujifilm Reala 100 (GA — 034 / P) applied (simulation). Before: the same beach cabin under storm clouds, base development without a preset.
fig. 1 · GA — 034 / P · simulation on a digital RAW, not a film scan Drag, tap or use the arrow keys

Character

Contrast
Soft gradations (Fujifilm); a reviewer misses punch
Grain
Diffuse RMS granularity 4 (Fujifilm's scale)
Latitude
Fujifilm claims more underexposure latitude; a reviewer calls the range very good
Best for
Portraits and daylight work

Fujifilm Reala 100 is an ISO 100 color negative film for C-41 processing, made for faithful, natural color and aimed at portraits. It is the same film as Fujicolor Superia Reala: Fujifilm’s datasheet uses that name, and Wikipedia says it was first sold as Fuji Reala [1] [2]. It was the first film with a fourth, cyan-sensitive layer, and it was discontinued in 2012 (135) and 2013 (120) [2] [6].

Look and color

  • Faithful color is the stated goal. Fujifilm lists “faithful, natural color reproduction” for the fourth sensitized layer, and good color balance under tungsten, fluorescent and mixed light [1].
  • The reviews split on how much that means. 50mmF2 calls the color “boringly accurate”, neutral and a little dull for landscapes, and wishes for more saturation [3]. Quirky Guy with a Camera sees the opposite: color that looks “more like something from a scan of a slide film than a print film”, with lush greens and purples in shade [5]. This is a real disagreement between sources, and stock age, lab and scanner probably play a part.
  • Blues. Fuji X Weekly reports deeper, more saturated blues than Superia 100, even though Reala is slightly less saturated overall [6].
  • Greens and reds. Reviewers like the Fuji greens and the reds [3] [5]. Jim Grey, on a 120 roll that expired in April 2005, found it “faithfully renders the primaries”, with an earthy rather than candy-bright tone [4].
  • Skin. 50mmF2 found skin accurate and thought of using the film for portraits [3]; Fujifilm lists soft gradations and natural color, without saying more about skin [1].
  • Overcast light. Quirky Guy saw an overall yellow shift under bright overcast skies, and plain print-film color when there was nothing colorful in the frame [5].

Tonality

  • Curve. On the datasheet’s characteristic curves, the three layers run nearly parallel: a short toe, then a straight line to the edge of the graph (log H about 0.4), with no visible shoulder. The slope reads at roughly 0.55 to 0.6 (our reading of the graph, not a measurement) [1].
  • Fujifilm’s claims: “soft gradations”, rich tone from highlights to shadows, and more underexposure latitude [1].
  • Reviews. 50mmF2 finds the contrast low (“lacks punch”) but the dynamic range very good, with highlights that are hard to blow and shadows that are not muddy [3]. Jim Grey found dark areas “a little too dark” and, against the light, a lot of haze and flare, despite a lens hood; both remarks come from a single expired roll [4].
  • Long exposures. No correction from 1/4000 s to 1 s, then +1/3 stop at 4 s and +1 stop at 16 s. Fujifilm does not recommend 64 s [1].

Grain and sharpness

Fujifilm publishes a diffuse RMS granularity of 4, measured with a 48 µm aperture at density 1.0 above D-min, and a resolving power of 63 lines/mm at 1.6:1 chart contrast and 125 lines/mm at 1000:1 [1]. Kodak’s Print Grain Index is a different scale and the two cannot be compared.

Film Published grain figure Resolving power (1000:1)
Fujifilm Reala 100 (ISO 100) RMS 4 [1] 125 lines/mm [1]
Fujifilm Pro 400H (ISO 400) RMS 4 [8] 125 lines/mm [8]
  • Both films carry the same published figures, although one is ISO 100 and the other ISO 400 [1] [8].
  • Reviews: “smooth” and cleaner than more consumer-oriented ISO 100 films [3]; “fine grain, and good sharpness” [4].

Spectral sensitivity

Fujifilm plots four layers: blue, green, red and the dashed cyan-sensitive fourth layer, which peaks near 515 nm, between the blue and green bands [1]. This extra layer is what Fujifilm ties to good color under fluorescent light, and Wikipedia describes the result as no greenish cast [1] [2]. The Grain Archive color style is tuned from the datasheet and the reviews; it is not computed from these curves [9].

fig. 2 · spectral sensitivityFUJIFILM REALA 100 · DATASHEET FUJIFILM SUPERIA REALA
Spectral sensitivity of Fujifilm Reala 100, by layerRelative log sensitivity of the four light-sensitive layers (CN-16, density 1.0 above D-min), from the Fujicolor Superia Reala datasheet. Blue peaks near 463 nm, green near 526 nm and red near 629 nm; the dashed cyan-sensitive fourth layer peaks near 515 nm, between the blue and green bands and about 0.8 log below the green peak. 400450500550600650700 10.50 λ (nm) relative sensitivity
Relative log sensitivity of the four light-sensitive layers (CN-16, density 1.0 above D-min), from the Fujicolor Superia Reala datasheet. Blue peaks near 463 nm, green near 526 nm and red near 629 nm; the dashed cyan-sensitive fourth layer peaks near 515 nm, between the blue and green bands and about 0.8 log below the green peak. Each layer is scaled to its own peak. Color styles are tuned from the datasheet and published reviews, then measured; they are not computed from these curves. Source: datasheet p. 4, traced from the vector graph in the PDF.

Datasheet digest

Fuji Photo Film Co. datasheet AF3-967E, edition 2000-12 (Print code EIGI-00.12; the sheet is titled Fujicolor Superia Reala and lists 135 rolls only). Read the datasheet (PDF) on 125px.com Copy hosted by 125px; it carries Fujifilm's header and reference number. No Fujifilm-hosted copy found. Source: copy hosted by a third party. The Grain Archive does not host datasheets.

Key figures for Fujifilm Reala 100
ItemValueSource
ISO speed100/21° in daylight; 25/15° under 3200 K tungsten with an LBB-12 (or Wratten 80A) filter[1]
Diffuse RMS granularity4 (48 µm aperture, 12× magnification, 1.0 above D-min)[1]
Resolving power63 lines/mm at 1.6:1 chart contrast; 125 lines/mm at 1000:1[1]
Characteristic curveShort toe, then a straight line to the edge of the graph (log H about 0.4), no visible shoulder; slope about 0.55 to 0.6 (read from the graph)[1]
Long-exposure correctionNone from 1/4000 s to 1 s; open +1/3 stop at 4 s, +1 stop at 16 s; 64 s not recommended[1]
Fluorescent, unknown lamp30M filter and +1 stop[1]
Sizes in the datasheet135 rolls, 24 and 36 exposures (production number J51 and above)[1]
BaseCellulose triacetate[1]
ProcessFujifilm CN-16, CN-16Q, CN-16FA, CN-16L, CN-16S or C-41[1]

Names, status and history

  • Names. Wikipedia says the film was first called Fuji Reala. Fuji X Weekly adds that it was the first Superia film, although it did not carry the Superia name at first [2] [6]. The datasheet is titled Fujicolor Superia Reala [1]. Fuji X Weekly also says a version called Fujicolor Superia Reala Ace 100 was sold only in Japan [7]. The same article says the Reala Ace digital film simulation in Fujifilm cameras is not modeled on that film.
  • Dates. Wikipedia lists 135 as discontinued in 2012 and 120 in 2013 [2]; Fuji X Weekly gives 2013 for the film [6]. We found no Fujifilm notice for either date. The introduction year is not settled: Fuji X Weekly says the late 1990s [7], and Wikipedia gives none. The datasheet we use carries print code EIGI-00.12 [1].
  • Formats. Wikipedia lists 135, 120 and 220 [2]. The datasheet covers 135 rolls only [1].
  • Today. The film is discontinued, so any roll you shoot is old stock, and the reviews above were made on stocks, labs and scanners that differ.

Also sold as

  • Fuji Reala (the original name, before "Superia" was added) (reported) [2]
  • Fujicolor Superia Reala Ace 100 (a version sold only in Japan) (reported) [7]

Alternatives

  • GA — 002 Fujifilm Pro 400H

    Fujifilm's later professional portrait negative, also with a fourth cyan-sensitive layer; same RMS 4 granularity at ISO 400

  • Not on file Fujifilm Superia 100

    The consumer ISO 100 Fujifilm: slightly more saturated overall, but with less deep blues, according to Fuji X Weekly

  • GA — 007 Kodak Ektar 100

    Same ISO 100 daylight niche; a reviewer who shot Reala wished for more saturation and contrast, as in Ektar

  • GA — 050 Fujifilm Pro 160NS

    Fujifilm's professional portrait negative in the collection, one step faster at ISO 160

Get the look in darktable

The GA — 034 / P preset, inspired by Fujifilm Reala 100, is a darktable 5.6 style of 5 native modules, with no LUT. It sits on top of your own exposure and tone mapping.

Measured on test RAW files, CIELab
ZoneMetricBefore → after
skyC (chroma)27.5 → 33.3
seaC (chroma)22.2 → 27.8
skinL (lightness)78.2 → 80.2

Settings, all measurements and limits of the Fujifilm Reala 100 preset

GA — 034 / P · darktable preset

Reala 100
for darktable

Full pack · 87 presets · yours to keep
.dtstyle file, darktable 5.6 or later

$20 Get the full pack

Try the free pack first · What the full pack contains

See real photos

Scans of real Fujifilm Reala 100 film, published by others:

Questions about Fujifilm Reala 100

Is Fujicolor Reala the same as Superia Reala?

Yes, the two names describe the same ISO 100 film. Wikipedia says it was first called Fuji Reala, and Fuji X Weekly notes that it was the first Superia film although it did not carry the Superia name at first. Fujifilm's datasheet AF3-967E is titled Fujicolor Superia Reala. [1] [2] [6]

Is Reala 100 discontinued?

Yes. Wikipedia gives 2012 for the 135 format and 2013 for 120, and Fuji X Weekly says the film was discontinued in 2013. Any roll today is old stock, so results depend on how it was stored. [2] [6] [5] [4]

What is the fourth layer in Reala?

Reala was the first film with a fourth light-sensitive layer, sensitive to cyan. Fujifilm lists it as a fourth sensitized layer, aimed at faithful color and good results under fluorescent light. On the datasheet's graph it peaks near 515 nm, between the blue and green layers. [1] [2]

Is Reala 100 grainy?

Fujifilm rates its diffuse RMS granularity at 4, and reviewers describe fine grain: Jim Grey found fine grain and good sharpness on a 120 roll, and 50mmF2 found it smooth and cleaner than consumer ISO 100 films. RMS is Fujifilm's own scale and is not comparable with Kodak's Print Grain Index. [1] [3] [4]

Reala 100 or Superia 100?

Fuji X Weekly says Reala was meant for portraits and Superia 100 for general use, and that Reala had deeper, more saturated blues while being slightly less saturated overall. That is one photographer's comparison, not Fujifilm data. [6]

Sources

  1. 1DS Fujifilm Fujicolor Superia Reala, data sheet AF3-967E (print code EIGI-00.12), copy hosted by 125px
  2. 2C Wikipedia: Fujifilm Superia Accessed September 30, 2026.
  3. 3C 50mmF2: Fujifilm Superia Reala 100 film review (February 4, 2021) Accessed September 30, 2026.
  4. 4C Down the Road: First roll impressions, Fujifilm Reala 100 (Jim Grey, November 28, 2022) Accessed September 30, 2026.
  5. 5C A Quirky Guy with a Camera: Fun with film, Fujicolor Reala 100 (May 17, 2017) Accessed September 30, 2026.
  6. 6C Fuji X Weekly: Fujifilm X100V film simulation recipe, Fujicolor Reala 100 (June 20, 2020) Accessed September 30, 2026.
  7. 7C Fuji X Weekly: The new Reala Ace film simulation is actually... (March 23, 2024) Accessed September 30, 2026.
  8. 8DS Fujifilm Fujicolor Pro 400H Professional, product information bulletin AF3-176E (print code EIGI-05.1)
  9. 9B The Grain Archive: Fujifilm Reala 100 style, darktable measurements

DS: datasheet · C: review or community · B: Grain Archive measurement