Tag Archives: AgfaPhoto CT Precisa 100

First AgfaPhoto CT Precisa 100 (in E6)


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It’s my impression that the AgfaPhoto CT Precisa 100 these days are mostly used for cross-processing, yet after having seen what it can do there I got curious to see it’s true colours as well — not least after having seen the beautiful blues of another positive film, the Fujifilm Velvia 50.

Overall I was hoping for more, yet to be honest this is likely to be because the film requires more accurate exposure than I offered it.

In some cases, e.g. City Beach, Rinck, and especially Rain Clouds, we did a great job and got what I wanted. In other cases, e.g. Under the Bridge I’d like to think that the result could have been better on a higher quality film; however, while Stripes and Circles also falls in this latter group not all mishaps are actually that bad.

Verdict? At less than half the price of Velvia 50 it’s still a candidate for nature/post-rain scenes like Rain Clouds.

First AgfaPhoto CT Precisa 100 (in C41)


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In my on-going hunt for a Lomography X-Pro Chrome substitute I’ve heard the AgfaPhoto CT Precisa 100 mentioned on a few occasions, and it finally became time to try it. It has done a decent job, and moreover illustrated that a step might have been missing in my process so far.

As you never really know which film is actually inside the Lomography canisters (rumour has it they were using old Kodak film in the beginning and has since gone through several manufactures, including unknown Chinese brands) it is also non-trivial to tell if it’s actually a negative or a positive film — and apparently it isn’t just me who’s confused: for the first time my developer charged a special cross-processing feed, even though I’ve given her Lomography films before that were supposedly also meant to be cross-processed. But this time I’m absolutely certain that I have in my hands a bona fide cross-processed film!

As mentioned, I think the film has done a decent job. Scholastique (from Above) for example is exactly what I was hoping for, and also like the toning in House.

However, most prints are quite a bit off in terms of colour balance, as for example Behind the Park, In Time, and Cornershop. For some it works out nicely, e.g. Scholastique (In the Rain) and Goth Metro, while for others I felt the need to cheat and colour correct in Photoshop afterwards: Pearl of the Quartier, for instance, was shot seconds after Scholastique (from Above) using exactly the same exposure yet completely green.

I’ll be asking my developer the next time if it’s really a question of exposure or not, but at this point my suspicion goes in direction of the printing process simply not being as standardised as I believed it was. More specifically, that asking the developer to either scan the film or make prints is still not enough to achieve the “real” colours of the film.