FujifilmSuperia 200

Fujifilm Superia 200 (sold as Fujicolor Superia 200) was Fujifilm’s consumer ISO 200 daylight color negative film for C-41 processing, with a fourth, cyan-sensitive layer that Fujifilm credits for more faithful colors [1]. Reviews describe vivid color, with intense reds, greens and blues, though they disagree about skin tones and contrast [5] [8]. Fujifilm UK said in May 2017 that Superia 200 would be discontinued in 35 mm; Fujicolor C200, an older emulsion, took over the 200 ISO slot, and is now sold in the US as Fujifilm 200 [3] [9].

Look and color

• What Fujifilm promised. “Great vividness across the entire spectrum”, with vibrant reds, blues and yellows; violets and various greens reproduced more realistically; and “beautiful, natural” skin tones [1].
• Reds and greens are intense. Carlos G. Rodríguez finds reds and greens “very intense” and blue skies and water flattered by the film; terracotta tiles turn a darker crimson [5]. The CWO reviewer also reports rich colors, but calls them accurate and describes warm tones [8].
• Skin: the sources disagree. Rodríguez sees pink cheeks and red shadows on faces, which fade only with overexposure [5]. Two reviews of the successors, Fujifilm 200 and C200, call skin natural instead [6] [7]. We could not test Superia 200 itself against them, so the style leans toward pink skin with reservations.
• Shadows. A slight blue-green tone in the shadows for Rodríguez [5]. The Fujifilm 200 reviewer reports a slight green tint overall, strongest with foliage [7]. The C200 reviewer never saw green shadows but noted a pink cast in the highlights [6]. The CWO mentions that some users complain of red hues or a greenish cast [8].
• Fluorescent light. Fujifilm claims accurate color under fluorescent lamps [1]. We found no review that tests this.

Tonality

• Curve. On the datasheet’s characteristic curves, the three layers run almost parallel, with a soft toe between log H −4 and about −2.5 and then a straight line with no visible shoulder up to log H +0.3. The slope looks comparable to Superia X-TRA 400’s, perhaps slightly steeper (our approximate reading of the graph) [1].
• Middle gray. An 18 % gray card, read through the red filter in Status M, should give a density between 0.97 and 1.16 with recommended lighting and optimal processing [1].
• Contrast: the sources disagree. The CWO reviewer calls it medium [8]. The C200 reviewer noticed “extra boost in contrast” [6]. We found no review that measures it.
• Latitude is barely documented. Rodríguez found it limited: underexposure made the red cast worse, and overexposure removed the cast at the cost of detail [5]. Fujifilm only advises a plus or minus one stop adjustment for very bright, dark or backlit subjects [1].
• Long exposures: no correction from 1/4000 to 2 s, then +1/3 stop at 4 s, +2/3 at 16 s and +1 at 64 s [1].

Grain and sharpness

Fujifilm publishes a diffuse RMS granularity, measured through a 48 µm aperture at a density of 1.0 above minimum. Kodak’s Print Grain Index is a different scale, so we compare Superia 200 only with other Fujifilm sheets.

• Fujifilm describes the grain as fine for a medium-speed film [1]. Superia X-TRA 400, one stop faster, shares the same RMS figure, so the number alone says little about how the grain looks in a print.
• Reviews vary. The CWO reviewer found minimal grain [8]. The Fujifilm 200 reviewer finds it “a bit grainy for a 200 speed film” [7], and the C200 reviewer notes less grain than Kodak Gold but “it’s there” [6]. These last two concern the successor, not Superia 200.
• Sharpness: Fujifilm publishes an MTF curve and the resolving powers above [1].

Spectral sensitivity

Four layers are plotted. The blue layer stays high from about 400 to 455 nm and peaks near 468 nm, green peaks near 548 nm, red near 624 nm, and the fourth, cyan-sensitive layer near 520 nm, about 0.7 log below the green peak [1]. Blue and green cross near 492 nm, green and red near 579 nm. That fourth layer sits in the gap between the blue and green bands; Fujifilm credits it for more faithful violets and greens [1]. The Grain Archive color style is tuned from the datasheet and the reviews above; it is not computed from these curves.

Names, status and history

• About 1998. Wikipedia dates the Superia range to about 1998, and our datasheet’s print code, EIGI-98.10, is consistent with that [4] [1]. Wikipedia calls Superia 200 one of the most widely available consumer films of the early 2000s and the main rival of Kodak Gold 200 [4].
• Formats. The datasheet lists 135 rolls of 12, 24 and 36 exposures and 110 cartridges of 12 and 24, and notes that the product would continue in 110 [1]. Wikipedia lists the same two formats and says 110 ended before 135 [4]. We could not resolve when 110 ended.
• May 2017: end of 135. Fujifilm UK said Superia 200 “in all configurations and exposures (24 and 36) will be discontinued when stocks run out”, and that Fujicolor C200 “will become the 200iso offering” [3]. Wikipedia adds that stock lasted in some stores until early 2018 [4].
• The successor. Fujicolor C200 is older technology, without the fourth layer [4] [6]. In January 2022 Fujifilm rebranded it Fujicolor 200 in the US, where its datasheet says Fujifilm 200; commenters at the time argued that its datasheet looks like Kodak Gold 200’s, and the Kodak Gold 200 page covers that question [9].
• September 30, 2026. Fujifilm’s US consumer film page listed Fujifilm 200 and Fujifilm 400 as new products, and no Superia 200 [2].