These photos of Havelock North (as viewed from Porters Boutique Hotel) were shot on Fuji Eterna 250D, a motion picture film I purchased from the UK.^[1]I purchased this Nik & Trick hand-rolled film from The Photographers’ Gallery. Introduced in 2006 as Fuji expanded their Eterna motion picture line,^[2]Fuji Eterna 250D, 250T, and 400T joined the previously released Fuji Eterna 500T. You can read the press release here. Eterna 250D features exceptionally fine grain thanks to the same Super Nano-Structured Σ (Sigma) Grain Technology that Fuji used in Eterna 400T.^[3]Eterna 250D’s RMS granularity is better than Eterna 400T. Along with its near twin, Eterna 250T, this film features enhanced latitude, excellent sharpness, and an enhanced gradation balance in each of the red, green and blue layers, giving it smooth and “consistent gray balance over a broad range from underexposure to overexposure”.^[4]For more details, Fuji’s brochure describes the features and technologies found in Eterna 250D. I can attest to this as I bracketed my exposures when I shot this film and the developed negatives did in fact show consistent grays from frame to frame.

Fuji Eterna 250D was discontinued on March 31, 2013 when Fuji ceased all motion picture manufacturing.^[5]Fuji’s discontinuation announcement can be viewed here. Movies that were at least partly shot on Fuji Eterna 250D include Captain Phillips,^[6]See Captain Phillips (2013) Technical Specifications » ShotOnWhat? 3:10 to Yuma,^[7]See 3:10 to Yuma (2007) Technical Specifications » ShotOnWhat? The Hurt Locker,^[8]See The Hurt Locker (2008) Technical Specifications » ShotOnWhat? and The Golden Compass.^[9]See The Golden Compass (2007) Technical Specifications » ShotOnWhat?

While I’ve enjoyed shooting and reviewing Fuji motion picture film, I don’t think I’ll do it again. These film stocks are increasingly rare to find in good shape at a reasonable price^[10]As of this post’s date, you can find Fuji Eterna 250D (and other rare motion picture stocks) at Mr. Negative. and I don’t enjoy ECN-2 processing — especially removing the remjet layer. That being said, I am often tempted to buy them again. All 4 Fuji motion picture stocks that I’ve shot have held up well against time and have given me decent results. Who knows? If I ever come across more Fuji Eterna Vivid 160T, I just might shoot it again!