Fujifilm NEOPAN Acros 100 120 Film
Through the incorporation of Fujifilm’s proprietary “Super Fine-Σ Grain Technology”, Fuji Neopan Acros 100 II delivers the world’s highest standard in grain quality among ISO-100 black and white films. Its fine grain, along with its superb grain alignment and rich gradation, makes possible smoother and sharper textural depiction, even in big enlargements. Neopan Acros 100 II is an orthopanchromatic black and white negative film characterized by its extremely fine grain structure, wide tonal range, rich gradation and outstanding sharpness. These features make it an excellent choice for a wide range of photographic applications, including portraits, landscape, architectural subjects, product photography, photomicrography, duplication work and astrophotography. Storage and handling: Load and unload film in subdued light. Store unexposed film in a refrigerator at 13°C (55°F) or lower in the original sealed package. To avoid moisture condensation on film that has been refrigerated, allow the film to warm up to room temperature before opening the package. Process film as soon as possible after exposure. Protect processed film from strong light, and store it in a cool, dry place.
Through the incorporation of Fujifilm’s proprietary “Super Fine-Σ Grain Technology”, Fuji Neopan Acros 100 II delivers the world’s highest standard in grain quality among ISO-100 black and white films. Its fine grain, along with its superb grain alignment and rich gradation, makes possible smoother and sharper textural depiction, even in big enlargements. Neopan Acros 100 II is an orthopanchromatic black and white negative film characterized by its extremely fine grain structure, wide tonal range, rich gradation and outstanding sharpness. These features make it an excellent choice for a wide range of photographic applications, including portraits, landscape, architectural subjects, product photography, photomicrography, duplication work and astrophotography. Storage and handling: Load and unload film in subdued light. Store unexposed film in a refrigerator at 13°C (55°F) or lower in the original sealed package. To avoid moisture condensation on film that has been refrigerated, allow the film to warm up to room temperature before opening the package. Process film as soon as possible after exposure. Protect processed film from strong light, and store it in a cool, dry place.
Through the incorporation of Fujifilm’s proprietary “Super Fine-Σ Grain Technology”, Fuji Neopan Acros 100 II delivers the world’s highest standard in grain quality among ISO-100 black and white films. Its fine grain, along with its superb grain alignment and rich gradation, makes possible smoother and sharper textural depiction, even in big enlargements. Neopan Acros 100 II is an orthopanchromatic black and white negative film characterized by its extremely fine grain structure, wide tonal range, rich gradation and outstanding sharpness. These features make it an excellent choice for a wide range of photographic applications, including portraits, landscape, architectural subjects, product photography, photomicrography, duplication work and astrophotography. Storage and handling: Load and unload film in subdued light. Store unexposed film in a refrigerator at 13°C (55°F) or lower in the original sealed package. To avoid moisture condensation on film that has been refrigerated, allow the film to warm up to room temperature before opening the package. Process film as soon as possible after exposure. Protect processed film from strong light, and store it in a cool, dry place.
Through the incorporation of Fujifilm’s proprietary “Super Fine-Σ Grain Technology”, Fuji Neopan Acros 100 II delivers the world’s highest standard in grain quality among ISO-100 black and white films. Its fine grain, along with its superb grain alignment and rich gradation, makes possible smoother and sharper textural depiction, even in big enlargements. Neopan Acros 100 II is an orthopanchromatic black and white negative film characterized by its extremely fine grain structure, wide tonal range, rich gradation and outstanding sharpness. These features make it an excellent choice for a wide range of photographic applications, including portraits, landscape, architectural subjects, product photography, photomicrography, duplication work and astrophotography. Storage and handling: Load and unload film in subdued light. Store unexposed film in a refrigerator at 13°C (55°F) or lower in the original sealed package. To avoid moisture condensation on film that has been refrigerated, allow the film to warm up to room temperature before opening the package. Process film as soon as possible after exposure. Protect processed film from strong light, and store it in a cool, dry place.
in 24 offers
The lowest price for Fujifilm NEOPAN Acros 100 120 Film right now is $16.00 at 遠野倉庫 Yuenye Warehouse, compared across 23 retailers.
The all-time low was $14.00 on 1 Mar 2026 — today's price is 14% above the lowest ever. That's a little above the best price we've seen.
Prices last updated 8 Aug 2026.
Last updated at 08/08/2026 06:01:12
Fujifilm Neopan 100 Acros II - 135-100-2 12EX1
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FUJI ACROS II 120 Expired Coupon
Free delivery
Fujifilm Acros 100II Neopan Professional Black and White film 120 roll
Delivery $45.63
Fujifilm Acros Neopan 100 II - 120
Fujifilm Neopan Acros 100 II (120) EXPIRED 06/2026
Delivery between 14–21 Aug $59
Fujifilm Neopan Acros 100II 120 Film
Fuji Neopan 100 Acros II 120 film
Fujifilm Neopan Acros 100 Ii 120 Film
Delivery $10
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Fujifilm Neopan Acros 100 II — 120
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Fujifilm Acros II Neopan 100 120
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originally posted on adorama.com
I loved the old Acros emulsion. When it was discontinued, I went on a quest to replace it with something comparable. After flip flopping between Ilford and Kodak, I settled on T-Max. But once Acros II released, I have come back to Fujifilm for one big reason. It just work better in the darkroom. Kodak's T-Max and Tri-X films are both so contrasty that it makes darkroom printing more difficult. I feel I can get better results with Acros without having to do extensive burning and dodging or use multi grade filters to achieve a look I'm after. The "flatter" negative I get from Fujifilm just makes it easier. Aside from its darkroom capabilities, I love the beautiful tonal range I get from Acros. The mids look so beautiful and they handle highlights way better than ... MoreI loved the old Acros emulsion. When it was discontinued, I went on a quest to replace it with something comparable. After flip flopping between Ilford and Kodak, I settled on T-Max. But once Acros II released, I have come back to Fujifilm for one big reason. It just work better in the darkroom. Kodak's T-Max and Tri-X films are both so contrasty that it makes darkroom printing more difficult. I feel I can get better results with Acros without having to do extensive burning and dodging or use multi grade filters to achieve a look I'm after. The "flatter" negative I get from Fujifilm just makes it easier. Aside from its darkroom capabilities, I love the beautiful tonal range I get from Acros. The mids look so beautiful and they handle highlights way better than Kodak. Sharpness is another great reason to buy Acros. It's a T grain film so the sharpness is high and grain is very fine. Developed in Kodak T-Max developer for 5:30 with agitation once a minute, I get good results and very useable negatives for printing. Lastly, this film dries nice and flat, making scanning and loading into my negative carrier for darkroom printing a breeze. This is my go-to 100 speed film, which is the ONLY "downside" to this film, and it's not really a downside. It is only offered in ISO 100. You can push process but that adds contrast and decreases shadow detail. I feel this film looks best shot at box speed so for that reason, I still buy Ilford Delta 400. If Fuji released a 400 speed version of this film, I would have no reason to buy anything from Ilford or Kodak again. That would really be something.
originally posted on adorama.com
After shooting my first roll of ACROS 100, it quickly became my preferred choice over comparable Delta 100 and TMAX 100. Compared to the scanned negatives from Delta 100 and TMAX 100 that need considerable contrast added in post processing to make them pop, the canned ACROSS 100 negatives look great right out of the scanner. Bravo! By the way, I have only developed ACROSS 100 in XTOL (1+1) so far.
originally posted on adorama.com
This emulsion is truly special. I've had great results developing with Ilford DD-X. Dries flat, scans great, and makes for wonderful prints in the darkroom. Lower reciprocity failure means it's also great for long exposure shots.
| Film Format | 120 |
| Number of Exposures | 12 |
| Film Type | Orthopanchromatic B&W Negative |
| Film Speed | ISO 100 |
| Film Processing | Standard Black and White Chemistry |
Fujifilm Neopan 100 Acros II - 135-100-2 12EX1
Affiliate Disclosure: We may receive a small commission for purchases made through this link at no extra cost to you. This helps support our site. Thank you!
FUJI ACROS II 120 Expired Coupon
Free delivery
Fujifilm Acros 100II Neopan Professional Black and White film 120 roll
Delivery $45.63
Fujifilm Acros Neopan 100 II - 120
Fujifilm Neopan Acros 100 II (120) EXPIRED 06/2026
Delivery between 14–21 Aug $59
I loved the old Acros emulsion. When it was discontinued, I went on a quest to replace it with something comparable. After flip flopping between Ilford and Kodak, I settled on T-Max. But once Acros II released, I have come back to Fujifilm for one big reason. It just work better in the darkroom. Kodak's T-Max and Tri-X films are both so contrasty that it makes darkroom printing more difficult. I feel I can get better results with Acros without having to do extensive burning and dodging or use multi grade filters to achieve a look I'm after. The "flatter" negative I get from Fujifilm just makes it easier. Aside from its darkroom capabilities, I love the beautiful tonal range I get from Acros. The mids look so beautiful and they handle highlights way better than ... MoreI loved the old Acros emulsion. When it was discontinued, I went on a quest to replace it with something comparable. After flip flopping between Ilford and Kodak, I settled on T-Max. But once Acros II released, I have come back to Fujifilm for one big reason. It just work better in the darkroom. Kodak's T-Max and Tri-X films are both so contrasty that it makes darkroom printing more difficult. I feel I can get better results with Acros without having to do extensive burning and dodging or use multi grade filters to achieve a look I'm after. The "flatter" negative I get from Fujifilm just makes it easier. Aside from its darkroom capabilities, I love the beautiful tonal range I get from Acros. The mids look so beautiful and they handle highlights way better than Kodak. Sharpness is another great reason to buy Acros. It's a T grain film so the sharpness is high and grain is very fine. Developed in Kodak T-Max developer for 5:30 with agitation once a minute, I get good results and very useable negatives for printing. Lastly, this film dries nice and flat, making scanning and loading into my negative carrier for darkroom printing a breeze. This is my go-to 100 speed film, which is the ONLY "downside" to this film, and it's not really a downside. It is only offered in ISO 100. You can push process but that adds contrast and decreases shadow detail. I feel this film looks best shot at box speed so for that reason, I still buy Ilford Delta 400. If Fuji released a 400 speed version of this film, I would have no reason to buy anything from Ilford or Kodak again. That would really be something.
After shooting my first roll of ACROS 100, it quickly became my preferred choice over comparable Delta 100 and TMAX 100. Compared to the scanned negatives from Delta 100 and TMAX 100 that need considerable contrast added in post processing to make them pop, the canned ACROSS 100 negatives look great right out of the scanner. Bravo! By the way, I have only developed ACROSS 100 in XTOL (1+1) so far.
This emulsion is truly special. I've had great results developing with Ilford DD-X. Dries flat, scans great, and makes for wonderful prints in the darkroom. Lower reciprocity failure means it's also great for long exposure shots.
This is a very sharp film, as sharp as another favorite of mine, TMax. I'd say it might be a little sharper, though, especially in 135. Compared to TMax, Acros is much better at handling highlights and has a more organic rendering of midtones and shadows. I like TMax for punch, but when I want accurate tonality and gentler rendering, like for landscapes and some portraiture, Acros is one of my top choices.
Given what this film is able to do and how inexpensive it was in its first iteration, it’s understandable former users are aghast at its current price. We were all spoiled, or possibly suckered in by a long-term marketing scheme.Either way, Acros was, and remains, a phenomenal film by any standard. It is nearly grainless, unless your film format is half-frame 110, has little reciprocity problems, very wide exposure latitude, and will give satisfactory results in any developer one might consider.So it’s now sold at the high end of the market, when it was at the low end earlier? Shouldn’t be a surprise. I’ll be happy to pony up, feed my Brick (Mamiya RB67) and head out to create that next masterpiece, knowing whatever else can go wrong, the film won’t be a factor. ... MoreGiven what this film is able to do and how inexpensive it was in its first iteration, it’s understandable former users are aghast at its current price. We were all spoiled, or possibly suckered in by a long-term marketing scheme.Either way, Acros was, and remains, a phenomenal film by any standard. It is nearly grainless, unless your film format is half-frame 110, has little reciprocity problems, very wide exposure latitude, and will give satisfactory results in any developer one might consider.So it’s now sold at the high end of the market, when it was at the low end earlier? Shouldn’t be a surprise. I’ll be happy to pony up, feed my Brick (Mamiya RB67) and head out to create that next masterpiece, knowing whatever else can go wrong, the film won’t be a factor. Each to their own.FWIW, the changes to the new product are name and price; my own use says it’s the same stuff.Good luck!
I've never shot the original Acros, but based on shooting Kodak B&W films, I can say that the sheer contrast in the negative is a sight to behold with light. I shot the roll under mostly sunny conditions, and reading from impressions on the internet, I tried to expose to keep some shadow detail. I find that it seems it could probably have used an extra third to half stop to get that extra shadow detail. Part of the effect on the light table is the fact that the base is super, super clear -- really reminds me of a well exposed slide. Obviously, the sharpness is incredible, but that's expected.I shot the roll, and let it sit around for about three or so weeks before I set it in for professional developing. I asked the lab to use D-76, per the datasheet, with no push ... MoreI've never shot the original Acros, but based on shooting Kodak B&W films, I can say that the sheer contrast in the negative is a sight to behold with light. I shot the roll under mostly sunny conditions, and reading from impressions on the internet, I tried to expose to keep some shadow detail. I find that it seems it could probably have used an extra third to half stop to get that extra shadow detail. Part of the effect on the light table is the fact that the base is super, super clear -- really reminds me of a well exposed slide. Obviously, the sharpness is incredible, but that's expected.I shot the roll, and let it sit around for about three or so weeks before I set it in for professional developing. I asked the lab to use D-76, per the datasheet, with no push or pull. I'm happy with the results, but I would make some changes if I shoot another roll.One, I would add a half stop of exposure to the shadows. I want just a touch more shadow detail, but it's really kind of personal preference.Two, I would be more careful to store the roll in a humidity controlled container, as I have spots on the film (I find it hard to believe this would be a problem with the lab, as they have processed many rolls of mine with zero issue). Processing promptly would also help to prevent any humidity related issues, if these spots are humidity related. I also noticed that Fujifilm calls for additional processing steps, so there may be a washing step that gets rid of the spots.Three, the film curls. It won't be as easy to scan as films that easily lay flat.If you're willing to pay the price (it's definitely an occasional treat, not an everyday film for me), willing to put up with its flaws, and want fantastic image quality, reach for this film first.
Great film! I would say it is the best B&W film that I have used. Excellent contrast, deep blacks, easy to develop. I have pushed it up to two stops with acceptable results. I would not need to do much editing to the scanned images to get great images.
Acros 100 was my favorite B&W film for quite awhile, and I was really disappointed to see it discontinued. When It came back as Acros 100 II, I bought 25 rolls as soon as B&H had it in stock. It was still pictured with the old box on this site, and sold in 5 roll packs. But it was Acros 100 II and in the same new box as pictured here. I wrote a review at the time which disappeared when B&H showed the new box and started selling it in individual rolls. So I have been using it for 10 months now and do not see any noticeable difference between it and the original version. In the earlier review I gave it 5 stars, and as a film stock it still deserves that rating. However, at twice the price of the original, it begs the question, Is it twice as good? No, it is not. And ... MoreAcros 100 was my favorite B&W film for quite awhile, and I was really disappointed to see it discontinued. When It came back as Acros 100 II, I bought 25 rolls as soon as B&H had it in stock. It was still pictured with the old box on this site, and sold in 5 roll packs. But it was Acros 100 II and in the same new box as pictured here. I wrote a review at the time which disappeared when B&H showed the new box and started selling it in individual rolls. So I have been using it for 10 months now and do not see any noticeable difference between it and the original version. In the earlier review I gave it 5 stars, and as a film stock it still deserves that rating. However, at twice the price of the original, it begs the question, Is it twice as good? No, it is not. And It is almost twice the price of any other B&W film. I do not know if I will continue buy this film or not, because I do not think Fuji can continue to market this film at such a high price, and then possibly discontinue it once more.
I flip flop between B&W films. The more I shoot, the more I am discovering film's nuances. But I think I have finally landed on Acros as my go-to 100 speed film for landscapes and portraiture. It has a super fine grain that is comparable to Kodak T-Max which helps to showcase the natural texures in landscapes and skintones. But the big difference between those two films is Acros seems to handle highlights much better. Some may call it flat contrast but since I started darkroom printing, the flatter, less contrasty films like Acros have made it a breeze to work with in the darkroom. I'm not doing extensive dodging and burning or fiddling around with multigrade contrast filters to control shadows and highlights. There's a good amount of density on the negative for my ... MoreI flip flop between B&W films. The more I shoot, the more I am discovering film's nuances. But I think I have finally landed on Acros as my go-to 100 speed film for landscapes and portraiture. It has a super fine grain that is comparable to Kodak T-Max which helps to showcase the natural texures in landscapes and skintones. But the big difference between those two films is Acros seems to handle highlights much better. Some may call it flat contrast but since I started darkroom printing, the flatter, less contrasty films like Acros have made it a breeze to work with in the darkroom. I'm not doing extensive dodging and burning or fiddling around with multigrade contrast filters to control shadows and highlights. There's a good amount of density on the negative for my photo paper to work with. Does it look as contrasty as T-Max in a scan? No, probably not. But photographic film is designed to be printed with, not scanned, and Fuji wins here. Printing from Kodak negatives have proven to be challenging so Fuji wins here. In addition to all that, it also has a ridiculously long reciprocity failure. The longest of any film on the market at 120 seconds! This makes it even more of a joy to use for landscapes because I don't have to do math to figure out my exposure once it goes past half a second. I have two glorious minutes before reciprocity failure becomes an issue and I've never needed more time than that to do the photography I do. I've never seen a need to push Acros, as I get great results without having to do so. It seems this is best shot at box speed. The photos I included feature the long exposure capabilities and the fine grain. They were all shot at box speed and developed in Kodak T-Max developer for 5:30 minutes with agitation every minute. I have fallen back in love with Acros recently and look forward to shooting with it more going forward.
This film is a bit tricky, especially when it comes to developer that I use, which is X-tol. The nominal speed is around 80 ISO, and in my testing this film did not push well. On the positive note, the blacks it produced were fantastic. It also responded well to yellow and orange filters. Overall, I have mixed feelings about Acros, with more positives than negatives. I'd say that Ilford FP4 Plus is probably a better film in terms of dynamic range and overall flexibility.
| Film Format | 120 |
| Number of Exposures | 12 |
| Film Type | Orthopanchromatic B&W Negative |
| Film Speed | ISO 100 |
| Film Processing | Standard Black and White Chemistry |
