Konica Centuria Super 1600

Centuria Super 1600 was Konica's high-speed answer to Fujicolor Superia 1600, sold for the same reason: indoor parties, gymnasium sports, dusk-to-dark street work where a flash would have killed the scene. The February 2002 datasheet lists it as ISO 1600/33, C-41 process, daylight balanced, on a triacetate base, with the MCC and UCC crystal technologies that ran through the rest of the Super line.

The grain is the first thing you notice. It is large, structured, and sits between Fujicolor Superia 1600 and the older Konica SR-G 3200 on the texture scale. Konica's claim of highest actual speed in class as of early 2002 was the kind of thing every manufacturer said and only the lab tests could settle. In practice it metered honestly at 1600 in most light, which is more than you could say for some consumer 1600 stocks that needed a half stop of overexposure to hold shadows.

Where the film earned its following was tungsten and mixed light. Indoor wedding receptions and dim restaurants came back with skin tones that looked alive rather than the green-yellow shift that plagued cheap fast film. Konica's color science leaned warmer than Fuji and less orange than Kodak, and at 1600 that tendency helped more than it hurt. Daylight at noon was the wrong assignment.

Available in 35mm only. Production ended with the Konica Minolta imaging shutdown in 2006, and the DNP relaunch of the Centuria brand between 2007 and 2009 did not include the 1600. Surviving rolls are at least two decades old. Apply the stop per decade rule for aged stock and the speed effectively drops to 400 or below.

Reciprocity exponent is 1.20. Zone Light Meter applies the correction past one second. A metered 30-second exposure becomes about 60 seconds at the negative. At ISO 1600 you do not cross that threshold often, but for tripod work in genuinely dark scenes the correction matters and the color crossover at long exposures matters more. Bracket where you can.