Compared to the fairly straight-line curve shape of most modern films Acros shows an upward sweep or, iow, has _increasing_ contrast higher up the curve. In practice this results in very brilliant highlights or unprintable highlights, depending on SBR and how you've developed the film to accomodate the SBR. Otoh if you have to burn in highlights they'll still be contrasty rather than muddy.(posted 8200 days ago)I haven't found any way to lessen that tendency; "split" D-23 gave essentially the same curve shape as ordinary developers.
Acros is somewhat slower than Delta 100 or TMX in comparable developers, ranging from EI 100 in D-76H 1:1 to EI 64 in Rodinal 1:100 and EI 50 in Beutler 105. I use .10DU above fb&f for Zone I for the speedpoint.
It's pretty much comparable to Delta 100 and TMX in apparent sharpness and graininess.
Spectral sensitivity appears to be normal.
One feature is that Fuji claims that no reciprocity-failure correction is needed out to 120 seconds. I haven't tested for that.
I see this film as perhaps being perfect for landscape and still-life in flat light, especially in large format in which long exposures are common.
I think it'll really want to be printed on a paper that compresses highlights such as Ilford MGIV RC and will be usable on a "normal" paper such as Ilford MGIV FB, but it'll have a tendency to render midtones and shadows darker than usual if you print to hold detail in the brightest highlights. I suspect the reason Fuji designed the film with its curve shape is that Fuji paper(s) may render highlights similar to Ilford RC.
So I consider Acros as being sort of a special-purpose film but I don't have any urge to replace Delta 100 or TMX with it in ordinary usage.