An Investigation of Photographic Phase Holograms

Total Page:16

File Type:pdf, Size:1020Kb

An Investigation of Photographic Phase Holograms Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-1974 An Investigation of Photographic Phase Holograms Dale Lance Markham Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Optics Commons Recommended Citation Markham, Dale Lance, "An Investigation of Photographic Phase Holograms" (1974). Master's Theses. 2607. https://scholarworks.wmich.edu/masters_theses/2607 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. AS INVESTIGATION OP PHOTOGRAPHIC PHASE HOLOGRAMS by Dale Lance Markham A Thesis Submitted to the Faculty of The Graduate College in partial fulfillment of the Degree of Master of Arts Western Michigan University Kalamazoo, Michigan August, 1974 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS Gratitude is expressed to ray Thesis Committee Members Professors Nathan L. Nichols and John E. Herman for their constructive criticisms which benefited in the writing of this thesis. Particular thanks goes to my Major Thesis Advisor Professor Stanley K. Derby for his time, patience, and guidance given to me during the many months of this investigation. Dale Lance Markham Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INFORMATION TO USERS This material was producer from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. M-6326 MASTERS THESIS MARKHAM, Dale Lance AN INVESTIGATION OF PHOTOGRAPHIC PHASE HOLOGRAMS. Western Michigan University, M.A., 1974 Physics, optics Xerox University Microfilms ,Ann Arbor, Michigan 48106 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OP CONTENTS CHAPTER PAGE I THE PROBLEM AND ITS BACKGROUND........... q II HOLOGRAPHY................................ 3 III PROPERTIES OP PHASE HOLOGRAMS ........... n IV EXPERIMENTAL ARRANGEMENT................. 17 Hologram Camera ....................... q7 Transparency measurements ....... qa V STUDIES IN BLEACHING PROCESSES ...... 22 Techniques for Producing Photographic Phase Holograms .... 22 The Modified Stanford Process ........ 24- The Kodak Reversal Bleach System . 34 The Modified Developer Process .... 4 4 The Modified Reversal Bleach Process . 53 The Agfa P r o c e s s ..................... 59 VI ATTEMPTS TO IMPROVE HOLOGRAPHIC IMAGES . 66 Printout Resulting from Variable Light Intensities................... 55 Printout Resulting from Wavelength Variation of L i g h t ................. gg Printout Resulting from Ultrasonic Agitation............................ 7q Ultrasonic Agitation Effect upon Wavelength Sensitivity ............. 72 Effects of Toners on Brightness and R e s o l u t i o n ..................... 75 Liquid Gates and Holographic Resolution 76 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OP CONTENTS (Cont.) CHAPTEN PAGE VII SELECTING AN OPTIMUM HOLOGRAPHIC PROCESS . 78 CONCLUSIONS ................................ g5 APPENDICES I PROCESSING STEPS POE THE MODIFIED STANFORD P R O C E S S ............... S8 II PROCESSING STEPS FOR THE KODAK REVERSAL BLEACH SYSTEM ............ 99 III PROCESSING STEPS FOR THE MODIFIED DEVELOPER PROCESS .............. 100 IV PROCESSING STEPS FOR THE MODIFIED REVERSAL BLEACH PROCESS .... 101 V PROCESSING STEPS FOR THE AGFA PROCESS . 102 VI PROCESSING STEPS FOR THE DERBY PROCESS . 103 VII PROCESSING STEPS FOR THE MARKHAM PROCESS . 104 VIII INFORMATION ABOUT UNUSUAL CHEMICALS USED IN THIS PAPER ....................... 105 FOOTNOTES ........................................ 108 BIBLIOGRAPHY.......................................... H A iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST 0? TABLES TABLE PAGE 1. Categorization of the Five Processes Investigated in this P a p e r ................. 26 2. The Essential Processing Steps of The Modified Stanford Process ............ 28 3» Pinal Absolute and Normalized Transparencies of Holograms Processed with The Modified Stanford Process and Processed with the Pour Modifications Performed on The Modified Stanford Process ................. 29 4. The Essential Processing Steps of The Kodak Reversal Bleach S y s t e m ........ 35 5. Pinal Absolute and Normalized Transparencies of Holograms Processed with The Kodak Reversal Bleach System and Processed with the Five Modifications Performed on The Kodak Reversal Bleach System ........ 4-3 6 . The Essential Processing Steps of The Modified Developer Process ........... 48 7. Pinal Absolute and Normalized Transparencies of Holograms Processed with The Modified Developer Process and Processed with the Three Modifications Performed on The Modified Developer P r o c e s s ........... 52 8 . The Essential Processing Steps of The Modified Reversal Bleach Process . 54 9. Final Absolute and Normalized Transparencies of Holograms Processed with The Modified Reversal Bleach Process and Processed with the Three Modifications Performed on The Modified Reversal Bleach Process . 55 10. The Essential Processing Steps of The Agfa P r o c e s s ......................... 60 11. Pinal Absolute and Normalized Transparencies of Holograms Processed with The Agfa Process and Processed with the Pour Modifications Performed on The Agfa Process 61 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OP TABLES (Cont.) TABLE p a g e 12. Summary of The Western Michigan University Modifications ............................. 80 13. Final Absolute and Normalized Transparencies of Holograms Processed with The Twelve Western Michigan University Modifications 87 14. The Essential Processing Steps of The Derby P r o c e s s......................... 91 15. The Essential Processing Steps of The Markham P r o c e s s ....................... 92 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES FIGURE P£G£ 1. The Sand Box Unit ................. IS 2. Arrangement of Components in The Sand Box U n i t ....................... 18 3. Arrangement of Transparency Measurement Zones on each H o l o g r a m................ is 4. Schematic of the Emulsion Cross Section for a Direct Bleach Process, a Negative Phase Image Process, and a Reversal Bleach Process ........................... 25 5. Time Variation of Absolute and Normalized Transparency of Holograms processed with The Modified Stanford Process (MSP) and processed without the prehardener in The Modified Stanford Process ........... 30 6. Time Variation of Absolute and Normalized Transparency of Holograms processed with The Modified Stanford Process (MSP) and processed with D-76 substituted as the developer in The Modified Stanford Process 31 7. Time Variation of Absolute and Normalized Transparency of Holograms processed with The Modified Stanford Process (MSP) and processed with potassium dichromate sub­ stituted as the bleaching agent in The Modified Stanford Process ........... 32 8. Time Variation of Absolute and Normalized Transparency of Holograms processed with The Modified Stanford Process (MSP) and processed without the clearer in The Modified Stanford
Recommended publications
  • The Photographic Emulsion: After-Ripening
    A 11 10 2 12fl^3 RP340 THE PHOTOGRAPHIC EMULSION: AFTER-RIPENING By Burt H. Carroll and Donald Hubbard ABSTRACT After-ripening is defined as the increase in sensitivity of photographic emnlsions after washing. Following a discussion of the process, and review of the literature, the experimental methods of the National Bureau of Standards photographic emulsion laboratory are described in detail. After-ripening by digestion was studied with respect to eight of the more important variables. The amount of after-ripening which is practicable is dependent on the extent to which sensitivity nuclei have been formed during ripening before washing. The influence of tem- peratures and of bromide, chloride, and hydrogen ion concentrations, is according to predictions on the basis of chemical reactions forming sensitivity nuclei. The effect of gelatin-silver halide ratio can be explained by its influence on rate of development. Variations between different samples or makes of gelatin are illustrated. The progress of after-ripening with inert gelatin plus known sen- sitizing materials is very similar to that under the usual conditions, but there are differences. The increase in practicable after-ripening important quantitative _ with increasing percentage of silver iodide is illustrated. After-ripening during storage of finished plates was found to be similar to that by digestion, but frequently more efficient. Changes in bromide ion concentration during digestion, and in nonhalide silver during digestion or storage, are further proof of reaction during after-ripening, but it is evident that most of the nonhalide silver is photo- graphically inert. CONTENTS Page I. Introduction 219 II. Experimental methods 222 1.
    [Show full text]
  • COURSE TITLE Cyanotypes Blue Prints COURSE CODE
    COURSE TITLE Cyanotypes Blue Prints COURSE CODE WC1801PR89 TUTOR Melanie King DATES 10th & 11th November 2018 DAY & TIME Saturday & Sunday, 10:00 am - 5:00 pm LEVEL This class is suitable for those aged 18 or over. All levels welcome COST £165 LOCATION Mermaid Court, ​click here​ ​for a map Daily breakdown Days Topic/skills covered Preparing the chemistry. Coating paper with the photosensitive solution. Sat Making photograms using UV from the atmosphere. Colour tinting prints. Preparing digital negatives on a computer. Making contact prints using an Sun industrial UV exposure machine. The Cyanotype​ method is an incredibly versatile, simple and fun process to learn. The Cyanotype was invented by Sir John Henry Herschel in1841. This early photographic process produces distinctive and striking Prussian blue images which can also be toned in various other colours. Simple and economic, it remained in use well into the twentieth century as a means of reproducing architectural and engineering drawings as Blueprints. In more recent times, the Cyanotype has been rediscovered by contemporary artists. Also sometimes known as sun printing, the Cyanophyte process is one you can easily learn to do in a weekend. It offers a perfect introduction to alternative and traditional photographic processes and to the use of computers to produce photographic negatives for such processes. The course takes place in the Print Studio and also utilises the Digital Suite at the Art Academy. Both facilities offer a much wider programme of evening, weekend and daytime courses throughout the year. Please refer to our website for full terms and conditions: Mermaid Court, 165A Borough High Street, London SE1 1HR www.artacademy.org.uk/terms-conditions/ 020 7701 2880 The cyanotype process is simple, non-toxic and can be adapted and incorporated into a range of other printmaking techniques such as photo-etching and mono-printing.
    [Show full text]
  • Holographic Works in the Collection of the National Gallery of Australia Andrea Wise
    7th AICCM Book, Paper and Photographic Materials Symposium, 2012 More than meets the eye: Holographic works in the collection of the National Gallery of Australia Andrea Wise The National Gallery of Australia (NGA) holds a varied collection of new media, which includes intriguing virtual art such as holograms. Whether the term ‘new’ can still be applied to holography is debatable; the theory was announced in 1948, with the realisation in images occurring after the invention of lasers in the 1960s. Famously, Salvador Dali claimed to be the first artist to have worked with holography with his 1972 New York exhibition. This, however, was not strictly true as there had been two previous dedicated hologram exhibitions in the US in 1968 and 1970, highlighting the enthusiasm with which the medium was taken up by artists. Over the years hologram materials and techniques have evolved, becoming more sophisticated and, reflecting similar trends to those in photography, incorporating digital technology with applications in art, science, industry and medicine. Holograms are part of everyday life, and extraordinary developments in colour holography have led to artists working exclusively in the medium, producing entire exhibitions created in holographic images. This paper considers some of the implications of these works for the conservator and provides a brief summary of the history and manufacture of holograms, together with an overview of the materials and techniques of a small selection of holographic images in the NGA collection by Paula Dawson and Margaret Benyon. Both artists have been creative with the technical process, collaborating with a wide range of scientists and technicians over the course of their careers, incorporating different holographic methods as these evolved.
    [Show full text]
  • United States Patent (19) 11 Patent Number: 4,965,177 Mclaen (45) Date of Patent: Oct
    United States Patent (19) 11 Patent Number: 4,965,177 McLaen (45) Date of Patent: Oct. 23, 1990 (54) ACTIVATORSOLUTION WITH COLD IMAGE TONE-PROVIDING AGENT OTHER PUBLICATIONS G. Haist, Modern Photographic Processing, vol. 1, 75 Inventor: Donald F. McLaen, Rochester, N.Y. 1979, pp. 260-262, John Wiley and Sons, N.Y. 73) Assignee: Eastman Kodak Company, B/W Print Processing with the Kodak Royalprint Rochester, N.Y. Processor, 1980. 21 Appl. No.: 388,412 Operating the Kodak Royalprint Processor Model 417, Nov., 1984. 22 Filed: Aug. 2, 1989 Maintaining the Kodak Royalprint Processor Model 51 Int. Cl. ................................................ CO3C 5/29 4.17, Nov., 1984. 52 U.S. C. .................................... 430/405; 430/448; Primary Examiner-Paul R. Michi 430/486; 430/.490 Assistant Examiner-Janet C. Baxter 58) Field of Search ............... 430/405, 448, 486, 490, 430/965 Attorney, Agent, or Firm-Robert A. Linn 57 ABSTRACT (56) References Cited Potassium iodide (or a related iodide) when incorpo U.S. PATENT DOCUMENTS rated in an alkaline activator for use in a rapid access 2,607,686 8/1952 Current ............................... 430/370 processor using developer-incorporated, resin-coated 3,55,555 6/1970 Fassbender ......................... 430/370 paper, (i) produces a cold image tone in black-and-white 3,619,186 11/1971 Parsons ............................... 430/232 photographic prints, and (ii) maintains the image tone of 4,124,390 1 1/1978 Kohn ................................... 430/390 a large number of prints within a narrow image tone 4,436,805 3/1984 Iguchi et al. ........................ 430/248 range over a (one week or one thousand 8X 10 inch FOREIGN PATENT DOCUMENTS print) design life of the activator solution.
    [Show full text]
  • The Progression of Photographic Image Manipulation in Communication: an Argument Against the "Revolution" of Technological Change
    UNLV Retrospective Theses & Dissertations 1-1-1992 The progression of photographic image manipulation in communication: An argument against the "revolution" of technological change Cynthia Lynn Wood University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Wood, Cynthia Lynn, "The progression of photographic image manipulation in communication: An argument against the "revolution" of technological change" (1992). UNLV Retrospective Theses & Dissertations. 250. http://dx.doi.org/10.25669/bqu5-khy0 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction.
    [Show full text]
  • Holographic Photochemistry, a Summary
    Holographic photochemistry, a summary MAS 450/854 Introduction In holography class, we use “silver halide” plates exclusively as our photosensitive medium. “Silver halide” (sometimes referred to as AgH) is a term that includes silver chloride (AgCl) and, most commonly and also for our plates, silver bromide (AgBr). These plates are coated with an emulsion of gelatin (animal renderings, just like Jelloª) in which is suspended grains of silver halide crystals. These silver halide grains are sensitive to light. When a plate is exposed to light, a photons from the light source stream through the emulsion. Once in a while, a photon bumps into a silver grain. If a certain number of photons hit a grain, a small site of metallic silver is formed on that grain. Think of this site as being a mark on a silver halide grain. The chances of a grain being marked depends on the size (surface area) of the grain, the amount of light, and the length of exposure. In holographic emulsions, the grains are very fine (have a small surface area) in order to reproduce small fringes, so they aren’t very likely to be marked and thus such emulsions aren’t very sensitive. Collectively, the marked grains form a “latent” image: an invisible yet recorded pattern in the emulsion. Developers All of our plate processing begins with development. Developers are responsible for turning marked silver grains completely to metallic silver, which looks black when it is very small. Developers “amplify” the effect of exposure and make pho- tography as we know it possible.
    [Show full text]
  • Introduction to Collection Surveys and Condition Reports
    Fundamentals of the Conservation of Photographs SESSION: Introduction to Collection-Level Surveys and Condition Reporting INSTRUCTOR: Monique Fischer, Tram Vo SESSION OUTLINE ABSTRACT This part of the course will provide systematic approaches to writing condition reports for photographs and performing collection-level surveys. This section of the course will provide students with the information needed to perform the small scale survey during the distance mentoring phase. LEARNING OBJECTIVES As a result of this session, participants should be able to: Understand photographic materials, processes, and deterioration characteristics in order to write a proper condition report. Know how to implement a systematic preservation program and understand issues such as environmental control, disaster preparedness, storage and handling, potential hazards, reformatting and conservation treatment. Understand that performing a survey is the best way for a collection to survive. CONTENT OUTLINE Introduction with PPT presentations: “Condition Reporting of Photographs” and “Surveying Photograph Collection” Examples of different condition report forms, including electronic formats, will be examined and discussed. Samples will be provided to participants. Provide students with a basic outline of a survey report and discuss. Pros and cons of the condition report and survey form hand -outs will be discussed. “Hands-on” exercise: provide each student with an unknown photograph and have them write a complete condition report using a form that has been made available. Students will present reports in class. During the distance mentoring phase students will conduct a survey of their family photographs. The introduction given during the summer school will provide the information students need for this activity. www.getty.edu/conservation SESSION OUTLINE CONT’D.
    [Show full text]
  • Chemistry of Photographic Processing
    CHEMISTRY OF PHOTOGRAPHIC PROCESSING A camera has been called a “magic box.” Why? Because the box captures an image that can be made permanent. Photographic chemistry explains how this happens and this instruction sheet is a presentation of basic photographic chemistry. THE EMULSION The first magical part of photographic chemistry is the photographic emulsion. As you recall, film is made up of a support and an emulsion. The emulsion has two major ingredients: Silver Halide Crystals and Gelatin. The silver halide crystals capture the photographic image. The gelatin holds the silver halide crystals in place, somewhat like Jello holds pieces of banana in place. The silver halide crystals are more important than the gelatin in an emulsion because they are light sensitive. The photographic image formed when light strikes the silver halide crystals is invisible or latent. Photographic processing chemicals make the latent image formed by the light sensitive halide crystals visible and permanent. GENERAL CHEMISTRY FACTS To learn how photographic processing chemicals make latent images visible and permanent, it is necessary to learn some general facts of chemistry. ELEMENTS Chemically, everything in the universe is made up of about 100 different elements. An element is the simplest kind of matter because it contains atoms of only one kind. As an example, oxygen is an element because it contains only one kind of atom. In addition, silver has only one kind of atom, so silver is also an element. We can divide elements into two classes: metallic and non-metallic. Silver is a metallic element. The table below shows elements of interest to photography and whether they are metallic or non-metallic.
    [Show full text]
  • Por Que Base Offers Workshops in Alternative
    FEATURES THURSDAY, JANUARY 28, 2010 piece of paper, coated in a wash of yellow, is slipped into a tub of water. As it is gently swished back and forth, an image slowly begins to emerge, entirely in shades of indigo A blue, but just as rich in detail as any photo. The founder of Por Que Base, Syko (full name Steven Syko Song) has taught cyanotype workshops for two years at his studio on Heping East Road (和平東路), as well as at Booday (蘑菇) and the Museum of Contemporary Art (台北當代藝術館). But Syko’s workshops aren’t just about learning the steps behind making a cyanotype, which is processed with only two chemicals and ultraviolet light. His teaching trademark is asking students to think about the ideas and emotions behind each image they create. In Spanish, por que means “why” — but when the two words are joined together, the meaning is “because.” Syko, who taught at the Art Center College of Design in Pasadena, California before moving to Taiwan four years ago, works in cyanotype because it is an approachable and inexpensive way for students to experience the process of printing their own photos. “You don’t need to have a photography background, you can just have your little pocket digital camera or even take photos with your cellphone and create the film needed to make the prints,” says Syko. “It’s convenient and very hands on. You don’t need any special equipment and the experience of these images being developed before your eyes is what really gets the students.” The process for making a cyanotype is simple: images are turned into black and white negatives using photo editing software and printed onto clear transparency film.
    [Show full text]
  • THE PHOTOGRAPHIC EYE Learning to See with a Camera
    REVISED EDITION THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael F. O'Brien & Norman Sibley THE PHOTOGRAPHIC EYE Learning to See with a Camera Michael E O'Brien & Norman Sibley Davis Publications, Inc., Worcester, Massachusetts Copyright 1995 Davis Publications, Inc. Worcester, Massachusetts U.S.A. To the photography students of Seoul American High School, past, present and future. No part of this work may be repro- duced or transmitted in any form or by any means, electronic or mechan- ical, including photocopying and re- cording, or by any information storage or retrieval system without the prior written permission of the copyright owner, unless such copy- ing is expressly permitted by federal copyright law. Davis is not autho- rized to grant permission for further uses of copyrighted selections or im- ages reprinted in this text without the permission of their owners. Permis- sion must be obtained from the indi- vidual copyright owners as identified herein. Address requests for permis- sion to make copies of Davis mate- rial to Permissions, Davis Publi- cations, Inc., 50 Portland Street, Worcester, MA 01608. Editor: Claire Mowbray Golding Design: Greta D. Sibley Printed in the United States of America Library of Congress Catalog Card Student photograph by Gregory Conrad. Number: 93-74644 ISBN: 0-87192-283-5 1098 765 Cover: Student photograph by Leah Gendler. 4 The Photographic Eye Contents 7 Introduction Part 1 Getting Started 11 Chapter 1 From Blurs to Big Business History • Photographic Careers Part 2 Elements of Composition 35 Chapter 2 Tools Manual or Automatic? • The Camera, Inside & Out • Exercises: Testing the Shutter & Aperture • Loading Film 51 Chapter 3 What is Composition? Snapshots vs.
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]
  • Photographic Processing
    Photographic processing From Wikipedia, the free encyclopedia Photographic processing is the chemical means by which photographic film and paper is treated after photographic exposure to produce a negative or positive image. Photographic processing transforms the latent image into a visible image, makes this permanent and renders it insensitive to light. All processes based upon the gelatin-silver process are similar, regardless of the film or paper's manufacturer. Exceptional variations include instant films such as Polaroid and thermally developed films. Kodachrome required Kodak's proprietary K-14 process. Kodachrome film production ceased in 2009, and K-14 processing is no longer available as of December 30, 2010. Ilfochrome materials use the dye destruction process. Common processes All film and paper is treated in a series of chemical baths, which are closely monitored and maintained at a specific temperature and treatment time. Developer baths are most sensitive to deviations from the standard time and temperature of treatment; other baths are less sensitive. Black and white negative processing 1. The film may be soaked in water to swell the gelatin layer. 2. The developer converts the latent image to metallic silver. 3. A stop bath,† typically a dilute solution of acetic acid or citric acid, halts the action of the developer. A rinse with clean water may be substituted. 4. The fixer makes the image permanent and light-resistant by dissolving any remaining silver halide salts. Fixer is sometimes called hypo, a deprecated term originating from casually shortened form of the alchemist's name hyposulphite. 5. Washing in clean water removes any remaining fixer.
    [Show full text]