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KODACHROME 25, 64, and 200 Professional Film

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KODACHROME 25, 64, and 200 Professional Film TECHNICAL DATA / COLOR TRANSPARENCY FILM June 2009 • E-55 KODACHROME 25, 64, and 200 Professional Film —NOTICE— Discontinuance of KODACHROME Film KODACHROME 200 Professional Film / PKL KODACHROME Film has been discontinued. Film will be sold • Well suited for sports, editorial, stage-performance, and while supplies last. outdoor/nature applications Although there is no exact replacement, KODAK • Pushes very well to EI 500 and EI 800 under stadium PROFESSIONAL EKTAR 100 and KODAK PROFESSIONAL lighting conditions EKTACHROME E100G Films are suggested alternatives. • Natural colors • 200 speed for stopping action and for use with telephoto DESCRIPTION lenses KODACHROME 25, 64, and 200 Professional Films are • Extremely high sharpness and fine grain color transparency films designed for processing in Process • Archival K-14 chemicals. These films are intended for exposure with daylight or electronic flash. You can also expose them with tungsten illumination (3200 K) or photolamps (3400 K) STORAGE AND HANDLING using filters. Load and unload film in subdued light. KODACHROME 25 and 64 Professional Films feature Store unexposed film in a refrigerator at 55°F (13°C) or extremely fine grain and extremely high sharpness. They are lower in the original sealed package. To avoid moisture excellent choices for a wide variety of professional condensation on film that has been refrigerated, allow the applications. KODACHROME 200 Professional Film film to warm up to room temperature before opening the features fine grain and extremely high sharpness. With its package. Process film as soon as possible after exposure. faster speed, the film is ideal for low-light situations and Protect transparencies form strong light, and store them in photo shoots requiring increased depth of field. a cool, dry place. For more information, see KODAK Use these films to produce color transparencies for Publication No. E-30, Storage and Care of KODAK projection or viewing with 5000 K illumination. Duplicate Photographic Materials—Before and After Processing. transparencies can be made by direct printing. To make color prints, you can print transparencies onto color reversal paper. Or make internegatives for printing onto color negative EXPOSURE paper. You can also scan transparencies for digital printing Exposure Index Numbers and for graphic arts and Photo CD applications. Use the exposure index numbers below with cameras or light meters marked for ISO or ASA speeds or exposure indexes. KODACHROME 25 Professional Film / PKM Do not change the film-speed setting when metering through • Exceptional results in outdoor, travel, nature, a filter. Metering through filters may affect meter accuracy; advertising, medical, and museum/art applications see your meter or camera manual for specific information. • Extremely sharp For critical work, make a series of test exposures. • Extremely fine grain KODAK Exposure Index • Reproduces subtle color naturally Light Source WRATTEN PKM PKR PKL • Archival (KODACHROME Films are the most archival Gelatin Filter Daylight or transparency films) None 25 64 200 Electronic Flash KODACHROME 64 Professional Film / PKR Photolamp (3400 K) No. 80B 8 20 64 • Excellent for advertising, medical, editorial, and Tungsten (3200 K) No. 80A 6 16 50 outdoor, travel, and nature applications • Extremely sharp • Extremely fine grain • Reproduces subtle color naturally • Archival ©Eastman Kodak Company, 2005 Daylight Adjustments for Long Exposures Use the exposures in the table below for average frontlit Use the adjustments in the following table when working subjects from 2 hours after sunrise to 2 hours before sunset. with long exposure times. KODACHROME 25 Film / PKM Calculated Exposure Time (Sec) Exposure Shutter Speed Lens increases include adjustment required for Lighting Conditions Film (second) Opening KODAK Color Compensating Filters Code Bright/Hazy Sun on Sand or 1/10,000 to 1/125 ƒ/11 1/10 1 10 Snow 1/100 1 Bright/Hazy Sun, Distinct + ⁄ 2 stop Not 1/125 ƒ/8* PKM None Shadows No filter recommended 1 Weak, Hazy Sun, Soft + ⁄ 3 stop 1/125 ƒ/5.6 PKR None Not recommended Shadows CC05R 1 + ⁄ 2 stop Not Cloudy Bright, No Shadows 1/125 ƒ/4 PKL None CC10Y recommended Heavy Overcast or Open 1/60 ƒ/4 Shade† Note: This information applies only when exposing the films * Use ƒ/4 for backlit close-up subjects. † Subjects shaded from sun but lit by large area of clear sky. to daylight. The data are based on average emulsions 1 rounded to the nearest ⁄ 2 stop and assume normal, KODACHROME 64 Film / PKR recommended processing. Using the data only as a guide For Shutter Speed Lens critical applications, make test under your conditions. Lighting Conditions (second) Opening Bright/Hazy Sun on Sand or 1/125 ƒ/16 Snow PROCESSING Bright/Hazy Sun, Distinct Have these films processed in Process K-14 chemicals. For a 1/125 ƒ/11* Shadows list of KODACHROME Film processing labs, go to Weak, Hazy Sun, Soft www.kodak.com/go/k14. 1/125 ƒ/8 Shadows KODACHROME 200 Professional Film can be Cloudy Bright, No Shadows 1/125 ƒ/5.6 push-processed to gain film speed or compensate for Heavy Overcast or Open underexposure. Before exposing your film, contact the lab 1/125 ƒ/4 Shade† where your film will be processed to discuss the * Use ƒ/5.6 for backlit close-up subjects. push-processing levels they offer and the associated charges. † Subjects shaded from sun but lit by large area of clear sky. Be sure to mark your film container with the EI number used KODACHROME 200 Film / PKL and inform the lab that you want the appropriate push processing. Shutter Speed Lens Lighting Conditions When the film is push processed, the color balance will (second) Opening shift in the magenta-red direction, compensating for some of Bright/Hazy Sun on Sand or 1/250 ƒ/22 Snow the greenish artificial illumination present in most stadiums and other large facilities. Bright/Hazy Sun, Distinct 1/250 ƒ/16* Shadows We do not recommend push processing of KODACHROME 25 or 64 Professional Films. Weak, Hazy Sun, Soft 1/250 ƒ/11 Shadows Cloudy Bright, No Shadows 1/250 ƒ/8 PRINTING TRANSPARENCIES Heavy Overcast or Open 1/250 ƒ/5.6 Shade† Duplicate Color Transparencies For direct printing, use— * Use ƒ/8 for backlit close-up subjects. † Subjects shaded from sun but lit by large area of clear sky. KODAK PROFESSIONAL EKTACHROME Duplicating Film EDUPE Color Prints You can scan your image to a file and print digitally to— KODAK PROFESSIONAL PORTRA, SUPRA, and ULTRA ENDURA Papers KODAK PROFESSIONAL ENDURA Transparency Display Material KODAK PROFESSIONAL ENDURA Clear Display Material KODAK PROFESSIONAL ENDURA Metallic Paper 2 KODACHROME 25, 64, and 200 Professional Film • E-55 IMAGE STRUCTURE KODACHROME 25 Professional Film Diffue rms Granularity: 9 Read at a gross diffuse visual density of 1.0, using a 48-micrometre aperture, 12X magnification. CHARACTERISTIC CURVES SPECTRAL-DYE-DENSITY CURVES 4.0 Normalized dyes to form a visual R density of 1.0 for a viewing illuminant of 3200 K. G Exposure: Daylight 1/25 second Visual Neutral 3.0 B Process: K-14 Densitometry: Status A 1.0 Cyan Magenta 2.0 DENSITY Yellow 0.5 1.0 DIFFUSE SPECTRAL DENSITY 0.0 0.0 2.0 1.0 0.0 1.0 2.0 400 500 600 700 F002_0488AC LOG EXPOSURE (lux-seconds) F002_0486AC WAVELENGTH (nm) SPECTRAL-SENSITIVITY CURVES MODULATION-TRANSFER CURVES 2.0 150 100 70 Magenta- 50 1.0 Forming * Layer 30 Yellow- 20 Forming Exposure: Daylight 0.0 Cyan- Layer 10 Process: K-14 Forming Densitometry: Diffuse visual Layer 7 5 RESPONSE (%) LOG SENSITIVITY Effective Exposure: 1.0 1.4 seconds 3 Process: K-14 2 Densitometry: E.N.D. Density: 1.00 2.0 1 250 300 350 400 450 500 550 600 650700 750 12 3 4 5 10 20 50 100 200 600 WAVELENGTH (nm) SPATIAL FREQUENCY (cycles/mm) *Sensitivity = reciprocal of exposure (erg/cm 2 ) required to produce specified density F002_0487AC F002_0485AC NOTICE: The sensitometric curves and data in this publication represent product tested under the conditions of exposure and processing specified. They are representative of production coatings, and therefore do not apply directly to a particular box or roll of photographic material. They do not represent standards or specifications that must be met by Eastman Kodak Company. The company reserves the right to change and improve product characteristics at any time. KODACHROME 25, 64, and 200 Professional Film • E-55 3 KODACHROME 64 Professional Film Diffue rms Granularity: 10 Read at a gross diffuse visual density of 1.0, using a 48-micrometre aperture, 12X magnification. CHARACTERISTIC CURVES SPECTRAL-DYE-DENSITY CURVES 4.0 Normalized dyes to form a visual R density of 1.0 for a viewing G Exposure: Daylight illuminant of 3200 K. B 1/50 second Visual Neutral 3.0 Process: K-14 Densitometry: Status A Cyan 1.0 Magenta 2.0 DENSITY Yellow 0.5 1.0 DIFFUSE SPECTRAL DENSITY 0.0 0.0 3.0 2.0 1.0 0.0 1.0 400 500 600 700 F002_0490AC F002_0492AC LOG EXPOSURE (lux-seconds) WAVELENGTH (nm) SPECTRAL-SENSITIVITY CURVES MODULATION-TRANSFER CURVES 2.0 150 100 Magenta- 70 Forming 1.0 Layer 50 * 30 Yellow- 20 Forming Exposure: Daylight 0.0 Layer Cyan- 10 Process: K-14 Forming Densitometry: Diffuse visual Layer 7 5 RESPONSE (%) LOG SENSITIVITY Effective Exposure: 1.0 1.4 seconds 3 Process: K-14 2 Densitometry: E.N.D. Density: 1.00 2.0 1 250 300 350 400 450 500 550 600 650700 750 12 3 4 5 10 20 50 100 200 600 WAVELENGTH (nm) SPATIAL FREQUENCY (cycles/mm) *Sensitivity = reciprocal of exposure (erg/cm 2 ) required to produce specified density F002_0491AC F002_0489AC 4 KODACHROME 25, 64, and 200 Professional Film • E-55 KODACHROME 200 Professional Film Diffue rms Granularity: 16 Read at a gross diffuse visual density of 1.0, using a 48-micrometre aperture, 12X magnification.
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