Development Document for Photographic Processing Effluent
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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. -
Photofinishing Prices 08-01-19 X CUSTOMER 08-03-19.Pub
Miscellaneous Film Processing Services (Page 1 of 2) August 1, 2019 110 & 126 Develop, Scan & Print (C-41) Seattle Filmworks 35mm Processing Service Time: 10 Lab Days Matte or Glossy finish prints. Process: ECN-II or SFW-XL. Service Time: up to 2 weeks. C-41 process. Prints, if requested, on Kodak Royal paper. Applicable Films: Seattle Filmworks; Signature Color; Scanning the negatives is required prior to making prints. Eastman 5247 or 5294; Kodak Vision 2 or Vision 3 500T / We develop your cartridge of negatives ($4.90), scan the 5218 or 7218. visible images ($1.58 per negative), and, if requested, make prints ($0.20 per print). Scans are written to CD (no charge). Choose Matte or Glossy, 4x6 or 3½x5. Kodak Royal Paper. 110 film makes 4x5" prints. 126 film makes 4x4" prints. Default service is 4x6 Matte prints (if you don’t specify). Minimum charge : $12.00 Develop Only service Minimum Charge : $4.90 Develop Only service (blank film) ECN-II Develop & Print 4x6 or 3½x5 Identical 110 & 126 C-41 Develop Negatives & Scan to CD First Set 2nd Set Develop Develop & 20 or 24 Exposure ....................... 22.95 .................... 6.00 & Scan Scan & Print 36 Exposure ................................ 26.95 .................... 9.00 12 Exposure ................................ 23.86 .................. 26.26 Scan ECN-II process film to CD: 24 Exposure ................................ 42.82 .................. 47.62 Discount for unscannable negs ….1.58 each 1Reprint 2Enlargement Discount for prints not made from blank images ..........20 each Quality Quality Scanning Price per Roll CD CD Scans & Prints from Old 110 & 126 Negs with Develop & Print .......... -
Film Grain, Resolution and Fundamental Film Particles
FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver -
Introduction
CINEMATOGRAPHY Mailing List the first 5 years Introduction This book consists of edited conversations between DP’s, Gaffer’s, their crew and equipment suppliers. As such it doesn’t have the same structure as a “normal” film reference book. Our aim is to promote the free exchange of ideas among fellow professionals, the cinematographer, their camera crew, manufacturer's, rental houses and related businesses. Kodak, Arri, Aaton, Panavision, Otto Nemenz, Clairmont, Optex, VFG, Schneider, Tiffen, Fuji, Panasonic, Thomson, K5600, BandPro, Lighttools, Cooke, Plus8, SLF, Atlab and Fujinon are among the companies represented. As we have grown, we have added lists for HD, AC's, Lighting, Post etc. expanding on the original professional cinematography list started in 1996. We started with one list and 70 members in 1996, we now have, In addition to the original list aimed soley at professional cameramen, lists for assistant cameramen, docco’s, indies, video and basic cinematography. These have memberships varying from around 1,200 to over 2,500 each. These pages cover the period November 1996 to November 2001. Join us and help expand the shared knowledge:- www.cinematography.net CML – The first 5 Years…………………………. Page 1 CINEMATOGRAPHY Mailing List the first 5 years Page 2 CINEMATOGRAPHY Mailing List the first 5 years Introduction................................................................ 1 Shooting at 25FPS in a 60Hz Environment.............. 7 Shooting at 30 FPS................................................... 17 3D Moving Stills...................................................... -
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. -
Download the Technical Data for Kodak Professional
TECHNICAL DATA / COLOR TRANSPARENCY FILM May 2004 • E-2529 KODAK PROFESSIONAL EKTACHROME Duplicating SIZES AVAILABLE Film EDUPE is a low-contrast color reversal duplicating Sizes and catalog numbers may differ from country to film designed for making high-quality duplicates from country. See your dealer who supplies KODAK originals on KODAK EKTACHROME or KODACHROME PROFESSIONAL Products. Films. It features excellent color reproduction, extremely fine grain, and very high sharpness. Rolls Code / Acetate CAT No. Although its primary application is producing duplicate Spec No. Base slides, you can also use this film for making copy slides of 135-36 EDUPE 134 2641 high-contrast color reflection prints. EDUPE/ 35 mm x 100 ft 195 2837 SP663 FEATURES BENEFITS EDUPE/ 35 mm x 400 ft 114 7461 • Optimized spectral • Versatile performance SP663 sensitivity and tone scale • Exceptional tone and color EDUPE/ 35 mm x 1000 ft 197 5358 reproduction from a variety SP663 of original film types 5-mil EDUPE/ (0.13 mm) • Extended tone scale • Increased highlight and 46 mm x 100 ft 122 1985 latitude shadow detail SP446 EDUPE/ • Faithful reproduction of 61.5 mm x 100 ft 102 3035 original tone scale SP816 • Richer blacks EDUPE / 70 mm x 100 ft* 813 7523 • Cleaner whites SP481* • Finest grain available in a • Outstanding reproduction of 120 EDUPE 139 5268 color reversal duplicating detailed images—even with film enlargement *Perforated on both edges. • The perfect match for today’s finer-grained films Film Code Acetate • Excellent latent-image • No color or contrast shifts Sheets Size CAT No. keeping within a roll, or from the start Base to the end of the day 10 802 4531 • Superb reciprocity • No tone scale compromise 4 x 5 in. -
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. -
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. -
Kodak Picture Making Aids
Central Library of Rochester and Monroe County - Trade Catalog Collection KO D AK PlCTURt UMUHG MOS Central Library of Rochester and Monroe County - Trade Catalog Collection m Central Library of Rochester and Monroe County - Trade Catalog Collection KODAK 0$ PICTURE-MAKING AIDS FOREWORD ... A camera and a roll of film are the basic materials with which anyone may participate in the satisfying and enjoyable hobby of pic ture taking. As skill and experience grow, however, the desire often arises for new fields to conquer, and to help satisfy this longing, dozens of novel, easily used, Kodak accessories—as described in this book — are available. INDEX Adapters, Miniature-Kodachrome . 9 Lamps, Photoflood and Photoflash . 8, 14 Albums 38, 39 Lens Attachments . 15, 16, 17, 18 Blotter Roll 27 Lens Attachments, Combination 15, 16, 17 Carrying Cases 42, 43 Lens Cleaner 44 Chemicals . 29 Lens Hood 15, 16, 17, 44 Darkroom Lamps . 36 Mask Charts 27 Darkroom Outfits 30, 31 Minifile Box for Miniature Negatives . .11 Developers 29 Neck Strap 11 Developing Supplies 22, 23 Negative Spotting Panel 37 Dry Mounting Tissue 40 Oil Colors 41 Enlargement Exposure Calculator 37 Paper 28 Enlargers 32, 33, 34, 35 Paper Board, Kodak Miniature .... 37 Enlarging Focus Finder Paper Board, Masking 37 Exposure Guides 37 . 7 Photo Chamois 27 Ferrotype Plates Photoflood Control . 14 Film and Film Packs . 4, 5, 6, Back . 27 Cover Plates, Eastman and Wratten 6 Film Clips Printer, Kodak Amateur 26 23 Film Lacquer Printing Frames and Masks .... 26, 27 Film Tanks 44 Print Rollers 40 Filters 15, 16, 20, 21 Projection Print Scale 37 Filters, Kodachrome 8, 17, 18 Publications . -
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. -
Kodak Movie News; Vol. 10, No. 4; Winter 1962-63
PUBLISHED BY EASTMAN KODAK COMPANY W I N T E R 1 9 6 2- 6 3 KODAK MOVIE NEWS Q. I have a roll of KODACHROME Film in my 8mm camera that has been exposed on the first half. I've LETTERS TO lost the carton the film came in and I forgot whether I have KODACHROME or KODACHROME II Film . And I'm not sure whether it's Daylight Type or Type A. Is THE EDITOR there any way I can tell? Mr. C. B., Nashville, Tenn. Comments: I thought you might be interested in an unusual sequence I shot recently. I observed a big snapping turtle come into my yard and, knowing that she was going to dig a hole and lay her eggs, I loaded my camera and took some wonderful shots. I watched the eggs, and 3½ months later when they started to hatch, I made shots of the baby turtles coming out of the eggs and learning to walk. Later I made appropri· ate titles, and came up with what I call a creditable color movie. Mrs. B. E. C., Moorestown, N.J. A. Yes. Take a look at the end of your film. If it's Your seasonal titles are more helpful now that you KODACHROME Fi lm, you will see the legend "KOD print them sideways. At least mine were not creased. HALF EXP " punched through the film ind icating Day- Mr. L. G. P., Philadelphia, Pa. light Type, or " KOD A HALF EXP" if it's Type A. If your roll is KODACHROME II Film, th ere will be Please continue to publish seasonal titles. -
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.