DOCSLIB.ORG

FUJICHROME PROVIA 100 Professional [RDPII]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FUJICHROME PROVIA 100 Professional [RDPII] AF3-796E COLOR REVERSAL FILMS FUJICHROME PROVIA 100 Professional [RDPII] ¥ Included in each of the sheet film boxes are speed and color 1. FEATURES AND USES compensating filter values. Use these values in exposure determination. FUJICHROME PROVIA 100 Professional [RDPII ] is a top quality daylight-type color reversal film with an ISO 3. FILM SIZES, EMULSION NUMBERS, rating of 100. It provides exceptional sharpness and BASE MATERIAL AND THICKNESS granularity for an ISO 100 film. Emulsion Faithful color reproduction, rich, realistic gradation and Sizes optimum gradation balance make this versatile film Number suited for product, fashion and landscape photogra- Rolls 135 ....... 36-exp. phy. ....... 36-exp. (5-roll and 20-roll pack) Features Results 35 mm x 30.5 m (100 ft) 120 ....... 12-exp. ¥ Excellent Sharpness ¥ Exceptionally fine grain ....... 12-exp. (5-roll pack) and Granularity and sharp images for an 220 ....... 24-exp. (5-roll pack) ISO 100 reversal film ¥ Faithful Color Repro- ¥ Faithful hues and high Sheets 4 x 5 in.(10.2 x 12.7 cm) 10 sheets #101~ and 50 sheets duction and Rich, saturation, realistic, 5 x 7 in.(12.7 x 17.8cm) 20 sheets Realistic Gradation subtle color tone and gra- 8 x 10 in.(20.3 x 25.4 cm) 10 sheets dation and 50 sheets ¥ Excellent Long ¥ Minimal loss in color bal- 11 x 14 in.(27.9 x 35.6cm) 10 sheets Exposure and ance or sensitivity in ex- 9 x 12 cm 10 sheets Multiple Flash tended exposures of 13 x 18 cm 10 sheets Performance nighttime or astronomical Quickload 4 x 5 in 20 sheets subjects ¥ Minimal color shift with Base Material .......... Cellulose Triacetate multiple exposures Base Thickness ....... Rolls 135; 127 µm 120; 105 µm ¥ Process CR-56 or E-6 ¥ Can be processed any- 220; 105 µm Suitability where in the world as with other FUJICHROME Sheets ; 205 µm films 4. EXPOSURE GUIDE AND EXPOSURE ¥ Excellent Push-/Pull- ¥ Allows development time UNDER VARIOUS LIGHT CONDITIONS Processing Suitabil- corrections for under- and ity over-exposures with mini- Use a meter for exposure determination. If a meter is mal variations in color not available refer to the following table. balance and gradation, especially in a range Seashore Bright Hazy Cloudy Cloudy down to 1/2 stop and up or Snow Sunlight Sunlight Bright Day or Light Scenes Open to 1 stop Conditions under Shade Bright Sun 2. SPEED Lens f/16 f/11 f/8 f/5.6 f/4 Aperture Light Source Speed Filter (Exposure Time 1/250 th Sec.) Daylight ISO 100/21° None NOTES Tungsten Lamps ¥ The foregoing settings are for 2 hours after sunrise and 2 (3200K) ISO 32/16° LBB-12**(or No. 80A***) hours before sunset. ¥ Provide lens opening 1/2 stop smaller during the summer * Indicates the effective speed resulting from designated fil- and 1/2 stop larger during the winter. ter use. ¥ Excessively bright (or dark) or backlighted subjects may re- ** Fuji Light Balancing Filter quire plus or minus 1 stop lens opening adjustments. *** Kodak Filter 1 FUJIFILM DATA SHEET ¥ FUJICHROME PROVIA 100 Professional [RDPII] Daylight Photo-Reflector Lamps (Daylight Photoflood Lamps) Under daylight conditions color balancing filters are not necessary, but the following exposure conditions may ¥ Daylight photoflood lamps tend to result in under- require the indicated filters. exposure, so it is sometimes essential to increase exposure light output beyond that indicated by an Exposure exposure meter. Subject Conditions Filter Correction ¥ Color balance and light output will differ with lamp Fair weather open shade and configuration, use duration and applied voltage. It shaded landscapes. is essential that exposure conditions be deter- UV Filter mined in relation to the particular lighting equip- Bright distant scenes, snow (Fuji SC-40 landscapes, seaside scenes, or 41 or None ment employed. aerial scenes and open No. 2B or landscapes. No. 2C*) Fluorescent Lamps Close-ups of plants and subjects having bright colors. ¥ Color balance corrections should be made using the filter combinations suggested below because Excessively high or low subject color temperatures effective light intensity and color balance varies may require the following filter additions and exposure with lamp make and age. corrections. ¥ For exacting work, test exposures are recom- Exposure mended. Subject Conditions Filter Correction (Exposure Time: 1/4 second) Cool Warm High Color Temperature: Fluorescent White Daylight White White Cloudy weather landscapes or LBA-2** +1/3 Lamp Type (W) (D) (CW) (W.W) portraits and clear weather (No. 81A)* stop *** open shade. LBB-10 Color + 5M Compensating 25M 30R 35M LBB-2** or + 20B + 10M (No. 80C Low Color Temperature: Filters* + Morning and evening twilight LBB-4** +1/3 to +2/3 5M) scenes and portraits. (No. 82A or stop *** No. 82C)* Exposure +1 stop +1 stop +1 stop +2 stops Corrections** * Kodak Filters ** Fuji Light Balancing Filters * Fuji Color Compensating Filters (or Kodak CC Filters) rec- *** "+" = Lens opening ommended. ** Exposure correction values include filter exposure factors. Electronic Flash These values are added to unfiltered exposure meter read- ings. "+" = Lens opening. ¥ Since electronic flash characteristics are similar to NOTES ¥ Use 1/30th or slower shutter speeds. daylight, no filters are required. Effective light out- ¥ For shutter speeds longer than 32 seconds, expo- put and color balance will differ with equipment sure adjustments will be necessary to compensate for reciprocity. type, age and other factors, requiring thereby ini- tial exposure tests. Tungsten Lamps ¥ Adjust lens openings for electronic flash according to following formula. ¥ A Fuji Light Balancing Filters LBB-12 (or Kodak Fil- Lens ISO 100 Electronic Flash Guide Number ter No. 80A) is recommended with photoflood Aperture = (f-number) Electronic Flash-to-Subject Distance lamps. A 1 2/3 stop larger lens opening is also rec- (meters or feet) ommended. ¥ With household tungsten Lamps, a Fuji Light Bal- ancing Filter LBB-2 (or Kodak Filter No. 82A) will ¥ Set the film speed at ISO 100. Since the amount compensate for inherent color temperatures lower of light reflected onto the subject from surround- than photoflood lamps. A 2 stop larger lens open- ing surfaces will differ with the conditions, refer to ing is recommended. flash unit instructions. Mixed Light Sources Under mixed light conditions, derive the basic filter configuration for the main light source. 2 FUJICHROME PROVIA 100 Professional [RDPII] ¥ FUJIFILM DATA SHEET 5. LONG AND MULTIPLE EXPOSURE ¥ Under certain conditions the X-ray equipment COMPENSATIONS used to inspect carry-on baggage at airport termi- nals will adversely affect photographic film (cause No exposure or color balance compensation is re- fogging). The adverse effects of this are increased quired for exposures within a 1/4000 to 16 seconds with the strength of the X-rays, the speed of the shutter speed range. However for exposures of 32 film, and the cumulative number of inspection ex- seconds or longer, reciprocity-related color balance posures. and exposure compensations are required. Therefore it is recommended that at each inspec- tion the film be removed from the baggage and Exposure 1/4000 to that airport security personnel be asked to inspect Time 32 sec. 2 min. 8 min. 16 sec the film manually. Color Compensating None 2.5 R ¥ Film fogging may occur in hospitals, factories, Filters Not laboratories and other locations using X-rays and None recom- mended other radiation sources. Exposure +1/2 stop +1 stop Corrections* 8. FILM STORAGE Multiple Exposures Unprocessed Film Storage Make the following color and exposure compensations ¥ Storing exposed or unexposed, unprocessing film for electronic flash multiple exposures. under high temperature and humidity conditions will cause adverse speed, color balance and physi- Number of 1248 Flashes cal property changes. Store film under the follow- ing conditions. Color * Refrigerated Storage: Below 15°C (59°F) - Compensating 2.5Y °C °F Filters * Extended Term Storage: Below 0 (32 ) None ¥ Exposure New building materials, newly manufactured furni- - +1/2 stop Corrections* ture, paints and bonding agents may produce nox- ious vapors. Do not store film, loaded camera or * Exposure correction values include filter exposure factors. film holders near these substances. These values are added to unfiltered exposure meter read- ¥ When refrigerated film is removed for use, allow it ings. "+" = Lens opening. to reach room temperatures before opening (at least one hour). Opening while temperatures are 6. EXPOSURE PRECAUTIONS still low may cause trouble due to moisture con- densation. For artificial light sources such as electronic flash, pho- toflood lamps, fluorescent lamps, tungsten lamps, Processed Film Storage mercury lamps and the like, effective light output and color temperatures will vary with the type, the applied Light, high temperatures and humidities cause color voltage and the age of the equipment. Also, light in- changes in processed films. Therefore, place such tensity or color temperature differences may be films in mounts or sleeves and store in dark, dry, cool caused by variations in auxiliary lighting equipment and well ventilated locations under the following con- such as reflectors and diffusers. ditions. * General Storage Conditions: Below 25°C (77°F) at 30 to 60% RH * Extended Storage Conditions: 7. FILM HANDLING Below 10°C (50°F) at 30 to 50% RH ¥ Expose film before the expiration date indicated on the film package and process promptly after ex- NOTE As with all color dyes, those used in this film will dis- color or fade with time posure. ¥ When loading and unloading roll film avoid direct 9. PROCESSING sunlight. If there is no shade, turning one's back toward the sun will shade the film. This film is intended for processing in Fujifilm Process ¥ Camera-loaded film should be exposed and pro- CR-56, or Kodak Process E-6. cessed promptly. 3 FUJIFILM DATA SHEET ¥ FUJICHROME PROVIA 100 Professional [RDPII] 10.
Load more

Recommended publications
  • Fujifilm Commercial Price List
    FUJIFILM COMMERCIAL PRICE LIST # Fujifilm Product Single Net Unit Order Quantity Art.Nr./No./Réf Price € ex.VAT B&W FILMS FN1011 Neopan ACROS 100 135-36 8,06 * FN1001G Neopan ACROS 100 120 / 5er Pack 36,86 FN104 Neopan ACROS 100 10,2x12,7cm (4x5")/20 74,00 FN4011 Neopan 400 135-36** 8,12 * INSTANT B&W FILMS FPB303 FP-3000B Prof. 8,5x10,2cm (3x4")/10 (Typ 667)** 20,25 INSTANT COLOR FILMS FPC103F FP-100C Prof. 8,5x10,2cm (3x4")/10 Glossy 14,39 FPC103S FP-100C Prof. 8,5x10,2cm (3x4")/10 SILK 14,39 FTAXDP INSTAX FILM 100 DP 2x 10 21,63 FTAXMP INSTAX MINI 100 DP 2x 10 17,98 COLOR NEGATIVE FILMS FSR4011 Superia X-TRA 400 135-36 6,60 * FSR411D Superia X-TRA 400 135-36 / 3er Pack 15,00 FSR401P Superia X-TRA 400 120 / 5er Pack 34,50 FSR8011 Superia X-TRA 800 135-36 7,50 * FSR1611 Superia X-TRA 1600 135-36 13,60 * PS1601P PRO 160NS 120 / 5er Pack 40,14 PS104P PRO 160NS 4x5"/20 96,72 FH4011 PRO 400H 135-36 9,50 * FH4001P PRO 400H 120 / 5er Pack 39,84 CS2011P Fujicolor C200 135-36 / 2er Pack 4,56 * * Minimum Order Quantity 10 units **NOTE: Discontinued by Fujifilm, sales as long as stocks last! [ORGX065W] MACO PHOTO PRODUCTS - Commercial price list; valid from April 8th, 2014. All datas illustrated in this cataloque are subject to change without prior notice. Erros ecempted. MACO PHOTO PRODUCTS - HANS O Mahn GmbH & Co KG - Brookstieg 4, D-22145 Hamburg-Stapelfeld, Germany www.mahn.net - [email protected] FUJIFILM COMMERCIAL PRICE LIST # Fujifilm Product Single Net Unit Order Quantity Art.Nr./No./Réf Price € ex.VAT COLOR POSITIVE FILMS FV5011 Velvia 50
    [Show full text]
  • Nature Photographers Online Magazine
    First Impressions - Fuji Velvia 100 Text and photography Copyright Guy Tal All rights reserved. Most film photographers will tell you there are ups and downs to every emulsion on the market. With so many uses and characteristics, there is almost an art to matching the right film to the right situation. Most of us narrow our selection to one or two that, once we are familiar with, provide consistent and predictable results within their limitations. My own two films of choice these past years have been FujiFilm's Velvia 50, and Provia 100F. I will use one or the other depending on the contrast range of a given scene, whether or not long exposure is needed, the quality of light, and other considerations. Yet, in some situations, I struggle with tough choices – Velvia's palette vs. Provia's latitude, Velvia's exaggerated contrast vs. Provia's tendency to produce color casts, etc. The recent introduction of FujiFilm's Velvia 100F was preceded by a lot of exciting rumors – fine grain, rich palette, and extra color correction layers. Once I was able to get a hold of Fuji's technical data sheet for the new film things got even more exciting – claims of improved reciprocity characteristics allowing for exposure times up to a full minute with no need for either color correction or exposure compensation, extremely fine grain to match Provia 100F and excellent resolving power to match the older Velvia. Issues of color, contrast, grain, speed, color casts, reciprocity, and resolving power are just a few of the things a film photographer may consider when deciding on the "right" emulsion for a given scene.
    [Show full text]
  • BROCHURE Number of Effective Pixels 51.4 Million Pixels Touch Screen Color LCD Monitor (Approx
    Specication Model name FUJIFILM GFX 50S LCD monitor 3.2 inch, Aspect Ratio 4:3, Approx. 2,360K-dot Tilt-Type, Medium Format Mirrorless Digital Camera SYSTEM BROCHURE Number of effective pixels 51.4 million pixels Touch Screen Color LCD Monitor (Approx. 100% Coverage) Image sensor 43.8mm×32.9mm Bayer array with primary color filter Sub LCD monitor 1.28 inch, Aspect Ratio 1:1, 128×128-dot Monochrome LCD Monitor Sensor Cleaning System Ultra Sonic Vibration Movie recording [Full HD (1920×1080)] 29.97p / 25p / 24p / 23.98p 36Mbps up to Approx. 30min. Storage media SD Card (-2GB) / SDHC Card (-32GB) / SDXC Card (-256GB) UHS-I / UHS-II*1 [HD (1280×720)] 29.97p / 25p / 24p / 23.98p 18Mbps up to Approx. 30min. File format Still Image JPEG (Exif Ver.2.3)*2, RAW : 14bit RAW (RAF original format), Photography functions Color, Sharpness, Highlight tone, Shadow tone, Noise reduction, Long exposure NR, RAW+JPEG, 8-bit TIFF (In-camera Raw Conversion Only) Lens Modulation Optimizer, Color space, Pixel mapping, Select custom setting, Movie MOV (MPEG-4 AVC / H.264 Edit/Save custom setting, Store AF mode by orientation, Rapid AF, AF point display, Pre-AF, Audio : Linear PCM / Stereo sound 48KHz sampling) Face/Eye detection AF, AF+MF, Focus peak highlight, Focus check, Interlock spot AE & focus area, Number of [L] <4:3> 8256×6192 <3:2> 8256×5504 <16:9> 8256×4640 <1:1> 6192×6192 Instant AF setting (AF-S/AF-C), Depth-of-field scale, Rlease/Focus priority, Touch screen mode, recorded pixels <65:24> 8256×3048 <5:4> 7744×6192 <7:6> 7232×6192 Mount adapter setting,
    [Show full text]
  • FUJIFILM GFX 50S Spec Sheet Model Name FUJIFILM GFX 50S Number
    FUJIFILM GFX 50S Spec Sheet Model name FUJIFILM GFX 50S Number of effective pixels 51.4 million pixels Image sensor 43.8mm x 32.9mm Bayer array with primary color filter Sensor Cleaning System Ultra Sonic Vibration Storage media SD Card (-2G) / SDHC Card (-32G) / SDXC Card (-256G) UHS-I / UHS-II*1 File format Still Image JPEG (Exif Ver.2.3)*2, RAW : 14bit RAW(RAF original format), RAW+JPEG, 8-bit TIFF(In-camera Raw Conversion Only) Movie MOV (MPEG-4 AVC / H.264, Audio : Linear PCM / Stereo sound 48KHz sampling) L：<4：3>8256×6192 / <3：2>8256×5504 / <16：9>8256×4640 / <1：1>6192×6192 <65：24>8256×3048 / <5：4>7744×6192 / <7：6>7232×6192 Number of recorded pixels S：<4：3>4000×3000 / <3：2>4000×2664 / <16：9>4000×2248 / <1：1>2992×2992 <65：24>4000×1480 / <5：4>3744×3000 / <7：6>3504×3000 Lens Mount FUJIFILM G mount Sensitivity Standard Output AUTO1/AUTO2/AUTO3 (up to ISO12800) / ISO100 - 12800 (1/3 step) Extended Output ISO50 / 25600 / 51200 / 102400 Exposure control TTL 256-zone metering, Multi / Spot / Average / Center Weighted Exposure mode P(Program AE) / A(Aperture Priority AE) / S(Shutter Speed Priority AE) / M(Manual Exposure) -5.0EV - +5.0EV 1/3EV step Exposure compensation (Movie: -2.0EV - +2.0EV) Image Stabilizer Supported with OIS type lenses Shutter type Focal Plane Shutter 4sec. - 1/4000sec (P mode), 60 min. - １/4000 sec. (All modes) Shutter speed Mechanical Shutter Bulb mode (up to 60min), TIME：60min. - 1/4000sec. 4sec - 1/16000sec (P mode), 60min - １/16000sec (All modes) Electronic Shutter*3 Bulb mode (up to 60 min), TIME：60min.
    [Show full text]
  • New Film Order Form Dwayne's Photo
    Dwayne’s Photo New Film Order Form mail to: P.O. Box 274, Parsons, KS 67357 COMPANY ship to: 415 S. 32nd St. (FedEx or UPS) NAME Parsons, KS 67357 ADDRESS phone: or STATE 800-522-3940 620-421-3940 CITY OR PROVINCE go to: www.dwaynesphoto.com POSTAL CODE ZIP COUNTRY SELECT PRINT FINISH FOR THIS ORDER PHONE E-MAIL CHECK OR MONEY ORDER PAY PAL (REQUIRES VALID EMAIL) >WE DO NOT ACCEPT AMEX< CREDIT CARD EXPIRATION 3 DIGIT CVS (ON CARD BACK) Note: This form is to purchase new film only. BILLING ZIP There are seperate forms for film processing. ADDRESS CODE COLOR PRINT FILM UNIT PRICE QUANTITY TOTAL Fujicolor 35mm - 24 exp (200 speed) $3.25 Kodak Gold - 36 exp (200 speed) $5.29 Kodak Ektar 120 (100 speed) $5.45 Fujicolor 35mm - 24 exp (400 speed) $3.75 FUJICHROME E6 SLIDE FILM Fujichrome 35mm Provia RDPIII 100F - 36 exp (single roll unboxed) $10.99 Fujichrome 120 Provia RDPIII 100F $8.25 Fujichrome 35mm Velvia RVP ASA 50 OR 100 (Circle) - 36 exp (single roll unboxed) $12.75 MOVIE FILM Wittnerchrome 200D Regular 8 X 25ft E-6 Process ASA 200 Daylight (for double 8 cameras) (NEW) $43.00 Wittnerchrome 200D Super 8 50ft $43.00 Wittnerchrome 200D 16mm 100ft $61.00 BLACK & WHITE PRINT FILM Fuji Neopan 35mm - 36 exp (100 speed) $6.99 Fuji Neopan 120 Acros (100 speed) $5.79 Kodak TMAX 120 (400 speed) OR TMAX 120 (100 speed) (Circle) $5.99 SHIPPING & HANDLING CHARGES > INSIDE THE U. S. Standard Shipping USPS - First Roll $5.00 Standard Shipping USPS - Each Add’l Roll $0.50 FedEx Ground - First Roll $11.00 FedEx Ground - Each Add’l Roll $0.50 FedEx Overnight - First Roll $25.00 FedEx Overnight - Each Add’l Roll $1.50 INTERNATIONAL SHIPPING > OUTSIDE THE U.S.
    [Show full text]
  • X-E2s-18-5528-40-Ois-Black.Pdf
    X-E2S SPECIFICATIONS Model Name FUJIFILM X-E2S Flash modes Red-eye Auto / Forced Flash / Slow Synchro / Suppressed Flash / Rear-curtain Synchro / Commander Removal OFF Number of effective pixels 16.3 million pixels Image sensor 23.6mm x 15.6mm (APS-C) X-Trans CMOS II with primary color filter Total number of pixels: 16.7 million pixels Red-eye Red-eye Reduction Auto / Red-eye Reduction & Forced Flash / Red-eye Reduction & Slow Synchro / Suppressed Flash / Removal ON Sensor cleaning system Ultra Sonic Vibration Red-eye Reduction & Rear-curtain Synchro / Commander *Red-eye removal is active when Face Detection is set to ON. Storage media SD memory card / SDHC memory card / SDXC (UHS-I) memory card *1 Hot shoe Yes (Dedicated TTL Flash compatible) File format still image JPEG (Exif Ver 2.3)*2, RAW (RAF format), RAW+JPEG (Design rule for Camera File system compliant / DPOF-compatible) Viewfinder 0.5-in., approx. 2,360K-dot OLED color viewfinder Coverage of viewing area vs. capturing area: approx. 100% movie MOV (H.264, Audio : Linear PCM / stereo sound) Eye point: approx. 23mm (from the rear end of the camera's eyepiece) Diopter adjustment: -4m-1 to +2m-1 Number of recorded pixels L : <3:2> 4896×3264 <16:9> 4896×2760 <1:1> 3264×3264 Magnification: 0.62× with 50mm lens (35mm format equivalent) at infinity and diopter set to - 1.0m-1 M: <3:2> 3456×2304 <16:9> 3456×1944 <1:1> 2304×2304 Diagonal angle of view: approx. 30° (Horizontal angle of view: approx. 25°) Built-in eye sensor S : <3:2> 2496 ×1664 <16:9> 2496 ×1408 <1:1> 1664×1664 LCD monitor 3.0-inch, aspect ratio 3:2, approx.
    [Show full text]
  • FUJICHROME PROVIA 100F Professional [RDPIII]
    AF3-036E COLOR REVERSAL FILMS FUJICHROME PROVIA 100F Professional [RDPIII] 1. FEATURES AND USES 2. SPEEDS FUJICHROME PROVIA 100F Professional [RDP III] is an Light Source Speed Filter ultra-high-quality, daylight-type ISO 100-color reversal Daylight ISO 100/21° None film. With the finest grain (an RMS granularity value of 8) Tungsten Lamps No.80A** ISO 32/16°* among ISO 100 color reversal films and an extremely (3200K) (LBB-12***) high sharpness, it captures details with unprecedented * Indicates the effective speed resulting from designated filter clarity, while providing rich gradation, vivid and faithful use. color reproduction, and well-controlled gradation bal- ** Wratten Filter *** Fuji Light Balancing Filter (not available in certain markets.) ance. These characteristics make it an ideal choice for a wide range of subject matter, from product and outdoor • Speed and color compensating filter values are in- photography to fashion work and portraiture. cluded in each of the sheet film boxes. Use these values in exposure determination. Features Results • Super-fine Grain • Finely detailed image forma- tion for large-size enlarge- 3. FILM SIZES, EMULSION NUMBER, ments and other work requir- BASE MATERIAL AND THICKNESS ing high-magnification as a Emulsion result of the finest grain Sizes among ISO 100 color rever- Number sal film. 135 ... 36-exp. • Vivid and Faithful • Extremely satisfying color ... 36-exp. (5-roll and 20-roll packs) 35mm × 30.5m (100ft) Color depiction, providing the Rolls* Reproduction most brilliant primaries with- 120 ... 12-exp. out sacrificing the delicate ... 12-exp. (5-roll packs) pastels, for wide-ranging ap- 220 ... 24-exp.
    [Show full text]
  • FUJICHROME Velvia 100F Professional [RVP100F]
    AF3-148E COLOR REVERSAL FILMS FUJICHROME Velvia 100F Professional [RVP100F] 1. FEATURES AND USES 2. SPEED FUJICHROME Velvia 100F Professional [RVP100F] is Light Source Speed Filter an ISO 100 daylight-type color reversal film for profes- sional use. In addition to providing the world’s highest Daylight ISO 100/21° None Tungsten Lamps No.80A** level of color saturation and color fidelity, this film ISO 32/16°* boasts a speed rating of ISO 100 and an RMS* granu- (3200K) (LBB-12***) larity of 8, which is equivalent to that of PROVIA 100F. * Indicates the effective speed resulting from designated filter use. ** Wratten Filter The result is a film that is ideally suited for a wide range *** Fuji Light Balancing Filter (not available in certain markets.) of subjects which demand highly saturated colors and high image quality, from nature and landscape photog- 3. FILM SIZES, EMULSION NUMBER, raphy to commercial, product and interior photography. BASE MATERIAL AND THICKNESS Features Sizes Emulsion Base Base Number Material Thickness • ISO 100 Speed • ISO speed rating of 100 for wide applicability, as well as • Rolls* the world’s highest level of 135 .... 36-exp. .... 36-exp. (5-roll and 127 µm color saturation and an RMS 20-roll packs) Cellulose granularity of 8 35 mm × 30.5 m (100 ft.) Triacetate • Color • New cyan, magenta, and 120 .... 12-exp. Reproduction yellow couplers providing the .... 12-exp. (5-roll packs) 98 µm with Ultra-high world’s highest color satura- 220 .... 24-exp. (5-roll packs) #401 – Color Saturation tion level • Sheets* • World’s Highest • World’s highest level of color 4 × 5 in.
    [Show full text]
  • Fujifilm Launches New GFX Series Medium Format Mirrorless Digital Camera “FUJIFILM GFX 50R”
    Fujifilm launches new GFX Series medium format mirrorless digital camera “FUJIFILM GFX 50R” - Incorporate s a large sensor approximately 1.7 times the size of full-size 35mm image sensor *1 -New model with a rangefinder style design, a lightweight 775g body and easy operability -Produces ultra-high image quality with 51.4 million pixel sensor, ideal for both snapshots and portraits September 25, 2018 FUJIFILM Corporation (President: Kenji Sukeno) launches a rangefinder style GFX 50R as the latest model in the GFX Series of medium format mirrorless digital cameras incorporating a large sensor approximately 1.7 times the size of a full-size 35mm image sensor*2 (43.8mm x 32.9mm.) The GFX 50R will be released in November 2018. The GFX 50R produces ultra-high image quality by incorporating Fujifilm G Format Image Sensor with 51.4 million pixels, high-speed image processing engine X-Processor Pro, the high resolution FUJINON GF Lens, and Fujifilm's proprietary color reproduction technology accumulated for more than 80 years. Its lightweight and compact body - minimum width of 46mm and a weight of 775g*1 - makes GFX 50R an ideal tool for snapshots, documentary photographs and portraits. Fujifilm introduced the GFX 50S as the first camera in the GFX Series in February 2017. With its compact, lightweight body and center viewfinder style, the GFX 50S proved popular among professional and high amateur photographers impressed with its image quality and mobility. While maintaining the same ultra-high image quality as the GFX 50S, the GFX 50R caters to the needs of photographers who wish to use a camera designed with a compact lightweight body and simple operability like a traditional film camera with the rangefinder style.
    [Show full text]
  • Color Slide Film
    COLOR FILMS COMPARED 8899 Your Guide to the Right Color Film By Julia Silber & Peter Kolonia n color film, image quality rules, with convenience a close super-low saturated color—a.k.a. black-and-white!). And contender. The best films are getting faster, with more don’t worry about that film going bad. When you’re not out Ibrilliant color, finer grain, and even, in some cases, lower shooting, keep it in the fridge to preserve its freshness, prices. These recent improvements are paying off in better, remembering to remove it about an hour before use. sharper pictures in tough lighting conditions, increased flash The secret to selecting film? Let the subject and shooting ranges, better background detail in flash shots, and greater conditions dictate your load. Put bright, colorful subjects on depth of field in good light. A win/win/win situation. ISO films that reproduce color with high saturation, for example. 400- and 800-speed films are battling to become The Doing otherwise will only frustrate you. Which films are the Standard. Both produce exceptional image quality that vies most highly saturated? Bingo! Let’s go to the charts! with ISO 100 and 200 results at normal print sizes. First, let’s scope out what’s new this year. Ironically, the And guess what? ISO 400 and 800 films had better watch 2001 edition is, perhaps, most interesting for its notable no- their backs, because ISO 1600 is catching up, just a tweak shows. One of the oldest color consumer films in continuous away from superior, knock-your-socks-off image quality.
    [Show full text]
  • What the World's Best Photography Is Made Of
    September 25th, 2018 14:20 CEST Phase One announces software collaboration with Fujifilm COPENHAGEN, Sep. 25, 2018 – Phase One A/S, the world’s leading manufacturer of full frame medium format digital photography systems and imaging solutions today announced a strategic software agreement with Fujifilm. Under terms of this agreement, Phase One and Fujifilm are collaborating to broaden and deepen Capture One software support of more Fujifilm cameras. With the release of Capture One 11.3 (see today’s announcement) Capture One has significantly expanded its Fujifilm camera support, with full Fujifilm RAW file and basic tethered support for select cameras. Future development will integrate Fujifilm Film Simulations with Capture One and provide enhanced tethered support for select professional Fujifilm cameras. Capture One is today considered the professionals’ choice in image editing software. With native support for more than 500 camera models, it offers fast and powerful RAW conversion, image editing and asset management. Fujifilm has a distinguished history of engineering innovative color reproduction in its range of cameras. Thus, the collaboration between Fujifilm and Phase One is a natural development – based upon shared values such as the commitment to color fidelity to achieve the highest image quality. “Phase One has designed Capture One both to inspire photographers and to ensure the best workflow and user experience,” said Jan Hyldebrandt-Larsen, VP Software Business at Phase One. “We are proud to be working to share with Fujifilm shooters the opportunity to benefit from Capture One’s highly responsive processing engine, unmatched color handling, precision-editing tools, and seamless tethered support.” Fujifilm Film Simulations “Film Simulations” – one of the key features of the newest X/GFX camera – represent the color and tonality of various photographic films in a digital capture.
    [Show full text]
  • Data Sheet Color Reversal Films
    DATA SHEET COLOR REVERSAL FILMS FUJICHROME PROVIA 1600 PROFESSIONAL RSP 1 FEATURES AND USES Base Material .......... Cellulose Triacetate Base Thickness ....... 127 µm FUJICHROME PROVIA 1600 PROFESSIONAL [RSP] is an ultra-high speed daylight-type color reversal film 3 EXPOSURE INDEX AND PROCESSING designed for push-processing. It is optimized for REQUIREMENTS effective speeds of EI 1600 and EI 3200 with Process For best results, the use of an exposure meter is CR-56P and E-6P. recommended. The speeds and recommended Highly suited for low light photography, this film is processing times indicated below are to be used with appropriate to indoor and nighttime sports as well as ISO-compatible exposure meters. nightfall illuminated and available light photography. PROVIA 1600 has excellent properties for making Tungsten Recommend- color transparency originals for photomechanical CR-56P/ Daylight Lamps ed First E-6P Push reproduction and photographic duplication as well as (3200K) Developer Process projection originals. It also produces high quality direct not LBB-12** (or Times Daylight Code printing on FUJICHROME PROFESSIONAL PAPER. required No. 80A***) (minutes) 800/30° 250/25°* P-1 9 Features Results Exposure 1600/33° 500/28°* P-2 12 ● ● Index Improved Granularity Lower loss in granu- (EI) 3200/36° 1000/31°* P-3 15 and Sharpness larity, sharpness and maximum density with 4800/38° 1600/33°* P-4 16.5 push-processing ● Fine image reproduc- *** Indicates the effective speed resulting from designated tion at ultra-high filter use. speeds *** Fuji Light Balancing Filter *** Kodak Filter ● Excellent Suitability ● Fine color reproduction for Artificial Light of nighttime exposures at stadiums and other This film is designed to yield best results when indoor sports arenas exposed at EI 1600 or 3200 speeds and processed in since color balance “Fuji Push Process CR-56P” or E-6P.
    [Show full text]