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FUJICHROME PROVIA 100F Professional [RDPIII]

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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. (5-roll packs) plication. 4 × 5 in (10.2 × 12.7 cm) #001 – • Rich Tone • Smooth gradation reproduc- ..... 10 sheets and 50 sheets Reproduction tion with superb depth, thanks to bias-free, brilliant 8 × 10 in (20.3 × 25.4 cm) highlights and excellent Sheets* ..... 10 sheets and 50 sheets highlight-to-shadow grada- 11 × 14 in (27.9 × 35.6 cm) tion linearity. .............................. 10 sheets • Improved • Increased resistance to loss QuickLoad 4 × 5 in. ...........20 sheets Reciprocity in film speed and color bal- * Some sizes are not available in certain markets. Characteristics ance during long exposures, Base Material ......... Cellulose Triacetate as well as consistently accu- rate multiple-exposure per- Base Thickness ..... Rolls 135 : 127µm formance. 120 : 104µm 220 : 104µm • Excellent Push-/ • Outstanding tolerance to ex- Pull-processing posure and density compen- Sheets : 205µm sation during processing, within –1/2 stop to +2 stops, resulting in minimal varia- 4. EXPOSURE GUIDE AND EXPOSURE tions color balance and gra- UNDER VARIOUS LIGHT CONDITIONS dation. Use a meter for exposure determination. If a meter is • E-6/CR-56*/C6R** • As with other FUJICHROME not available refer to the following table. Processing film, worldwide processing Seashore or Cloudy available using E-6/CR-56/ Light Snow Scenes Bright Hazy Cloudy Day or C6R chemicals. Conditions Under Bright Sunlight Sunlight Bright Open Sun Shade * CR-56 is Fujifilm processing system equivalent to E-6 processing. Lens f/ 16 f/ 11 f/ 8 f/ 5.6 f/ 4 ** C6R is Fuji/ Hunt processing system equivalent to E-6 processing. Aperture (Exposure Time 1/250th Sec.) – 1 – FUJIFILM DATA SHEET • FUJICHROME PROVIA 100F Professional [RDP III] NOTES output tends to be lower than that indicated by an • The foregoing settings are for 2 hours after sunrise and 2 exposure meter, so it is advisable to compensate hours before sunset. for this by increasing exposure time or the lens • Provide lens opening 1/2 stop smaller during the summer and 1/2 stop larger during the winter. opening. Whenever possible, test exposures are • Excessively bright (or dark) or backlit subjects may require recommended. plus or minus 1 stop lens opening adjustments. • Other factors requiring consideration when deter- mining the exposure time, are lamp configuration, Daylight use duration and line voltage, as they may affect Under daylight conditions, color balancing filters are not lamp output and color balance. necessary, but the following exposure conditions may require the indicated filters. Fluorescent Lamps Exposure Subject Conditions Filter • The use of the following combinations of color com- Correction pensating filters is advisable when photographing Fair weather open shade and shaded landscapes. under fluorescent lighting. • For exacting work, however, test exposures are rec- UV Filter Bright distant scenes, snow land- ommended because lamp make and age may af- scapes, seaside scenes, aerial No.2C* None scenes and open landscapes. (SC-39 or fect light output and color balance. SC-40)** (Exposure Time : 1/4 second) Close-ups of plants and subjects hav- ing bright colors. Fluorescent White Daylight Cool White Warm White Lamp Type (W) (D) (CW) (WW) Excessively high or low subject color temperatures may Color Compen- No.80B 25M+20B 30R+10M 35M require the following filter sating Filters* +15M+10R additions and exposure corrections. Exposure Exposure Subject Conditions Filter +1 stop +1 stop +1 stop +2 1/3 stops Correction Corrections** High Color Temperature : * Wratten Color Compensating Filters (or Fuji CC Filters) recom- Cloudy weather landscapes or por- No.81A* +1/3 mended. traits under clear weather open (LBA-2)*** stop**** ** Exposure correction values include filter exposure factors. shade. These values are added to unfiltered exposure meter readings. “+” followed by number = required increase in lens opening. Low Color Temperature : No.82A* or +1/3 to Morning and evening twilight scenes No.82C* +2/3 NOTES and portraits. (LBB-2 or stop**** • Use 1/30 or slower shutter speeds. LBB-4)*** • For shutter speeds longer than 128 seconds, exposure ad- * Wratten Filters justments will be necessary to compensate for reciprocity ** Fuji Sharp-cut Filter failure. *** Fuji Light Balancing Filter (not available in certain markets.) **** “+”= Lens opening Tungsten Lamps • A Wratten Filter No.80A (or Fuji Light Balancing Fil- Electronic Flash ter LBB-12) is recommended along with a 1 2/ lens • Electronic flash produces light similar to daylight, so 3 stop increase, when using 3200K tungsten lighting. filters are not needed. However, the possibility of • If household tungsten lighting (room lamps, etc.) undesirable effects on color balance, due to various constitutes the main source of illumination, in addi- factors (differences in equipment, amount of use, tion to the above filter a Wratten filter No.82A (or Fuji etc.) should be taken into consideration and test ex- Light Balancing Filter LBB-2) is required, plus an posure made. aperture increase of 1/3 stop (total 2 stops). • The use of a flash meter is advisable, but the follow- ing formula can also be used to obtain satisfactory Mixed Light Lamps lens opening. Under mixed light conditions, derive the basic filter con- Lens ISO 100 Electronic Flash Guide Number Aperture = figuration to suit the main light source. In the case of (f-number) Electronic Flash-to-Subject Distance cameras with TTL metering, there is no need for addi- (meters or feet) tional exposure compensation for any CC filter(s) used. • Set the film speed at ISO 100. Since the amount of light reflected onto the subject from surrounding 5. LONG AND MULTIPLE EXPOSURE surfaces will differ with the conditions, refer to flash COMPENSATION unit instructions. No exposure correction or color balance compensation Daylight Photoflood / Photo-Reflector Lamps is required for exposures within a 1/4000 to 128 seconds • Daylight-type photoflood or photo-reflector lamp shutter speed range. However, for exposures of 128 – 2 – FUJICHROME PROVIA 100F Professional [RDP III] • FUJIFILM DATA SHEET seconds or longer, reciprocity-failure related color bal- • Building material, finishes used on newly manufac- ance and exposure compensations are required. tured furniture, paints and bonding agents may pro- duce gases which affect photographic film. Do not Exposure time 1/ 4000 – 128 sec. 4 min. 8 min. store film, lightproof boxes of film, loaded cameras Color Compen- or film holders under these conditions. 2.5G sating Filter Not Recom- • Before use, allow films to stand at room tempera- None mended ture: over 3 hours for refrigerated film, and over 6 Exposure +1/3 stop Corrections* hours for frozen film. Long rolls such as 100 feet (30.5m) will require additional time. Opening the * Exposure correction values include filter exposure factors. These values are added to unfiltered exposure meter readings. package/box while film is cold may cause harmful “+” followed by number = required increase in lens opening. condensation. Multiple Exposures Processed Film No exposure correction or color balance compensation • Exposure to light, high temperature and humidity is required for up to eight consecutive multiple expo- can cause color changes in processed films. sures using an electronic flash. Therefore, place such films in mounts or sleeves and store in dark, dry, cool and well ventilated loca- 6. EXPOSURE PRECAUTIONS tions under the following conditions. ¼Medium-term Storage: With artificial light, such as electronic flash, photoflood, Below 25°C (77°F) at 30 to 60% RH fluorescent, tungsten, mercury vapor, etc., the lamp out- ¼Long-term Storage: put and color temperature may be affected by such fac- Below 10°C (50°F) at 30 to 50% RH tors as make, age of equipment and line voltage. Re- flectors and diffusers can also influence light intensity NOTE and color temperature. As with all color dyes, those used in this film will discolor or fade with time. 7. FILM HANDLING 9. PROCESSING • Expose film before the expiration date indicated on the film package and process promptly after expo- This film is designed for processing in Kodak Process sure. E-6, Fujifilm Process CR-56, or Fuji Hunt Process C6R, • When loading and unloading roll film, avoid direct etc. sunlight. If there is no shade, turning one’s back toward the sun will shade the film. • Handle sheet film in total darkness and do not touch 10.
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