DOCSLIB.ORG

Basic Techniques CHAPTER 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Basic Techniques CHAPTER 1 P ART I Basic Techniques CHAPTER 1 Getting Started Edward Steichen, Lotus, Mount Kisco, New York, 1915. Reprinted with permission of Joanna T. Steichen. GETTING STARTED It is not difficult to take photographs. Billions of photographs are made by the public every year with successful results for their purposes. However, pho- tography is a bit like sailing. With a little instruction it is not too hard to fig- ure out how to get the boat to move, but it can take a lifetime to master all the intricacies. This chapter will give you just enough information to get mov- ing. Once you have started producing photographs, you will probably want more information so that you can get even better results. Use the color edge tab guide to the photographic process on the front endsheets and the chapter references to locate more in-depth discussion of the steps covered in this chapter. If things do not turn out as well as you expected, chapter 7 can help you with some possible cures for your problems. Mastering the technical details that make up the craft of photography is only the beginning. To make photo- graphs that communicate your ideas or feelings, you will also have to learn the differences between human visual perception and the way photographs repre- sent reality. The best way to do this is to start making photographs, but you will find some helpful suggestions for improving your photographic seeing in chapter 9. Equipment and Materials To begin making photographs you will need film, camera, and a light meter, ei- ther the one built into your camera or a separate meter. Film Photographic film is a material that is sensitive to light. When a pattern of light falls on film, an image is produced. Chemical processing makes this image vis- ible and useful for producing photographs. Any of the many types of film avail- able, black and white or color, may be used for getting started. If you plan on See chapter 2 for complete film information. processing your own film, black and white is simpler to process. On the film box you will see a number labeled ISO. The higher this number is, the more sensitive the film is to light. A good starting film is one with an ISO See pages 16 and 33 for more on film between 100/21° and 400/27°. Several black-and-white films are available in sensitivity. this range: ISO 100/21° Kodak T-Max 100, Agfapan 100 Professional, Ilford Delta 100 ISO 125/22° Kodak Plus-X, Ilford FP4 Ilford XP2 Super and Kodak Black and White ISO 400/27° Kodak Tri-X, Kodak T-Max 400, Agfapan 400 Professional, ϩ400 are black-and-white films designed to be Ilford HP5, Ilford Delta 400, Ilford XP2 Super, Kodak processed in color print film developer (C-41). Black and White ϩ400 Color films for prints in this range are offered by Kodak, Konica, Agfa, and For a more complete listing of films, see Fuji, all available in ISO 100, 200, and 400. appendix G. Camera A camera is basically a lighttight box that holds the film and has a lens that gathers light from the subject, forming an image of the subject on the film. Many different types, brands, and models of cameras are available. For the 3 CHAPTER 1 See chapter 4 for information on camera purpose of discussing operation of the camera, we will use a basic 35mm cam- types. era, shown on page 5. This is a manual camera, meaning that you have com- plete control over all the settings. Other cameras may control some settings automatically. For high-quality images the film must receive the proper amount of light, called the correct exposure. Two controls on the camera alter film exposure: the aperture and the shutter speed. Aperture The aperture is a variable-size opening in the lens, much like the iris in the eye. It is adjusted with the aperture ring. The numbers on the ring are an indication of the size of the opening and are called f-stop numbers. A standard series of f-stop numbers has been established: Aperture Control Ring Set at f/8. 1.4 2 2.8 4 5.68111622 More Exposure ←→Less Exposure Contrary to what you might expect, larger f-stop numbers indicate smaller For more on aperture see pages 30 and 81. apertures, which admit less light. Setting the aperture at f/8 will give less ex- posure than setting it at f/4. For more on shutters see pages 29 and Shutter Speed The shutter shields the film from the image formed by the 59–63. lens until you are ready to take a photograph. When the shutter release (see “Locating Camera Parts,” page 5) is depressed, the shutter opens for the amount of time indicated on the shutter speed control dial, which is marked with a set of standard shutter speeds in seconds: 1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 More Exposure (Slower Speeds) ←→Less Exposure (Faster Speeds) On the shutter speed dial these are indicated as whole numbers, but the actual shutter speeds are fractions of a second. The longer shutter speeds give more exposure to the film: 1/30 second will give more exposure than 1/125 second. Some cameras may have longer or shorter shutter speeds in addition to the ones given on this scale. Shutter Speed Dial Set for 1/125 Second. Light Meter A reflective-type photographic light meter measures the amount of light coming from a subject and gives settings for the aperture and shutter speed See pages 33–50 for complete information on to insure proper film exposure. Most small cameras made today have a light light meter types and their uses. meter built into them. Separate light meters in their own housings—hand- held light meters—are also available. A typical hand-held light meter is shown on page 9. A Procedure for Taking Photographs The following procedure explains how to make photographs with a manual camera. All cameras utilize the same controls, but the location and operation of those controls will vary, especially on cameras with automatic controls. If your camera is not like the one discussed, refer to your operator’s manual to see how the controls on your camera correspond to the controls shown here. 4 GETTING STARTED Chapters 3 and 4 also help explain the operation of different types of light meters and cameras. If your camera can be set to completely manual opera- tion, follow the procedures given here. Refer to the illustration below to lo- cate controls. Locating Camera Parts Vivitar V4000s 35mm Camera. 5 CHAPTER 1 Loading the Film into the Camera A. Pull up on the back cover release—rewind B. Leave the knob pulled up and insert the film C. Push the back cover release—rewind knob knob until the camera back pops open. cassette into the camera. The end with the all the way in, rotating it slightly if necessary. spindle projecting should be toward the Insert the end of the narrow film leader firmly bottom of the camera. Do not expose the film into one of the slots on the take-up spool. cassette to direct sunlight. D. Operate the film-advance lever until the film E. Close the camera back and press gently is securely wrapped around the take-up spool until it latches. Repeatedly press the shutter and both edges of the film are engaged with release and operate the film-advance lever the sprockets. If the film-advance lever will not until the frame counter reads 1. move at any time during this procedure, press the shutter release and continue. Developing Ideas for Photographs Most photographs are taken as a record of people, places, things, or events. Many other reasons for making photographs exist, and some of these are discussed in chapters 9 and 10. For now, photograph anything that interests you. 6 GETTING STARTED Framing and Composing Your Photograph A. When you take a photograph, only part of B. If you have one central subject, move what you see of the subject with your eyes will backward or forward until you have it framed be included within the borders—the “frame”— as you want it. Make sure that other objects of the photograph. To see what you are going appearing in the viewfinder do not distract to get in your photograph, look through the from the main subject. Unattractive viewfinder of the camera. backgrounds or strong shapes or patterns may C. Most cameras take a rectangular picture, draw attention from the subject. Move the so you can also turn the camera on end to get subject to a better place if possible, or change a different framing. This view shows the subject your position for a different point of view. closer up with vertical framing. Evaluating the Light on Your Subject Flex the book and look for red and orange edge tabs for information throughout the book on composing and lighting the subject. A complete guide to the color edge tabs can be found inside the front cover. A. Start thinking about how the light falls on B. The easiest way to control the light on your your subject, the quality of the light, the subject is to simply move the subject so that the direction the light comes from, and the resulting light strikes it in a more desirable way. Other pattern of light and shade on your subject.
Load more

Recommended publications
  • Holography Split-Beam Transmission Hologram
    Physics 331A Experiment 8 HOLOGRAPHY Revised 16 May 2005. When a hologram is made, a coherent beam of light is divided so that one beam (the reference beam) falls directly onto a piece of photographic film and another beam (the object beam) is formed from the light that is scattered by an object and falls onto the same piece of film. When the two beams are recombined in this way, they make an interference pattern which is recorded on the film. If the film is illuminated with coherent light, the light will be diffracted as if by a diffraction grating, giving rise to a diffraction pattern containing the zeroth and first orders. The first order reproduces the full wavefront of the light scattered from the original object and gives a 3D virtual image of the object for the light transmitted through the film and a 3D real image for the light reflected from the film. The purpose of this experiment is to investigate the properties of holograms by 1) making a transmission hologram of actual objects and observing its optical characteristics, and 2) making a diffraction grating by combining two beams of light in order to examine the holographic process in its simplest form. REFERENCES 1. Lipson, Optical Physics (3rd ed.), pp. 363-370. 2. M. Fran¸con, Holography, pp. 17-23, 29-36. (especially for understanding the diffraction grating) 3. M. Parker Givens, \Introduction to Holography," Am. J. Phys. 35, 1056 (1967). 4. J. E. Kasper and S. A. Feller, The Complete Book of Holograms: How they work and how to make them.
    [Show full text]
  • Film Camera That Is Recommended by Photographers
    Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to.
    [Show full text]
  • Basic Sensitometry and Characteristics of Film Basic Sensitometry and Characteristics of Film
    BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM BASIC PHOTOGRAPHIC SENSITOMETRY Sensitometry is the science behind the art of filmmaking. It is the measurement of a film’s characteristics. These measurements are expressed in numeric and chart form to convey how a film will react to the amount of light, the type of lighting, the amount of exposure, the type of developer, the amount of development, and how all these factors interact. In most cases, a cinematographer doesn’t need a great depth of technical information to use motion picture films—using the right film speed and the right process will suKce. On the other hand, having a basic understanding of film sensitometry will help you in tasks as simple as film selection to as complicated as communicating the mood of a challenging scene. THE CHARACTERISTIC CURVE At the heart of sensitometry is the characteristic curve. The characteristic curve plots the amount of exposure against the density achieved by that exposure: 3.0 2.8 2.6 2.4 Shoulder 2.2 2.0 1.8 Y Straight Line T 1.6 I S 1.4 N E D 1.2 1.0 Base-Plus-Fog or 0.8 Gross-Fog Density 0.6 Toe 0.4 0.2 0.0 3.0 2.0 1.0 0.0 1.0 2.0 LOG EXPOSURE To create a characteristic curve, we first need some densities to plot, and they come from a sensitometric tablet exposed onto the film. Commonly called a step tablet, this highly calibrated tool consists of 21 equally spaced intervals of grey.
    [Show full text]
  • KODAK XTOL Developer
    KODAK PROFESSIONAL XTOL Developer TECHNICAL DATA / CHEMICAL February 2018 • J-109 KODAK PROFESSIONAL XTOL Developer is a two-part SIZES AVAILABLE powder developer for processing KODAK and other Sizes and catalog numbers may differ from country to manufacturers’ normally exposed, pushed, or pulled country. See your dealer who supplies KODAK black-and-white films. It offers full emulsion speed and PROFESSIONAL Products. easy mixing, and can be used as both a developer and a replenisher in a variety of equipment, from small tanks (8 To Make CAT No. to 64 fluidounces), trays, or rotary tubes to high-volume 1 litre 859 0176 processors. 5 litres 875 1752 FEATURES BENEFITS 50 litres 818 4517 •Ascorbic acid-based • Very high image quality at full black-and-white film emulsion speed MIXING INSTRUCTIONS developer • No hydroquinone • Convenient, room-temperature Note: Observe precautionary information on the mixing for immediate use containers and in the Material Safety Data Sheets. • Two-part powder • Quick, easy mixing •One solution for both •Versatility For this amount of Start with this amount of developer and replenisher • Simplified mixing and storage developer: water: procedures 2 litres 1.6 litres • Excellent keeping • Good shelf life (six months after properties mixing when stored in full bottles) 5 litres 4 litres • High resistance to breakdown from 25 litres 20 litres oxidation during storage or in replenished processes 50 litres 40 litres •Less waste 1. Start with an amount of water that is approximately • Robust, abuse-tolerant, • Stable performance across a range 75 percent of the total volume indicated on the clean-working solution of temperatures, dilutions, and agitation methods package.
    [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]
  • The Effect of Radiation on Selected Photographic Film
    NASA/TP--2000-210193 The Effect of Radiation on Selected Photographic Film Richard Slater L ymton B. Johnson Space Center Houston, Texas 77058-3690 ,lohn Kinard L vndon B. Johnson Space Center Houston, Texas 77058-3696 Ivan Firsov Energia Space Corporation Moscow, Russia NASA/ENERGIA Joint Film Test October 2000 The NASA STI Program Office ... in Profile Since its founding, NASA has been dedicated to CONFERENCE PUBLICATION. the advancement of aeronautics and space Collected papers from scientific and science. The NASA Scientific and Technical technical conferences, symposia, Information (STI) Program Office plays a key seminars, or other meetings sponsored or part in helping NASA maintain this important co-sponsored by NASA. role. SPECIAL PUBLICATION. Scientific, The NASA STI Program Office is operated by technical, or historical information from Langley Research Center, the lead center for NASA programs, projects, and missions, NASA's scientific and technical information. The often concerned with subjects having NASA STI Program Office provides access to the substantial public interest. NASA STI Database, the largest collection of aeronautical and space science STI in the world. TECHNICAL TRANSLATION. English- The Program Office is also NASA's institutional language translations of foreign scientific mechanism for disseminating the resuhs of its and technical material pertinent to research and development activities. These NASA's mission. results are published by NASA in the NASA STI Report Series, which includes the following Specialized services that complement the STI report types: Program Office's diverse offerings include creating custom thesauri, building customized TECHNICAL PUBLICATION. Reports of databases, organizing and publishing research completed research or a major significant results ..
    [Show full text]
  • Color Photography, an Instrumentality of Proof Edwin Conrad
    Journal of Criminal Law and Criminology Volume 48 | Issue 3 Article 10 1957 Color Photography, an Instrumentality of Proof Edwin Conrad Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Edwin Conrad, Color Photography, an Instrumentality of Proof, 48 J. Crim. L. Criminology & Police Sci. 321 (1957-1958) This Criminology is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. POLICE SCIENCE COLOR PHOTOGRAPHY, AN INSTRUMENTALITY OF PROOF EDWIN CONRAD The author is a practicing attorney in Madison, Wisconsin. He is a graduate of the University of Wisconsin and the University of Wisconsin Law School, and in addition holds a degree of Master of Arts from this same institution. Mr. Conrad is the author of two books, Modern Trial Evidence (1956) and Wisconsin Evidence (1949). He has served as a lecturer on the law of evidence and scientific evidence at the University of Wisconsin, and is a member of the American Law Institute and the American Acad- emy of Forensic Sciences.-EmroR HISTORICAL HIGHLIGHTS Color photography, the miracle of modem science, is popularly assumed to be of recent origin. Yet we know that the first attempts at reproducing color chemically were made by Prof. T. J. Seebeck of Jena who in 1810, long before photography had even been discovered, observed that if moistened silver chloride were allowed to darken on paper and then exposed to different colors of light, the silver chloride would approximate the colors that had effected it.
    [Show full text]
  • The History of Photography and the Camera
    The History of Photography and the Camera: From Pinhole to SmartPhones Whether you're hanging out with friends on the beach or reading about the history of the 1930s, photography will likely make an appearance. The oldest known photograph dates back to 1826, but the structure that would become the first camera was described by Aristotle. The process of taking pictures has become increasingly refined during the 19th century, transitioning from heavy glass plates to light, gelatin-coated flexible film. Today, once-innovative film cameras take a back seat to the convenience and ease of digital cameras. Pinhole Cameras and Photography The pinhole camera (also known as a camera obscura) was first envisioned around the 5th century BCE. The camera obscura was a box with a small hole in it, through which light (and the image carried by it) would travel and reflect against a mirror. The camera obscura was originally used to observe solar events and to aid in drawing architecture, though it became something entirely new in 1800. A young man named Thomas Wedgwood attempted to capture the image portrayed in a camera obscura with silver nitrate, which is light-sensitive. Unfortunately, the images didn't hold, and it wasn't until the French inventor Joseph Niépce attempted the same feat with bitumen (a kind of tar) that the first photograph was produced. Lensless Photography: The Art of the Pinhole Single Hole Pinhole Camera History and Geometry of the Pinhole Camera (PDF) A Prehistory of Photography Historic Photographic Processes History and Evolution of Photography (PDF) Make Your Own Pinhole Camera Louis Daguerre and Modern Photography 1 Niépce, keen to refine his newly-discovered process for taking pictures, partnered up with artist and designer Louis Daguerre.
    [Show full text]
  • Film Cameras Or Digital Sensors? the Challenge Ahead for Aerial Imaging*
    Film Cameras or Digital Sensors? The Challenge Ahead for Aerial Imaging* Donald L. Light Abstract photogrammetric techniques are applied, the film image must Cartogmphic aerial cameras continue to play the key role in be scanned and digitized into machine readable picture ele- producing quality products for the aerial photography busi- ments (pixels) and stored on a media such as tape, disks, or ness, and specifically for the National Aerial Photography CD-ROMS. The obvious question is: Will airborne digital Progmm (NAPP). One NAPP photograph taken with cameras sensors that output directly in digital format replace the aer- capable of 39 Cp/mm system resolution can contain the ial film camera in the near future? Hart1 (1989) of the Univer- equivalent of 432 million pixels at 11 pm spot size, and the sity of Stuttgart wrote: "It is expected that, with the progress cost is less than $75 per photograph to scan and output the in electro-optical developments, pushbroom cameras will pixels on a magnetic storage medium. gradually replace photographic cameras." The words "gradu- On the digital side, solid state charge coupled device Jin- ally replace" are important because film cameras are still im- ear and area arrays can yield quality resolution (7 to 12 pm proving with computer designed lenses, forward motion detector size) and a broader dynamic range. If linear armys compensation, and angular motion stabilization. These are are to compete with film cameras, they will require precise necessary for the aerial film camera to become a mature tech- attitude and positioning of the aircraft so that the lines of nology.
    [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]
  • High-Throughput Film-Densitometry
    HIGH-THROUHGPUT FILM-DENSITOMETRY: AN EFFICIENT APPROACH TO GENERATE LARGE DATA SETS Dieter Typke1, Robert A. Nordmeyer2, Arthur Jones2, Juyoung Lee1, Agustin Avila-Sakar3, Kenneth H. Downing1, and Robert M. Glaeser1,3 1Life Sciences Division, Donner Laboratory, Lawrence Berkeley National Laboratory, University of California, Berkeley, CA 94720 2Engineering Division, Lawrence Berkeley National Laboratory, University of California, Berkeley, CA 94720 3Department of Molecular and Cell Biology, University of California, Berkeley, CA 94720 Corresponding Author: Robert M. Glaeser Lawrence Berkeley National Laboratory University of California, Berkeley Berkeley, CA 94720 Phone: 510-642-2905 Fax: 510-486-6488 1 ABSTRACT A film-handling machine (robot) has been built which can, in conjunction with a commercially available film densitometer, exchange and digitize over 300 electron micrographs per day. Implementation of robotic film handling effectively eliminates the delay and tedium associated with digitizing images when data are initially recorded on photographic film. The modulation transfer function (MTF) of the commercially available densitometer is significantly worse than that of a high-end, scientific microdensitometer. Nevertheless, its signal-to-noise ratio (S/N) is quite excellent, allowing substantial restoration of the output to “near-to-perfect” performance. Due to the large area of the standard electron microscope film that can be digitized by the commercial densitometer (up to 10,000x13,680 pixels with an appropriately coded holder),
    [Show full text]
  • Ilford Technical Information
    ILFORD TECHNICAL INFORMATION DELTA 100 DELTA 400 DELTA 3200 PAN F Plus PAN 100 PAN 400 FP4 Plus HP5 Plus XP2 Super SFX 200 TECHNICAL INFORMATION DELTA 100 PROFESSIONAL ISO 100/21º, FINE GRAIN, BLACK AND WHITE PROFESSIONAL FILM FOR SUPERB PRINT QUALITY ILFORD 100 DELTA PROFESSIONAL is a medium SPECTRAL SENSITIVITY speed, fine grain, black and white film, ideal for Wedge spectrogram to tungsten light pictorial and fine art photography. (2850K) 100 DELTA Professional 35mm film is coated on 0.125mm/5-mil acetate base and is available in 24 or 36 exposure cassettes, or in bulk lengths of 30.5 metres (100ft). 100 DELTA Professional Sensitivity 35mm film is supplied in DX coded cassettes, suitable for all 35mm cameras. 100 DELTA Professional rollfilm is coated on 0.110mm/4-mil clear acetate base with an anti- halation backing which clears during Wavelength nm development. It is available in 120 lengths and is FILTER FACTORS edge numbered 1 to 19. 100 DELTA Professional film may be used with all 100 DELTA Professional sheet film is coated on types of filters (eg colour, polarising and neutral 0.180mm/7-mil polyester base with an anti- density filters) in the usual way. Follow the instructions given by the filter manufacturer. halation backing which clears during development. It is available in a wide range of The exposure increase in daylight may vary with the standard sizes. The emulsion faces the user when angle of the sun and the time of day. In the late sheet film is held in the position shown.
    [Show full text]