DOCSLIB.ORG

United States Patent (19) 11 Patent Number: 4,626,498 Shuto Et Al

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
United States Patent (19) 11 Patent Number: 4,626,498 Shuto Et Al United States Patent (19) 11 Patent Number: 4,626,498 Shuto et al. 45 Date of Patent: Dec. 2, 1986 (54) COLOR REVERSAL PHOTOGRAPHIC 56) References Cited LIGHT-SENSTIVE MATERAL U.S. PATENT DOCUMENTS 2,996,382 8/1961 Luckey et al. ...................... 430/567 75) Inventors: Sadanobu Shuto; Yasuhiro Hayashi; 3,178,282 4/1965 Luckey et al... ... 430/567 Munehisa Fujita; Kazunori Hasebe, 3,206,313 9/1965 Porter et al. .... ... 430/567 all of Kanagawa, Japan 3,317,322 5/1967 Porter et al. ... 430/599 3,367,778 2/1968 Berriman ......... ... 430/411 3,397,987 8/1968 Luckey et al. ... ... 430/602 73 Assignee: Fuji Photo Film Co., Ltd., Japan 3,505,068 4/1970 Beckett et al. ... ... 430/567 3,647,452 3/1972 Hendess et al. ... 430/379 4,146,395 3/1979 Bissonette ........................... 430/379 21 Appl. No.: 612,217 Primary Examiner-Won H. Louie Attorney, Agent, or Firm-Sughrue, Mion, Zinn, 22 Filed: May 21, 1984 Macpeak and Seas 57 ABSTRACT 30 Foreign Application Priority Data A color reversal photographic light-sensitive material is May 20, 1983 (JP) Japan .................................. 58-88939 described having at least one light-sensitive silver halide emulsion layer, wherein at least one of said emulsion 51) Int. Cl." ................................................ G03C5/50 layer and a layer adjacent thereto contains a silver hal 52 U.S. C. .................................... 430/379; 430/523; ide emulsion of silver halide grains containing internal 430/503; 430/506; 430/505; 430/567 fog centers. 58) Field of Search ............... 430/379, 567, 523, 503, 430/506, 505 13 Claims, No Drawings 4,626,498 1. 2 Japanese Patent Application (OPI) No. 128528/76 COLOR REVERSAL PHOTOGRAPHIC (corresponding to U.S. Pat. No. 4,082,553) (the term LIGHTSENSTIVE MATERIAL "OPI' as used herein refers to a "published unexamined Japanese patent application') describes a color reversal FIELD OF THE INVENTION light-sensitive material with an improved interimage effect which has a silver halide emulsion layer inter This invention relates to a color reversal photo spersed with surface-fogged silver halide grains that are graphic light-sensitive material having an improved distinctive from silver halide grains containing internal adaptability to push processing. fog centers. However, addition of the surface-fogged BACKGROUND OF THE INVENTION 10 silver halide grains adversely effects photographic properties in normal processing and seriously decreases Color reversal photographic light-sensitive materials color image density in push processing. usually comprise a support having provided thereon at U.S. Pat. Nos. 2,996,382, 3,178,282 and 3,397.987 least two silver halide emulsion layers having a different describe a negative image-forming photographic ele color sensitivity (the term "color sensitivity' as used 15 ment of enhanced speed and contrast prepared by incor herein meaning the property of responding to one of the porating a combination of unfogged surface latent regions of the visible spectrum, e.g., to one of red, green image silver halide grains and fogged internal latent and blue light). image silver halide grains in an emulsion layer. How In the field of color photographic light-sensitive ma ever, these patents do not refer to push processing nor terials, particularly color reversal light-sensitive materi 20 color reversal light-sensitive materials. Further, the als popularly used among professional photographers, element is designed so that, upon development after high speed color light-sensitive materials are required exposure, the unfogged surface latent image silver hal for photographing special scenes, such as sports scenes ide grains develop to liberate reaction products in pro which require a high shutter speed, and stage scenes in portion to an exposure amount, and then the reaction which only an insufficient amount of light is generally 25 products crack the fogged internal latent image silver available for exposure. However, few color photo halide grains to render the grains developable. This graphic light-sensitive materials have a high enough element undergoes an increase in speed and contrast speed to photograph such special scenes. Under such even upon normal processing, thus being unable to circumstances, the speed has been adjusted through permit control of increase in speed by push processing. some processing for supplementing the insufficient ex 30 Further, Japanese Patent Publication No. 19024/71 posure of a color reversal film which has been taken (corresponding to U.S. Pat. No. 3,505,068) describes a photograph at higher speed than indicated speed of the technique with respect to color reversal light-sensitive film. This speed-adjusting processing is usually called materials in which one or more emulsion layers of the "push processing', and, with color reversal light-sensi same color sensitivity are formed as a combination of a tive materials, it is conducted by pushing first develop 35 higher speed layer and a lower speed layer, which tech ment (black-and-white development), for example, pro nique comprises effectively decreasing contrast by longing the period of first development longer than is using silver iodide in the higher speed layer and using employed in normal processing. grains of silver haloiodide core covered with com However, conventional color reversal light-sensitive pletely silver iodide-free silver halide shell in the lower materials do not have sufficient adaptability to the push speed layer. However, the core-shell type silver halide processing, and thus exhibit the following defects: grains used therein have no internal fog centers, and (1) sufficient effect of increase in speed cannot be hence, they do not show any special action with respect attained unless the period of first development is to push processing. extremely prolonged in comparison with the nor SUMMARY OF THE INVENTION mal processing; 45 (2) with light-sensitive materials having a structure The objects of the present invention involve over wherein the silver halide emulsion layer having coming the problems existing in the art as described specified color sensitivity is formed as two or more above, and can be attained by a color reversal photo separate layers of unequal speed (e.g., a higher graphic light-sensitive material having at least one light speed layer and lower speed layer), the push pro 50 sensitive silver halide emulsion layer, wherein at least cessing can lead to a change in gradation between one of said emulsion layer and a layer adjacent thereto the two or more layers due to the difference there contains a silver halide emulsion of silver halide grains between in adaptability to development processing; containing internal fog centers therein. (3) prolongation of the period of first development DETAILED DESCRIPTION OF THE for raising the degree of increase in speed can cause 55 a serious decrease in color image density; or INVENTION (4) push processing can cause deterioration of color Silver halide emulsions of silverhalide grains contain balance due to the difference between the red-sen ing internal fog centers therein are not developable at sitive layer, green-sensitive layer and blue-sensitive all by normal processing, and become uniformly devel layer in adaptability to development processing. 60 opable in both unexposed portions and exposed portions Thus, it has been desired to develop techniques which only when subjected to push processing. It can be deter overcome the above-described defects and which en mined according to the following test whether a partic able full control of the degree of increase in speed with ular emulsion can be used as the silver halide emulsion out exerting any detrimental influence upon normal according to the present invention. That is, an emulsion processing. 65 to be tested is coated on a film support in a coated silver An object of the present invention is to provide the amount of 0.5 g/m2, and the resulting sample is pro above-described techniques and color reversal photo cessed (without exposure) at 38 C. for 2 minutes (nor graphic light-sensitive materials embodying them. mal processing) and at 38 C. for 10 minutes (push pro 4,626,498 3 4. cessing) using a developer of the following formulation. mide, silver chlorobromide, silver bromoiodide, silver chlorobromoiodide, etc., may be used. Grain sizes of the silverhalide grains containing inter nal fog centers are not particularly limited, but fine Formulation of Developer: grains are preferable. Particularly preferable mean grain Water 700 m sizes range from 0.01 to 0.75u, and more preferably Sodium Tetrapolyphosphate 2 g Sodium Sulfite 20 g from 0.01 to 0.5u. Hydroquinone Monosulfonate 30 g The silver halide grains containing internal fog cen Sodium Carbonate (monohydrate) 30 g ters are not particularly limited as to the grain form, and 1-Phenyl-4-methyl-4-hydroxymethyl-3- 2 g 10 may be in a regular grain form or in an irregular grain pyrazolidone form. Potassium Bromide 2.5 g Potassium Thiocyanate 1.2 g The silver halide emulsion of silver halide grains Potassium Iodide (0.1% aq, soln.) 2 ml containing internal fog centers may be a polydisperse Water to make 1 liter system, but monodisperse emulsions (having a coeffici 15 ent of variation, CV, of 20% or less) are preferable. Emulsions used for samples which are found, as a It is possible to control the timing of emergence of the result of the test, to show almost no increase in density effect of push processing by using, apart from or to in the 2-minute processing but show, when subjected to gether with the above-described means for changing the 10-minute processing, an increase in density as high the thickness of outer shell, the silver halide grains as at least five times that obtained by the 2-minute pro 20 containing internal fog centers and a certain kind of cessing are suited to be used as the silver halide emul organic compound in combination.
Load more

Recommended publications
  • Still Photography
    Still Photography Soumik Mitra, Published by - Jharkhand Rai University Subject: STILL PHOTOGRAPHY Credits: 4 SYLLABUS Introduction to Photography Beginning of Photography; People who shaped up Photography. Camera; Lenses & Accessories - I What a Camera; Types of Camera; TLR; APS & Digital Cameras; Single-Lens Reflex Cameras. Camera; Lenses & Accessories - II Photographic Lenses; Using Different Lenses; Filters. Exposure & Light Understanding Exposure; Exposure in Practical Use. Photogram Introduction; Making Photogram. Darkroom Practice Introduction to Basic Printing; Photographic Papers; Chemicals for Printing. Suggested Readings: 1. Still Photography: the Problematic Model, Lew Thomas, Peter D'Agostino, NFS Press. 2. Images of Information: Still Photography in the Social Sciences, Jon Wagner, 3. Photographic Tools for Teachers: Still Photography, Roy A. Frye. Introduction to Photography STILL PHOTOGRAPHY Course Descriptions The department of Photography at the IFT offers a provocative and experimental curriculum in the setting of a large, diversified university. As one of the pioneers programs of graduate and undergraduate study in photography in the India , we aim at providing the best to our students to help them relate practical studies in art & craft in professional context. The Photography program combines the teaching of craft, history, and contemporary ideas with the critical examination of conventional forms of art making. The curriculum at IFT is designed to give students the technical training and aesthetic awareness to develop a strong individual expression as an artist. The faculty represents a broad range of interests and aesthetics, with course offerings often reflecting their individual passions and concerns. In this fundamental course, students will identify basic photographic tools and their intended purposes, including the proper use of various camera systems, light meters and film selection.
    [Show full text]
  • Push Processing
    May 2002 APPLICATION SHEET PUSH PROCESSING INCREASING APPARENT FILM SPEED BY OVER-DEVELOPMENT All camera films have a basic speed, usually PUSH PROCESSING shown as an ISO rating on the packaging. This How well push processing works is much more gives you a measure of how sensitive the film is to dependent on the subject illumination than for light, but only when processed to ‘normal’ standard processing. The push processing contrast. If you expose the film at its rated speed development times for recommended meter settings and process it to normal contrast according to the given in ILFORD information for films and standard recommendations you will get the best chemicals are chosen to ensure that the maximum results for a wide range of conditions. level of detail is recorded under all conditions, and especially in very poor lighting. However, you cannot always use the rated exposure as the light level may be too low, or you However, in many situations where film is uprated, may need a high shutter speed and/or small the lighting is very unevenly distributed. In these aperture. In these cases, the solution is to uprate cases, you can usually improve the quality of your the film to a higher speed and push process, that final image by changing your exposing and is deliberately underexpose the film and extend the processing. If in doubt though, follow the development time to compensate for it. recommendations in ILFORD information for films and chemicals for the meter setting used. You can uprate many films by one or two stops.
    [Show full text]
  • Photo Warehouse
    Photo Warehouse FILM DEVELOPMENT CHART PUSH PROCESSING (B/W) 68° 68° 68° 68° 68° 68° 68° 68° D-76 or D-76 or Sensidol U60 F60 Ultrafine HC-110 T-Max These are general guidelines when no published development times are Ultrafine Ultrafine Powder 1:9 1:9 1:9 Liquid Dev. Dil. B Dev. Powder Dev. Dev. 1:1 1:4 available. To use this chart multiply the published time at recommended ASA by the factor in parenthesis (ie. If Tri-X rated at 400ASA is normally developed for 6 Ultrafine B&W 125 6-8 10 5 ½ 5 ½ 5 ½ 8 ½ 5 5 ½ minutes in a standard developer, then when Tri-X is pushed three stops to Ultrafine B&W 400 7 ½ 13 7 7 7 11 6 8 3200ASA development would be: 6 x 2 = 12 minutes). Please use these Ultramax T-Grain 400 6 10 9 9 9 12 ½ 5 8 recommendations as starting points only. In many cases these times will Ultrafine Plus B&W 100 9 10 11 11 11 12 8.5 8.5 prove excessive, but when all else fails they can be a good guideline. Please Ultrafine Plus B&W 400 8.5 9 10 10 10 8 10 7 note separate data for Tmax films. Ultrafine Xtreme 100 8 10 ½ 5 5 5 6 ½ 8 ½ 6 Ultrafine Xtreme 400 7 12 ½ 6 ½ 6 ½ 6 ½ 7 ½ 5 6 Standard Developer Agfa APX ISO 400 10 11 8 8 8 8 6 7 Celsius Fahrenheit Kodak Plus-X Pan ISO 125 5 ½ 8 ½ 5 ½ 5 ½ 5 ½ 7 3 ½ 5 ¾ 1 stop push = (x1.25) 2 stop push = (x1.5) Kodak T-Max 100 9 12 7 7 7 7 7 7 ½ 18 = 64.4 Kodak T-Max 400 8 12 ½ 6 ¾ 6 ¾ 6 ¾ 8 6 7 3 stop push = (x2.0) 19 = 66.2 Kodak T-Max 3200 14 -- 11 ½ 11 ½ 11 ½ -- 10 ½ 9 ½ (75°) Kodak Tri-X Pan ISO 400 6 ¾ 9 ¾ 9 ¼ 9 ¼ 9 ¼ 8 6 6 Compensating 20 = 68.0 Ilford Delta ISO 100 8 ½ 11 7 7 7 7 6 7 Developer 21 = 69.8 Ilford Delta ISO 400 9 ½ 14 7 ½ 7 ½ 7 ½ 8 7 ½ 6 ½ 1 stop push = (x1.4) 22 = 71.6 Ilford FP4 Plus 8 ½ 11 5 ½ 5 ½ 5 ½ 7 9 6 ½ 2 stop push = (x1.85) Ilford HP5 Plus 7 ½ 13 7 7 7 8 5 6 ½ 3 stop push = (x2.5) 23 = 73.4 24 = 75.2 These times are a guide.
    [Show full text]
  • 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......................................................
    [Show full text]
  • Mindful Photographer
    Operating Manual for the Mindful Photographer Ed Heckerman Copyright © 2017 Cerritos College and Ed Heckerman 11110 Alondra Blvd., Norwalk, CA 90650 Second Edition, 2018 This interactive PDF was made in partial fulfillment for a sabbatical during the academic year 2016 - 2017. No part of the text of this book may be reporduced without permission from Cerritos College. All photographs were taken by Ed Heckerman and produced independently from sabbat- ical contract. Ed Heckerman maintains the copyright for all the photographs and edition changes. No images may be copied from this manual for any use without his consent. Contents Part 1 — Insights and Aspirations 1 contents page Introduction 1 What is Photography? 2 What is a Photograph? Motivations — Why Make Photographs? Photography and Mindfulness 6 Thoughts On Tradition ��������������������������������������������������������������������������12 Part 2 — Navigating Choices ������������������������������������������������������������� 14 Cameras Loading Your Camera Unloading Your Camera Manual Focus Autofocus Sensitivity and Resolution — ISO Controlling Exposure — Setting the Aperture and Shutter Speed Shutter Speed Coordinating Apertures and Shutter Speeds Exposure Metering Systems ��������������������������������������������������������������� 25 Full-frame Average Metering Center Weighted Metering Spot Metering Multi-Zone Metering Incident Metering
    [Show full text]
  • PHOTOGRAPHY Film and Darkroom an INTRODUCTION to PHOTOGRAPHIC TECHNIQUE Elaine O’Neil
    Tenth Edition A Short Course in PHOTOGRAPHY Film and Darkroom AN INTRODUCTION TO PHOTOGRAPHIC TECHNIQUE Elaine O’Neil Barbara London n Jim Stone Publisher: Roth Wilkofsky Cover Designer: Lumina Datamatics Editorial Assistant: Kaylee Navarra Cover Image: Ian van Coller Product Marketing Manager: Nicholas Bolt Manufacturing Buyer: Mary Ann Gloriande Executive Field Marketing Manager: Wendy Albert Printer/Binder: LSCC-Kendallville Managing Content Producer: Donna DeBenedictis Cover Printer: Phoenix Color Project Coordination, Text Design, and Electronic Page Makeup: SPi Global Acknowledgments of third-party content appear on the appropriate page in the text or on page 228, which constitutes an extension of this copyright page. Frontispiece: Elaine O’Neil: Arizona-Sonora Desert Museum, Tucson, Arizona, 1973. PEARSON and ALWAYS LEARNING are exclusive trademarks owned by Pearson Education, Inc. or its affiliates in the United States and/or other countries. Unless otherwise indicated herein, any third-party trademarks that may appear in this work are the property of their respective owners and any references to third-party trademarks, logos, or other trade dress are for demonstrative or descriptive purposes only. Such references are not intended to imply any sponsorship, endorsement, authorization, or promotion of Pearson’s prod- ucts by the owners of such marks, or any relationship between the owner and Pearson Education, Inc., or its affiliates, authors, licensees, or distributors. Library of Congress Cataloging-in-Publication Data London, Barbara | Stone, Jim A short course in photography : film and darkroom an introduction to photographic technique / Barbara London & Jim Stone. Tenth edition. | Hoboken, NJ : Pearson, 2018. | Includes bibliographical references and index. LCCN 2017047492| ISBN 9780134638850 | ISBN 0134638859 LCSH: Photography.
    [Show full text]
  • Arista-II Film Fisheye That Lets You Experiment with and Experimenting with Unique Lens Orange and L.A
    PRESORTED STANDARD U.S. POSTAGE Fall 2014 PAID FREESTYLE 5124 Sunset Boulevard Hollywood, CA 90027 Source Code: Customer Number: Get Instant Rebates on Select Kodak & Rollei films! Save up to Extended by 20% popular demand! DON’T For a limited time only, you can save up to 20% instantly on select 35mm and 120 Kodak and Rollei RPX black and white films. For the full selection, visit www.freestylephoto.biz and start saving today! But Hurry… this offer is for a limited time only! ASSUME... See website for all Freestyle Instant Rebates. To Order, Call Toll-Free at 800.292.6137 or visit www.freestylephoto.biz 800.292.6137 FreestylePhoto.Biz TABLE OF CONTENTS Now that we have your attention... Alternative and Unique Processes �. 28 – 33 Archiving and Presentation �. 47 Black and White Chemicals. 14 – 21 Black and White Film �. 10 – 13 Black and White Paper �. .6 – 9 Here’s what we mean by DON’T ASSUME. Bulk Loading Supplies . 42 Color Film �. 24 – 25 Over the past decade there have been such dramatic changes in the photographic Color Paper and Chemicals �. 22 – 23 industry that no one could have predicted the landscape we are facing today. Darkroom Equipment & Accessories. 36 – 44 These changes have been especially noticeable in the area of darkroom photo- Film Cameras and Accessories. 45 graphic products including the sources of manufacturing, sales and variety of Finishing Materials �. 46 products that are available. Handcoloring and Retouching �. 34 – 35 DON’T ASSUME… that the darkroom products you need, want and desire are Holga Cameras and Accessories �. 50 – 52 not available.
    [Show full text]
  • KODAK PROFESSIONAL T-MAX 400 Film
    KODAK PROFESSIONAL T-MAX 400 Film TECHNICAL DATA / BLACK-AND-WHITE FILM October 2007 • F-4043 —NOTICE— FEATURES BENEFITS KODAK PROFESSIONAL T-MAX 400 Film, with new high • KODAK High-efficiency, • World’s finest grained 400-speed efficiency, multi-zone T-GRAIN® Emulsions, raises the bar for Multi-zone T-GRAIN® black-and-white film 400-speed black-and-white film performance. Now with even Emulsions • Allows for greater enlargement finer grain and higher sharpness, T-MAX 400 stands above all • Optimized Light Filtration • World’s sharpest 400-speed others, delivering a level of clarity previously only achievable from a technology black-and-white film 100-speed film. • Renders distinct edges and fine Processing times for the new film have been adjusted slightly. Use detail the packaging examples below to determine which film you have, then refer to the corresponding publication for development times. • 400 speed • Additional speed for low light or fast action Former packaging, refer to New packaging, refer to this KODAK publication F-4016: publication (F-4043): SIZES AVAILABLE Catalog numbers and packaging may differ from country to country. See your dealer who supplies KODAK PROFESSIONAL Products. DARKROOM RECOMMENDATIONS Do not use a safelight. Handle unprocessed film in total darkness. Do not develop this film by inspection. Note: The afterglow from fluorescent lights may fog this film. Make sure your darkroom is completely dark before you handle unprocessed film. STORAGE AND HANDLING Store unexposed film at 75°F (24°C), or lower, in the original sealed package. For protection from heat in areas with temperatures consistently higher than 75°F (24°C), NEW 400TMY-2 you can store the film in a refrigerator.
    [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]
  • KODAK PROFESSIONAL PLUS-X 125 Film / 125PX
    TECHNICAL DATA / BLACK-AND-WHITE FILM February 2002 • F-4018 KODAK PROFESSIONAL PLUS-X 125 Film / 125PX KODAK PROFESSIONAL PLUS-X 125 Film is a —NOTICE— medium-speed, continuous-tone panchromatic film that is a To reflect our enduring commitment to black-and-white photography, black-and-white film production will take place in good choice for general-purpose outdoor or studio an even more advanced film-coating facility. New technology photography. It features extremely fine grain and excellent applied to these superior, time-tested emulsions will result in sharpness. slightly different processing times for the film family. But the KODAK PROFESSIONAL PLUS-X Film is available in same great films—those you've known and trusted for years— will still deliver the same breathtaking results. 135 size and 35 mm long rolls on a 5-mil gray acetate base, and in 120 and 220 size on a 3.6-mil acetate base. The 120 Use the packaging examples below to determine which film and 220 sizes have a retouching surface on the emulsion side. you have, then refer to the corresponding publication for development times. FEATURES BENEFITS New packaging, refer to this Former packaging, refer to • Extremely fine grain • Excellent for producing publication (F-4018) Kodak publication F-8: high-quality images • Wide exposure latitude • Rich tonality maintained with overexposure and underexposure • Very high sharpness • Excellent for applications that require a high degree of enlargement • High resolving power • Good rendition of detail SIZES AVAILABLE Sizes and CAT numbers may differ from country to country. The numbers below apply to products sold in the United Sates.
    [Show full text]
  • 1 Kodak Flexicolor Chemicals
    1 KODAK FLEXICOLOR CHEMICALS KODAK FLEXICOLOR Chemicals are designed for processing all Kodak color negative films. This section FEATURES BENEFITS describes these chemicals, lists the available sizes, and tells • All-liquid concentrates • Easy mixing you how to mix and store them. It also gives simple methods • Available in a wide • Sizes convenient for all of checking chemicals and mixes, and tells how to dispose of variety of sizes users—minilabs, large them properly and safely. processing labs, professional labs, advanced WHY USE KODAK CHEMICALS? amateurs, etc. The primary considerations when you choose photographic • Formulated to provide • Quality of local water chemicals are— excellent performance supply not critical • quality of the results the chemicals produce when mixed with a • availability, reliability, and expertise of the service you variety of water supplies receive • Low developer • Less mixing • availability of the chemicals replenishment rates with • One-half the replenishment FLEXICOLOR • environmental impact of the chemicals rate of FLEXICOLOR Developer Replenisher Developer Replenisher • chemical cost per roll LORR • Less effluent discharged— In all of these factors, KODAK Chemicals are superior or more favorable competitive. environmental impact KODAK Chemicals are readily available. When you • Chemical savings purchase KODAK Chemicals, you are supported by a reliable network of expertise: Kodak field representatives, • Efficient bleaching with • Robust bleaching Kodak Service and Support, Kodak Information Center,
    [Show full text]
  • KODAK T-MAX Professional Films
    TECHNICAL DATA / BLACK-AND-WHITE FILM March 2002 • F-32 KODAK T-MAX Professional Films CONTENTS NOTICE —Discontinuance — KODAK T-MAX 100, 400, AND P3200 These films were replaced by KODAK PROFESSIONAL PROFESSIONAL FILMS T-MAX Films and require different development times. For technical information, see KODAK Publication F-4016, KODAK PROFESSIONAL T-MAX Films. Features and Benefits. 2 KODAK T-MAX 100 AND 400 PROFESSIONAL FILMS Darkroom Recommendations . .. 3 Storage and Handling. 3 Exposure. 3 Processing . 4 Manual Processing . 5 Rotary-Tube Processing . 9 Final Steps in Tank, Tray, and Rotary-Tube Processing. 11 Machine Processing . 11 Adjusting Film Contrast. 13 Retouching . 13 Image-Structure Characteristics. 13 KODAK T-MAX P3200 PROFESSIONAL FILM Darkroom Recommendations . 17 Storage and Handling. 17 Exposure. 17 Processing . 18 Manual Processing . 19 Rotary-Tube Processing . 21 Final Steps in Tank and Rotary-Tube Processing. 22 Machine Processing . 22 Image-Structure Characteristics. 23 Sizes Available. 26 KODAK T-MAX 100 Professional Plate. 26 Quick Reference to Processing KODAK T-MAX Professional Films . 27 Quick Reference to Film Speeds . 27 More Information . 28 ©Eastman Kodak Company, 2001 KODAK T-MAX 100 Professional Film is a KODAK T-MAX 100, 400, AND P3200 continuous-tone panchromatic black-and-white negative PROFESSIONAL FILMS film for general outdoor and indoor photography. It is especially useful for detailed subjects when you need FEATURES BENEFITS maximum image quality. It is also excellent for copying • KODAK T-GRAIN® • Allows films with extremely black-and-white photographs, for making black-and-white Emulsion that reshapes fine grain to be made faster; pebble-like crystals into a high-speed films have finer copies from color transparencies, and for photomicrography.
    [Show full text]