The Cine-Kodak News; May 1930; Vp;. 6, No. 12

Total Page:16

File Type:pdf, Size:1020Kb

The Cine-Kodak News; May 1930; Vp;. 6, No. 12 ws 1930 ou are invited of of Kodacolor Color. At Cine-Kodak . f ateur-taken movies 1 C d this month. An exhibiuon o am h U nited States and ana a D ealers' throughout t e Home Movies that reproduce on the Screen EVERY COLOR THE EYE CAN SEE ... as easy to take as snapshots s0 many people, par- movies shows color. ents particular! y, have You simply use a Koda- inquired about home color Filter and Koda- movies in full color that color Film when making sp ecial exhibitions of or projectin g mov ies Kodacolor films have in color. been arranged for this Ify ou can look through month at Cine-Kodak a finder and press a lever dealers' throughout the you can take these amaz- United States and ingly beautiful pictures. Canada. Then send the film to any Step in and see one of Eastman processing sta- these fi lms on the screen. tion. In a few days it Do this whether or not comes back to you , ready you are immediately in- for projection ... at no ad- terested in making home ditional cost; the charge movies. What you see for developing is includ- will amaze you. ed in the price of the For, with Cine-Kodak, film. home movies in full color Everything is so con- are made as easily as Nothing that this page can say or show can f ully reveal the startling beauty of home venient, so easy. And, if snapshots are with your movies in color . For K odacolor is admittedly the greatest single triumph i n the history of you can afford even the child's Brownie. photography. See for yourself. Vi sit the exhibition this month at Cine-Kodak dealers'. smaller nice things of today, you can afford Life Itself of dress and background, every scene the Cine-Kodak. of your travels ... all in full color. Kodacolor reproduces faithfully and Ask to See Kodacolor unerringly on the screen every color In short, life itself. For life, as the that the eye can see. The exact shade eye sees it, remember, is made up of See what wonders are now offered of your child's hair, those elusive color and· motion. Now these two are you by the same Eastman m en who tints of youthful cheeks, every tone combined in the most remarkable of so simplified photography that any all developments in home movies. child can make snapshots. Movies that are closer to life itself See the exhibition of Kodacolor CINE-KODAK than anything h eretofore known. that is being presented this month Model BB. f.1.9. Think of having such pictures of b y Cine-Kodak dealers of the United your mother. All so wonderful . .. yet States and Canada. Visit your so simple a child can take them. dealer today. How It's Done EASTMAN KODAK COMPANY Rochester, New York The same Cine-K odak (B orB B f.l.9) that takes black-and-white movies takes color. The same Kodascope (A KODACOLOR or B) that shows black-and-white HOME MOVIES I N FULL COLOR Kodacolor Film reduced in price. See back cover of this issue. The CINE 7 KODAK News Publishe d Monthly in the In tere sts o f Amate ur Moti on Pictures by the Eastman Kodak Co mpany, Roch ester, N . Y., Volume 6, Number 12. MAY 1930 Just What Is Kodacolor? A Word or Two About What It Does « « How It Does It And How You May Enjoy It LTHOUGH Kodacolor celebrated its first birth- necessary differences. The first is that Kodacolor Film is panchro- day last August there is still a good number of matic- or sensitive to light of all colors. The second is that the amateurA movie makers who do not fully recognize its possibili- uncoated side of the transparent film base is embossed with ties. We even suspect that some of our readers believe it to minute cylindrical lenses which join one another and extend the be a sort of colored or tinted film, and that we may even stray, entire length of the film . There are about 220 of these lens ever so slightly, from the narrow path of truthfulness in some elements in the width of the picture area, causing the peculiar of our claims for it. satin-like appearance characteristic of Kodacolor Film. In short, they have to be shown. The film is so wound that when it is loaded into the camera A glance at the page to the left of this one will tell you of our and exposed in the usual way, the picture is taken through the plans for doing just this. The dealer from whom you purchased film base. At the same time that the camera lens forms an image your home movie camera will be very happy to project Koda- of the subject upon the film, each embossed lens forms an image color Film for you any day this month. And when you are view- of the camera lens and its color filter on the sensitive surface of the ing these films, realize, please, that you can make and project film. By this means, when white light falls upon the film, it is Kodacolor pictures just like them! broken up into its three principal components, which are red, Kodacolor reproduces faithfully and unerringly on the screen green and blue. (See Figure 1.) every color that the eye can see. It is no more difficult to make Let us suppose that we are taking a picture of a red object. movies in Kodacolor than in black and white. All that is neces- Only red light is reflected by such an object and some of these sary is an f.1.9 lens-equipped Cine-Kodak, rays fall upon the Kodacolor filter in the Kodacolor Film, the Kodacolor Filter, and camera lens. Both the green and blue por- sunlight. And now Kodacolor Film has been tions of the filter absorb red light, but reduced in cost-it is priced but slightly the red portion allows the rays to pass higher than Cine-Kodak Panchromatic through. The camera lens focuses these Film. red rays upon the proper portion of the Perhaps you are interested in learning picture area of the film. Each minute em- how Kodacolor pictures are obtained? We bossed lens in this portion then sends shall endeavor to explain. these rays to the position occupied by the The Kodacolor Filter is composed of image of the red filter. (See Figure 2.) three bands of dyed gelatin, red, green When the film is developed, these por- and blue-cemented between disks of tions that have been struck by red light optical glass. Kodacolor Film is similar to will be rendered black and opaque by a regular Cine-Kodak Film, except for two deposit of silver. (See Figure 3.) 3 4 The film is now put through a reversal process which re- You may be interested in knowing whether all subjects re- moves the silver from the opaque areas, leaving them clear, and produce equally well in Kodacolor. Generally speaking, they do. blackens the areas that were not struck Of course, the colors are more bril- by light in the exposure of the film. liant when the subject is close than (See Figure 4 ) (\ when it is distant- just as they are in The film so processed is ready for nature. For instance, the close-up of a child projection. It is threaded into the Kodascope with the base side facing will bring out every color in its the projection lens and its Kodacolor clothes, the glint of gold in its hair, projection filter. The light from the v ( the delicate flesh tones, the red of its lamp passes through the clear spaces on lips- all the colors that you see. These the film- which, as you remember, is colors will be absolutely true to life. where the red light A picture of the rays were focused same child, taken - and is sent by the farther away, will embossed lenses reproduce the colors through the projec- just as accuratel y, tion lens and red but less brilliantly portion of the filter. - just as the eye It then falls upon ac tually sees them. its proper position Kodacolor also on the screen, re- reproduces medium producing the color and far distant Fig. 3 and form of the scenes effectively. red object Mountains, lakes, graphed. (See Fig- landscapes, all re- ure 5.) tain their full beau- By following this ty. The brilliancy description for a of the colors is of red object, it is easy course dependent to to see what happens a certain extent up- when a blue or green on atmospheric con- Kodacolor captures all the vividness of summer seashores object is photo- ditions. graphed. Objects Right here it may of all other colors reflect varying proportions of red, green, be well to add a word of warning lest you forget that Kodacolor, and blue light. For instance, yellow reflects red light and green like any other photographic achievement, has its limitations. light; purple reflects red light and blue light; blue-green reflects Bright sunlight is an absolute necessity, unless the camera used green light and blue light; white reflects light has a half-speed feature, in which case Kodacolor of all colors; and black reflects very little light may be taken out of the direct sunlight but with of any color. a clear sky overhead. Backlighting- that old It can thus be seen that the Kodacolor process (Reversed) favorite of many movie makers- should not be is capable of reproducing all colors by separating attempted with Kodacolor.
Recommended publications
  • Film Grain, Resolution and Fundamental Film Particles
    FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver
    [Show full text]
  • Cognition: the Limit to Organization Change; a Case Study of Eastman Kodak
    COGNITION: THE LIMIT TO ORGANIZATION CHANGE; A CASE STUDY OF EASTMAN KODAK A THESIS Presented to The Faculty of the Department of Economics and Business The Colorado College In Partial Fulfillment of the Requirements for the Degree Bachelor of Arts By Noah Simon April 2011 COGNITION: THE LIMIT TO ORGANIZATION CHANGE; A CASE STUDY OF EASTMAN KODAK Noah Simon April 2011 LAS: Leadership Abstract The following thesis examines an incumbent firm affected by change. It seeks to deepen the understanding of the dynamic capabilities model by proposing cognition and not previous resource deployment is the limit of change. Two similar companies, Eastman Kodak and Polaroid will be compared during the shift from film to digital photography to determine what separated the two companies. KEYWORDS: (Organizational cognition, dynamic capabilities, path dependency, cognition, perception) TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS 1 INTRODUCTION 1 2 LITERATURE REVIEW 6 2.1 Dynamic Capabilities...................................................................................... 7 2.1.1 How does a company survive?.............................................................. 7 2.1.2 What are the effects of core competencies?.......................................... 8 2.1.3 How are established companies affected by change?........................... 9 2.2 The Cognitive Perspective.............................................................................. 10 2.2.1 What does a path dependency mean for the individual?....................... 10 2.2.2 What
    [Show full text]
  • Express Camera Auction 27Th June 2018 at 10:00
    Hugo Marsh Neil Thomas Plant (Director) Shuttleworth (Director) (Director) Express Camera Auction 27th June 2018 at 10:00 Viewing 26th June 2018 10:00-16:00 For enquiries relating to the sale: Saleroom One Please contact: 81 Greenham Business Park NEWBURY RG19 6HW Telephone: 01635 580595 Fax: 0871 714 6905 Email: [email protected] www.specialauctionservices.com Austin Mike Spencer Farahar Express Cameras Cameras Bid Here Without Being Here All you need is your computer and an internet connection and you can make real-time bids in real-world auctions at the-saleroom.com. You don’t have to be a computer whizz. All you have to do is visit www.the-saleroom.com and register to bid - its just like being in the auction room. A live audio feed means you hear the auctioneer at the same time as other bidders. You see the lots on your computer screen as they appear in the auction room and the auctioneer is aware of your bids the moment you make them. Just register and click to bid! 7. Kodak Retina Cameras, 13. 35mm Film Strip Projectors, models include, Retina Ib with 50mm Ellis & Newton Ltd with Leech series f/2.8 Schneider-Kreuznach lens (G), II 3’’ lens, Pullin Optics with Pulnar 4’’ Retina IIa (2) and a Retinette Ib (100mm) f/2.8 lens, both in wooden £40-60 carry cases £30-50 14. A Kodascope Model C 1. Four TLR Cameras, models Projector, including lens, reels, in include, Rolleicord II with triostar makers case £20-40 7.5cm f/3.5 lens, a Mamiyaflex with Sekor 7.5cm f3.5 lens, a Ricoh super 44 with Riken 6cm f/3.5 lens and a Semiflex with a Berthot 75mm f/4.5 lens £50-70 8.
    [Show full text]
  • Kodak Movie News; Vol. 10, No. 4; Winter 1962-63
    PUBLISHED BY EASTMAN KODAK COMPANY W I N T E R 1 9 6 2- 6 3 KODAK MOVIE NEWS Q. I have a roll of KODACHROME Film in my 8mm camera that has been exposed on the first half. I've LETTERS TO lost the carton the film came in and I forgot whether I have KODACHROME or KODACHROME II Film . And I'm not sure whether it's Daylight Type or Type A. Is THE EDITOR there any way I can tell? Mr. C. B., Nashville, Tenn. Comments: I thought you might be interested in an unusual sequence I shot recently. I observed a big snapping turtle come into my yard and, knowing that she was going to dig a hole and lay her eggs, I loaded my camera and took some wonderful shots. I watched the eggs, and 3½ months later when they started to hatch, I made shots of the baby turtles coming out of the eggs and learning to walk. Later I made appropri· ate titles, and came up with what I call a creditable color movie. Mrs. B. E. C., Moorestown, N.J. A. Yes. Take a look at the end of your film. If it's Your seasonal titles are more helpful now that you KODACHROME Fi lm, you will see the legend "KOD print them sideways. At least mine were not creased. HALF EXP " punched through the film ind icating Day- Mr. L. G. P., Philadelphia, Pa. light Type, or " KOD A HALF EXP" if it's Type A. If your roll is KODACHROME II Film, th ere will be Please continue to publish seasonal titles.
    [Show full text]
  • KODACOLOR RDTG Series Inks Datasheet
    KODACOLOR RDTG Series Inks High performance with mid/high viscosity inks KODACOLOR RDTG Series System Qualiied Piezo-electric Print Heads The KODACOLOR RDTG Series inks from Kodak FUJI STARFIRE, RICOH GEN 4, RICOH GEN 5 & were speciically developed for direct-to-fabric RICOH GH2220. Formulated with best in class printing on cotton, cotton blends, and polyester components selected to provide market leading, fabrics. They are equally at home when used industrial performance. for printing directly to inished garments or to roll fabrics. This water-based digital ink system is designed to work in printers that employ 14 piezo-electric print heads. Although designed RDTG Viscosity Proile for use in production printing, it is suitable for 12 high quality sampling and strike offs. 10 KODAK RDTG Series performs to the highest level of nozzle performance among Print Heads 8 requiring mid-high viscosity inks. 6 Fabric Pre-Treats The KODACOLOR Pre-Treats are formulated (mPas) Viscosity 4 exclusively for the KODACOLOR EDTG & RDTG Ink Sets to produce the highest quality image 2 and excellent durability in wash-fastness. The 0 three types of Pre-Treat cover the gamut of 22 24 26 28 30 32 34 36 38 40 garments available, from 100% Cotton Dark to Temperature (deg C) White Polyesters. RCDGT RMDGT RYDGT RKDGT RWDGT Powered by KODACOLOR Technology KODACOLOR RDTG Series Inks Micrographs of dot formation KODAK RDTG Series mid-high viscosity Ink set printed through a RICOH GEN 5 Print Head Cyan Black RDTG Viscosity Viscosity Viscosity Viscosity Viscosity Viscosity
    [Show full text]
  • Color and False-Color Films for Aerial Photography
    Color and False-Color Films for Aerial Photography RATFE G. TARKINGTON and ALLAN L. SOREM Research Laboratories, Eastman Kodak Company Rochester, N. Y. ABSTRACT: Color reproduction by the photographic process using three primary colors is discussed, and the 11se of these photographic and optical principles for false-color reproduction is explained. The characteristics of two new aerial films-Kodak Ektachrome Aero Film (Process E-3) and a false-color type, Kodak Ektachrome Infrared Aero Film (Process E-3)-are compared with those of the older products they replace. The new films have higher speed, im­ proved definition, and less granularity. OPULAR processes of color photography are KODAK EKTACHROME AERO FILM (PROCESS E-3) P based upon the facts that (1) the colors perceived by the human eye can be produced BLUE SENSITIVE YELLOW POSITIVE IMAGE by mixtures of only three suitably chosen =====::::==l=====~=~=~~[M~ colors called primaries; (2) photographic GREEN SENSITIVE MAGENTA POSITIVE IMAGE emulsions can be made to respond selectively REO SENSITIVE CYAN POSITIVE IMAGE to each of these three colors; and (3) chemical reactions exist which can produce three in­ dividual colorants, each capable of absorbing FIG. 1. Schematic representation of a essentially only one of the chosen primary multilayer color film. colors. Although theory imposes no single unique set of three primary colors, in prac­ in a scene, but the results obtained with tice the colors chosen are those produced by modern color photographic materials are re­ light from successive thirds of the visible markably realistic representations of the spectrum: red, green, and blue. When these original scene.
    [Show full text]
  • George Eastman Museum Annual Report 2018
    George Eastman Museum Annual Report 2018 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 8 Photography Workshops 9 Loans 10 Objects Loaned For Exhibitions 10 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 30 Technology 32 George Eastman Legacy 34 Richard and Ronay Menschel Library 48 Purchases for the Collections 48 Photography 48 Moving Image 49 Technology 49 George Eastman Legacy 49 Richard and Ronay Menschel Library 49 Conservation & Preservation 50 Conservation 50 Photography 50 Technology 52 George Eastman Legacy 52 Richard and Ronay Menschel Library 52 Preservation 53 Moving Image 53 Financial 54 Treasurer’s Report 54 Fundraising 56 Members 56 Corporate Members 58 Annual Campaign 59 Designated Giving 59 Planned Giving 61 Trustees, Advisors & Staff 62 Board of Trustees 62 George Eastman Museum Staff 63 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2018. MAIN GALLERIES HISTORY OF PHOTOGRAPHY GALLERY Stories of Indian Cinema: A History of Photography Abandoned and Rescued Curated by Jamie M. Allen, associate curator, Department of Photography, and Todd Gustavson, exhibitions, Moving Image Department curator, Technology Collection NovemberCurated by 11,Jurij 2017–May Meden, curator 13, 2018 of film October 14, 2017–April 22, 2018 Nandita
    [Show full text]
  • The Retina Reflex Guide
    by mischa koning kodak.3106.net > index manuals information The Retina Reflex Guide These web-pages have been scanned and converted from a photocopy of the "Focal Press" publication "Retina Reflex Guide", 1970 edition. There may be reference to "current" and "discontinued" models. Obviously all Retina cameras are now long discontinued, but For ease of editing if nothing else, all the original text has been retained. The original book was divided into two sections, effectively an overview and a "green pages" section covering specific models in more detail. I've not bothered with a green background to these pages, but hopefully I will have included links where appropriate to the relevant text. Similarly, page-number references; as I've included each sub- section of the book on one web-page, original page number references have been linked to the new layout. Table of Contents The Retina Reflex The Winding and Release Sequence Retina Reflex Evolution Handling the Retina Reflex Handling, Winding and Trimming the Film Films and Filters Exposure Using an Exposure Meter Flash with the Retina Reflex Using Alternative Lenses The Retina Reflex IV The Retina Reflex III The Retina Reflex and Retina Reflex S The Retina Reflex Retina Reflex Lenses Accessories Facts, Figures and Tables The Retina Reflex The Retina Reflex is an eye-level 35 mm. reflex camera with interchangeable lenses for all general photography as well as technical work, copying, photomicrography, stereo photography, etc. In many of these fields the ground-glass screen is a distinct advantage. The camera takes normal 35 mm. perforated film and produces a negative size 24x36 mm.(1 x 1½ in.).
    [Show full text]
  • The Cine-Kodak News; May 1931; Vol. 7, No. 12
    softly diffused ... ideal fo r close-ups ... Kodalite, Model B, simplifies indoor movie making AvAILABLE in one-, two- and three- including stand and cord, is priced at light units, Kodalite, Model B, $15; the two-light unit at $27.50. A makes it surprisingly easy for the am- complete outfit, including single and ateur movie maker to get satisfactory double units with carrying case, costs illumination for his indoor pictures. $50. The 500-watt lamp is sold sepa- Technical knowledge of lighting is no rately, at $4.85 (available in three longer a necessary factor. voltages- 100, ll0 and llS). No diffuser is needed with Kodalite, Your Cine-Kodak dealer will be glad Model B. Its scientifically designed re- to point out to you the many interest- flector throws a broad-angle, uniform ing features of the Model B Kodalite. flood of light. The illumination is He'll explain its practical application smooth and even . .. so softly diffused as to indoor movie making- a field that to make it ideal for close-ups. offers many attractive opportunities to Model B' s telescoping s rand is quickly the owner of a movie outfit. and easily set up or taken down. The lamp itself is adjustable in any direc- tion. It is equipped with a handle for holding or carrying the light in any Kodnlite, Model B. Single unit with special position that may be desired . stand and cord, $1 5. The single-unit Kodalite, Model B, The CINE-KODAK News Published Monthly in th e Interests of Amateur Motion Pictures b v th e Eastman Kodok Company, Rochester, N .
    [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]
  • KODAK MILESTONES 1879 - Eastman Invented an Emulsion-Coating Machine Which Enabled Him to Mass- Produce Photographic Dry Plates
    KODAK MILESTONES 1879 - Eastman invented an emulsion-coating machine which enabled him to mass- produce photographic dry plates. 1880 - Eastman began commercial production of dry plates in a rented loft of a building in Rochester, N.Y. 1881 - In January, Eastman and Henry A. Strong (a family friend and buggy-whip manufacturer) formed a partnership known as the Eastman Dry Plate Company. ♦ In September, Eastman quit his job as a bank clerk to devote his full time to the business. 1883 - The Eastman Dry Plate Company completed transfer of operations to a four- story building at what is now 343 State Street, Rochester, NY, the company's worldwide headquarters. 1884 - The business was changed from a partnership to a $200,000 corporation with 14 shareowners when the Eastman Dry Plate and Film Company was formed. ♦ EASTMAN Negative Paper was introduced. ♦ Eastman and William H. Walker, an associate, invented a roll holder for negative papers. 1885 - EASTMAN American Film was introduced - the first transparent photographic "film" as we know it today. ♦ The company opened a wholesale office in London, England. 1886 - George Eastman became one of the first American industrialists to employ a full- time research scientist to aid in the commercialization of a flexible, transparent film base. 1888 - The name "Kodak" was born and the KODAK camera was placed on the market, with the slogan, "You press the button - we do the rest." This was the birth of snapshot photography, as millions of amateur picture-takers know it today. 1889 - The first commercial transparent roll film, perfected by Eastman and his research chemist, was put on the market.
    [Show full text]
  • Kodacolor Gold Films
    Kodacolor Gold 400 Kodacolor Gold 1600 I [{•] »7iW«]" Kodacolor Gold 400 Kodacolor Gold 1600 78 PHOTOgraphic/September 1989 welcome addition. sharpness between the 400 Gold and by Jack and Sue Drafahl We noticed a tremendous difference its slower siblings. When we look at when color printing this new film. The the ISO 400 color films of ten years previous emulsions tended to be denser ago, it's hard to believe that the only Everyone has a fami- and printed much cooler than the oth- difference today between the ISO 400 ly tree, which ex- er Gold films. The appearance of the and 100 films is in the degree of en- pands and spreads in ISO 100, 200 and 400 films is so much largement recommended. different directions alike that you must read the film edge with each new addition. Kodak is to verify the emulsion type when print- NEW 1600 GOLD proud to announce it is adding two ing the negatives. A welcome surprise is the high- new members to its Gold family of speed ISO 1600. Kodak states that this films. With over 100 million color neg- new addition has borrowed technology atives taken by consumers every year, from the Ektar 1000, but we suspect there comes a need to provide a variety that some help also was derived from of color negative films in order to sat- the Ektapress 1600 research. As the isfy every photographic situation. newer cameras increase their shutter Presently the Gold family tree in- speeds to '/sooo, there comes the poten- cludes ISO 100, 200, 400, and 1000 tial of photographing very-high-speed members.
    [Show full text]