DOCSLIB.ORG

FUJICHROME Velvia RVP for Professionals

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

AF3-960E DATA SHEET COLOR REVERSAL FILMS FUJICHROME Velvia RVP for Professionals • Speed and color compensating filter values are included in 1. FEATURES AND USES each of the sheet film boxes. Use these values in exposure determination. FUJICHROME Velvia [RVP] is a daylight type high im- age quality color reversal film with an ISO speed rating of 50. This film retains extremely fine grain, resolving 3. FILM SIZES, EMULSION NUMBER, BASE power, sharpness and brilliant color reproduction. De- MATERIAL AND THICKNESS signed for the wide ranging needs of fashion, product, Emulsion art, landscape and scientific photography; when pre- Sizes cise rendering and enhanced color tone are especially Number important, this is the film of choice. Rolls* • 135 ..... 24 and 36-exp. Further since suitability for photomechanical reproduc- ...... 36-exp. (5-roll and 20-roll packs) tion and color print production has been fully taken into • 35 mm x 30.5 m (100 ft) consideration, this film is optimized for use as originals • 120 ..... 12-exp. ...... 12-exp. (5-roll packs) in high-quality photomechanical printing as well as • 220 ..... 24-exp. (5-roll packs) large-sized poster and normal print production. #501~ Sheets*• 4 x 5 in.(10.2 x 12.7 cm) 10 sheets Features Results and 50 sheets • 5 x 7 in.(12.7 x 17.8 cm) 20 sheets • 8 x 10 in.(20.3 x 25.4 cm) 10 sheets ¥ Extra Fine Grain, ¥ Grain, sharpness and reso- • 11 x 14 in.(27.9 x 35.6 cm) 10 sheets Excellent Sharpness lution well exceeding cur- • 9 x 12 cm 10 sheets and High Resolving rent standards for ISO-50 • 13 x 18 cm 10 sheets Power reversal films • QuickLoad (4 x 5 in.) 20 sheets ¥ Dynamic Color ¥ The highest chroma and Reproduction and most vibrant skin tones of * Some sizes are not available incertion markets. Profound Color all FUJICHROME films ¥ Tone Depiction Superb color depiction fea- Base Material .......... Cellulose Triacetate turing deep, rich hues Base Thickness ....... Rolls 135 ; 127 µm ¥ Neutral Grays and ¥ Fine neutral grays from the 120 ; 104 µm Unsurpassed highlights to the shadows 220 ; 104 µm Shadow Depth ¥ The highest maximum den- sity to date for more pro- Sheets ; 205 µm found shadows and deeper blacks 4. EXPOSURE GUIDE AND EXPOSURE UNDER VARIOUS LIGHT CONDITIONS ¥ Push-processing allowable ¥ Push-processing up to one stop (equivalent Suitability to ISO 100) for underexpo- Use a meter for exposure determination. If a meter is sure compensation without not available refer to the following table. color balance loss Seashore Bright Hazy Cloudy Cloudy or Snow Sunlight Sunlight Bright Day or Light Scenes Open Conditions under Shade 2. SPEED Bright Sun Light Source Speed Filter Lens f/16 f/11 f/8 f/5.6 f/4 Aperture Daylight ISO 50/18° None (Exposure Time 1/125th Sec.) Tungsten Lamps ° ¥ (3100K) ISO 16/13 No. 80A**(LBB-12***) The foregoing settings are for 2 hours after sunrise and 2 hours before sunset. * Indicates the effective speed resulting from designated fil- ¥ Provide lens opening 1/2 stop smaller during the summer ter use. and 1/2 stop larger during the winter. ** Kodak Filter ¥ Excessively bright (or dark) or backlighted subjects may re- *** Fuji Light Balancing Filter quire plus or minus 1 stop lens opening adjustments. 1 FUJIFILM DATA SHEET ¥ FUJICHROME Velvia RVP for Professionals Daylight Photo-Reflector Lamps (Daylight Photoflood Lamps) Under daylight conditions, color balancing filters are not necessary, but the following exposure conditions ¥ Daylight photoflood lamps tend to result in under- may require the indicated filters. exposure, so it is sometimes essential to increase exposure light output beyond that indicated by an Exposure exposure meter. Subject Conditions Filter Correction ¥ Color balance and light output will differ with lamp Fair weather open shade and configuration, duration of use and applied voltage. shaded landscapes. It is essential that exposure conditions be deter- UV Filter mined in relation to the particular lighting equip- Bright distant scenes, snow No. 2C* or No. None ment employed. landscapes, seaside scenes, 2B* (SC-40 or aerial scenes and open SC-41)** landscapes. Fluorescent Lamps Close-ups of plants and subjects having bright colors. ¥ Color balance corrections should be made using the filter combinations suggested below because Excessively high or low subject color temperatures effective light intensity and color balance varies may require the following filter additions and exposure with lamp make and age. corrections. ¥ For exacting work, test exposures are recom- mended. Exposure Subject Conditions Filter Correction (Exposure Time: 1/4 second) Cool Warm High Color Temperature: Fluorescent White Daylight White White No. 81A* Cloudy weather landscapes or +1/3 Lamp Type (W) (D) (CW) (WW) portraits and clear weather (LBA-2)*** stop **** open shade. Color No. 80C + Compensating 40M+10B 40R+10M 40M+5R 25M (LBB Low Color Temperature: No. 82A* or Filters* - 8 + 25M No. 82C* Morning and evening twilight +1/3 to + 2/3 Exposure (LBB-2 or scenes and portraits. stop **** Corrections** +1²/³ stops +1²/³ stops +1²/¹ stops +2 stops LBB-4)*** * Kodak Color Compensating Filters (or Fuji CC Filters) rec- * Kodak Filters ommended. ** Fuji Sharp-Cut Filter ** Exposure correction values include filter exposure fac- *** Fuji Light Balancing Filter tors. These values are added to unfiltered exposure **** "+" = Lens opening meter reading. "+" = lens opening. NOTES • Use 1/30th or slower shutter speeds. Electronic Flash • For shutter speeds longer than 4 seconds, exposure adjustments will be necessary to compensate for reci- ¥ Since electronic flash characteristics are similar to procity. daylight, no filters are required. Effective light out- Tungsten Lamps put and color balance will differ with equipment type, age and other factors, requiring initial expo- ¥ A Kodak Filter No. 80A (or Fuji Light Balancing Filter sure tests. LBB-12) is recommended with photoflood lamps. ¥ Adjust lens openings for electronic flash according A 1 ²/3 stop large lens opening is also recom- to following formula. mended. ¥ With household tungsten lamps, a Kodak Filter No. Lens ISO 100 Electronic Flash Guide Number Aperture = 82A (or Fuji Light Balancing Filter LBB-2) will com- (f-number) Electronic Flash-to-Subject Distance pensate for inherent color temperatures lower than (meters) photoflood lamps. A 2 stop larger lens opening is ¥ Set the film speed at ISO 100. Since the amount recommended. of light reflected onto the subject from surround- ing surfaces will differ with the conditions, refer to flash unit instructions. 2 FUJICHROME Velvia RVP for Professionals ¥ FUJIFILM DATA SHEET Mixed Light Sources port security personnel be asked to inspect the film manually. Under mixed light sorce conditions, derive the basic fil- ¥ Film fogging may occur in hospitals, factories, labo- ter configuration for the main light source. ratories and other locations using X-rays and other radiation sources. 5. LONG EXPOSURE COMPENSATION 8. FILM STORAGE No exposure or color balance compensation is required for exposures within a 1/4000 to 1 second shutter Unprocessed Film speed range. However for exposures of 4 seconds or ¥ longer, reciprocity-related color balance and exposure Storing exposed or unexposed film under high compensations are required. temperature and humidity conditions will cause ad- verse speed, color balance and physical property changes. Store film under the following condi- Exposure 1/4000 tions. Time (sec.) to 1 4 8 16 32 64 ¼ Short-to-medium term Storage: Color Below 15°C (59°F) ........ (Refrigerator) Compensating 5M 7.5M 10M 12.5M Not ¼ Long-term Storage: Filters None recom- Below 0°C (32°F) .......... (Freezer) Exposure mended +1/3 +1/2 +2/3 +1 Corrections* ¥ Building supplies, newly manufactured furniture, paints and bonding agents may produce noxious * Exposure correction values include filter exposure factors. gases. Do not store film, lighttight boxes with film, These values are added to unfiltered exposure meter loaded cameras or film holders under these condi- readins. "+" = lens opening. tions. ¥ Before use, allow films to stand at room-tempera- 6. EXPOSURE PRECAUTIONS ture; over 3 hours for refrigerated film, and over 6 hours for frozen film. Further, long windings such For artificial light sources such as electronic flash, pho- as 100 feet will require more time. Opening the toflood lamps, fluorescent lamps, tungsten lamps, mer- container while film is cold may cause harmful con- cury lamps and the like, effective light output and color densation. temperatures will vary with the type, the applied volt- age and the age of the equipment. Also, light intensity Processed Film or color temperature differences may be caused by variations in auxiliary lighting equipment such as reflec- Light, high temperature and humidity cause color tors and diffusers. changes in processed films. Therefore, place such films in mounts or sleeves and store in dark, dry, cool 7. FILM HANDLING and well ventilated locations under the following condi- tions. ¥ ¼ Expose film before the expiration date indicated on Medium-term Storage: the film package and process promptly after expo- Below 25°C (77°F) at 30 to 60% RH sure. ¼ Long-term Storage: ¥ When loading and unloading roll film avoid direct Below 10°C (50°F) at 30 to 50% RH 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 9. PROCESSING touch emulsion surfaces. (The use of a safelight will cause fogging.) ¥ Camera-loaded film should be exposed and pro- Process in standard E-6, CR-56 or equivalent chemicals. cessed immediately. ¥ Under certain conditions, the X-ray equipment used to inspect carry-on baggage at airport termi- 10. VIEWING LIGHT SOURCES nals will adversely affect photographic film (cause fogging). The adverse effects of this are increased Use a standard viewer. Visual responses will differ with with the strength of the X-rays, the speed of the light source quality and brightness.
Recommended publications
  • Basic View Camera

    Basic View Camera

    PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs).
  • General Introduction Sustainability Issues in the Preservation of Black and White Cellulose Esters Film- Based Negatives Collections

    General Introduction Sustainability Issues in the Preservation of Black and White Cellulose Esters Film- Based Negatives Collections

    Élia Catarina Tavares Costa Roldão Licenciada em Conservação e Restauro A contribution for the preservation of cellulose esters black and white negatives Dissertação para obtenção do Grau de Doutor em Ciências da Conservação do Património, Especialidade em Ciências da Conservação Orientador: Doutora Ana Maria Martelo Ramos, Professora Associada, FCT NOVA Co-orientadores: Doutor Bertrand Lavédrine, CRC Doutor António Jorge D. Parola, Professor Associado com Agregação, FCT NOVA Júri: Presidente: Doutora Maria João Seixas de Melo, Professora Catedrática, FCTNOVA Arguentes: Doutor Hugh Douglas Burrows, Professor Catedrático Jubilado, FCT-UC Doutora Ana Isabel S. C. Delgado Martins, Directora do AHU-DGLAB Vogais: Doutora Ana Maria Martelo Ramos, Professora Associada, FCT NOVA Doutor João Pedro Martins de Almeida Lopes, Professor Auxiliar, FF- UL Novembro, 2018 A contribution for the preservation of cellulose esters black and white negatives Copyright © Élia Catarina Tavares Costa Roldão, Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa. A Faculdade de Ciências e Tecnologia e Universidade Nova de Lisboa têm o direito, perpétuo e sem limites geográficos, de arquivar e publicar esta dissertação através de exemplares impressos reproduzidos em papel ou de forma digital, ou por qualquer outro meio conhecido ou que venha a ser inventado, e de divulgar através de repositórios científicos e de admitir a sua cópia e distribuição com objectivos educacionais ou de investigação, não comerciais, desde que seja dado crédito ao autor e editor.
  • Photography 4X6” [40]

    Photography 4X6” [40]

    Photography Printing Paper Epson SHEET PAPER Scrapbook Semigloss Photo Quality Adhesive BORDERLESS PAPER All-Purpose Glossy 8.5x11” [20].....................14.95 8.3x11.7” [10]..................10.95 Photo Paper Glossy 8.5x11” [20].......................6.95 Scrapbook Premier Matte Photo Quality Glossy 4x6” [50]............................6.95 Inkjet Transparency 8.5x11” [20].....................14.95 8.5x11” [20].......................9.95 Photo Paper 8.5x11” [30].....................41.50 8.3x11.7” [20]..................10.95 Heavy Weight Matte 11.7x16.5” [20]................59.95 12x12” [10]......................14.95 Durabrite Glossy High Quality 13x19” [20]......................32.50 8x10” [50]..........................9.95 4x6” [50]............................8.49 8.5x11” [100].....................8.95 Dupont Proofing Glossy 11x14” [50]......................22.95 8.3x11.7” [20]....................9.95 8.3x11.7” [100]..................9.50 13x19” [100]..................249.95 Premium Glossy Premium Semigloss Photo Paper Glossy 4x6” [40]............................8.95 Premium Luster 8.3x11.7” [20]..................12.95 8.5x11” [20].......................8.50 4x6” [100]........................13.95 8.5x11” [50].....................29.95 11.7x16.5” [20]................41.95 8.5x11” [50].....................18.95 5x7” [20]............................6.95 Enhanced Matte 11.7x16.5” [50]................77.95 8.5x11” [100]...................25.95 8x10” [20]........................11.95 8.5x11” [50].....................13.95 13x19” [50]......................96.50
  • Nature Photographers Online Magazine

    Nature Photographers Online Magazine

    First Impressions - Fuji Velvia 100 Text and photography Copyright Guy Tal All rights reserved. Most film photographers will tell you there are ups and downs to every emulsion on the market. With so many uses and characteristics, there is almost an art to matching the right film to the right situation. Most of us narrow our selection to one or two that, once we are familiar with, provide consistent and predictable results within their limitations. My own two films of choice these past years have been FujiFilm's Velvia 50, and Provia 100F. I will use one or the other depending on the contrast range of a given scene, whether or not long exposure is needed, the quality of light, and other considerations. Yet, in some situations, I struggle with tough choices – Velvia's palette vs. Provia's latitude, Velvia's exaggerated contrast vs. Provia's tendency to produce color casts, etc. The recent introduction of FujiFilm's Velvia 100F was preceded by a lot of exciting rumors – fine grain, rich palette, and extra color correction layers. Once I was able to get a hold of Fuji's technical data sheet for the new film things got even more exciting – claims of improved reciprocity characteristics allowing for exposure times up to a full minute with no need for either color correction or exposure compensation, extremely fine grain to match Provia 100F and excellent resolving power to match the older Velvia. Issues of color, contrast, grain, speed, color casts, reciprocity, and resolving power are just a few of the things a film photographer may consider when deciding on the "right" emulsion for a given scene.
  • BROCHURE Number of Effective Pixels 51.4 Million Pixels Touch Screen Color LCD Monitor (Approx

    BROCHURE Number of Effective Pixels 51.4 Million Pixels Touch Screen Color LCD Monitor (Approx

    Specication Model name FUJIFILM GFX 50S LCD monitor 3.2 inch, Aspect Ratio 4:3, Approx. 2,360K-dot Tilt-Type, Medium Format Mirrorless Digital Camera SYSTEM BROCHURE Number of effective pixels 51.4 million pixels Touch Screen Color LCD Monitor (Approx. 100% Coverage) Image sensor 43.8mm×32.9mm Bayer array with primary color filter Sub LCD monitor 1.28 inch, Aspect Ratio 1:1, 128×128-dot Monochrome LCD Monitor Sensor Cleaning System Ultra Sonic Vibration Movie recording [Full HD (1920×1080)] 29.97p / 25p / 24p / 23.98p 36Mbps up to Approx. 30min. Storage media SD Card (-2GB) / SDHC Card (-32GB) / SDXC Card (-256GB) UHS-I / UHS-II*1 [HD (1280×720)] 29.97p / 25p / 24p / 23.98p 18Mbps up to Approx. 30min. File format Still Image JPEG (Exif Ver.2.3)*2, RAW : 14bit RAW (RAF original format), Photography functions Color, Sharpness, Highlight tone, Shadow tone, Noise reduction, Long exposure NR, RAW+JPEG, 8-bit TIFF (In-camera Raw Conversion Only) Lens Modulation Optimizer, Color space, Pixel mapping, Select custom setting, Movie MOV (MPEG-4 AVC / H.264 Edit/Save custom setting, Store AF mode by orientation, Rapid AF, AF point display, Pre-AF, Audio : Linear PCM / Stereo sound 48KHz sampling) Face/Eye detection AF, AF+MF, Focus peak highlight, Focus check, Interlock spot AE & focus area, Number of [L] <4:3> 8256×6192 <3:2> 8256×5504 <16:9> 8256×4640 <1:1> 6192×6192 Instant AF setting (AF-S/AF-C), Depth-of-field scale, Rlease/Focus priority, Touch screen mode, recorded pixels <65:24> 8256×3048 <5:4> 7744×6192 <7:6> 7232×6192 Mount adapter setting,
  • Graflex Historic Quarterly the Quarterly Is Dedicated to Enriching the Study of the Graflex Company, Its History, and Products

    Graflex Historic Quarterly the Quarterly Is Dedicated to Enriching the Study of the Graflex Company, Its History, and Products

    G RAFLEX Since 1996 HISTORIC QUARTERLY VOLUME 18 ISSUE 1 FIRST QUARTER 2013 FEATURES In 1950 the “45” and “34” Pacemaker Speed and Crown Graph- ics were sold with Graflok backs. An accessory 4x5 or 3¼ x 4¼ The Graflex Graflok Back 1949-1973 by Bill Inman, Sr.………………….1 Graflok back for the Anniversary Speed Graphic also became The Evolution of a Graflex Collection by Ronn Tuttle...……...…………...3 available. All the backs could be supplied with or without a metal four-sided removable viewing hood. The 4x5 dividing The Graflex Electroswitch by Ken Metcalf………………….………..........4 back was also supplied with a Graflok back frame, less the fo- Triple Lens Graphic……………………………………………..………….5 cusing panel. When the dividing back is fitted to a 4x5 Graphic or Graphic View camera with a Graflok back, the focusing The Story of the Century by Jim Chasse..……………….………..…...…...6 panel is transferred from the camera to the dividing back for focusing and viewing the image. THE GRAFLEX GRAFLOK BACK 1949-1973 Copyright 2013 William E. Inman, Sr. Graflok back on “45” Pacemaker Speed Graphic. T he Century Graphic 23, with the Graflok back, was born in The Graflex service department could, on special order, convert 1949 in answer to the demand for a lower-priced press-type the 4x5 Super D Graflex camera to a Graflok back, instead of camera for amateurs, and a second camera for professionals the original Graflex back. who preferred a smaller negative size for 120 color roll film. Competition at that time included the Rolleiflex and the Rollei- The conversion of a cord.
  • Large Format View Camera a Creative Tool with Limitless Potential

    Large Format View Camera a Creative Tool with Limitless Potential

    Section3b LargeFormat – View Arca Swiss . 158-169 Horseman . .170-179 Linhof . 180-197 Sinar . .198-217 Toyo . 218-228 ARCA SWISS DISCOVERY 4x5 SYSTEM Arca Swiss cameras are more than the sum of their parts. Each and every model gives you an entry into the Arca system, allowing you access to the most complete line of professional accessories available. Designed by working photographers, this modular system allows you to add components as needed, giving you the freedom to purchase what you need when you need it. In addition, Arca Swiss cameras are ergonomically designed, allowing the photog- VIEW CAMERAS rapher to control perspective and depth-of-field accurately. And Arca has devised a fail-safe (and foolproof) system for Arca Swiss attaching the lensboard bellows and camera back. Discovery The affordable Arca Discovery is an economical introduction to the Arca Swiss system. In spite of its 158 low cost, the light-weight Discovery shares many of the unique features that Arca cameras are renowned for (plus a few of its own). The Discovery is also compatible with most Arca system accessories, such as rails, viewers, hoods, masks, rollfilm holders and more. FEATURES ■ Precision micro gear ■ Made of lightweight Arca Swiss 4x5 Discovery Camera (0210445) focusing metal alloys Consists of: 30cm monorail (041130), monorail attachment piece 3/8˝, Function Carrier Front ■ Superfluous refocusing ■ Precision Swiss construction (Discovery), Function Carrier Back (Discovery), after parallel displacements Format Frame Front (Discovery), Format Frame ■ Includes Rucksack case Back (Discovery), standard 38cm bellows ■ Yaw-free movements (72040), film and groundglass holder 4x5, 1 3 ■ Built-in ⁄4 and ⁄8 fresnel lens and Arca Swiss nylon backpack.
  • FUJIFILM GFX 50S Spec Sheet Model Name FUJIFILM GFX 50S Number

    FUJIFILM GFX 50S Spec Sheet Model Name FUJIFILM GFX 50S Number

    FUJIFILM GFX 50S Spec Sheet Model name FUJIFILM GFX 50S Number of effective pixels 51.4 million pixels Image sensor 43.8mm x 32.9mm Bayer array with primary color filter Sensor Cleaning System Ultra Sonic Vibration Storage media SD Card (-2G) / SDHC Card (-32G) / SDXC Card (-256G) UHS-I / UHS-II*1 File format Still Image JPEG (Exif Ver.2.3)*2, RAW : 14bit RAW(RAF original format), RAW+JPEG, 8-bit TIFF(In-camera Raw Conversion Only) Movie MOV (MPEG-4 AVC / H.264, Audio : Linear PCM / Stereo sound 48KHz sampling) L：<4：3>8256×6192 / <3：2>8256×5504 / <16：9>8256×4640 / <1：1>6192×6192 <65：24>8256×3048 / <5：4>7744×6192 / <7：6>7232×6192 Number of recorded pixels S：<4：3>4000×3000 / <3：2>4000×2664 / <16：9>4000×2248 / <1：1>2992×2992 <65：24>4000×1480 / <5：4>3744×3000 / <7：6>3504×3000 Lens Mount FUJIFILM G mount Sensitivity Standard Output AUTO1/AUTO2/AUTO3 (up to ISO12800) / ISO100 - 12800 (1/3 step) Extended Output ISO50 / 25600 / 51200 / 102400 Exposure control TTL 256-zone metering, Multi / Spot / Average / Center Weighted Exposure mode P(Program AE) / A(Aperture Priority AE) / S(Shutter Speed Priority AE) / M(Manual Exposure) -5.0EV - +5.0EV 1/3EV step Exposure compensation (Movie: -2.0EV - +2.0EV) Image Stabilizer Supported with OIS type lenses Shutter type Focal Plane Shutter 4sec. - 1/4000sec (P mode), 60 min. - １/4000 sec. (All modes) Shutter speed Mechanical Shutter Bulb mode (up to 60min), TIME：60min. - 1/4000sec. 4sec - 1/16000sec (P mode), 60min - １/16000sec (All modes) Electronic Shutter*3 Bulb mode (up to 60 min), TIME：60min.
  • IPI Storage Guide for Acetate Film

    IPI Storage Guide for Acetate Film

    IPI Storage Guide for Acetate Film James M. Reilly • Director, Image Permanence Institute Instructions for Using the Wheel, Graphs, and Table Basic Strategy for Film Preservation l The IPI Storage Guide for Acetate Film provides an overview of environmental specifications for film storage. It explains the relationship between temperature, relative humidity (RH), and “vinegar syndrome,” the slow chemical decomposition of acetate plastics leading to loss of their value in a film collection. l The main purpose of the Guide is to help collection managers evaluate the quality of the storage environment they provide for their film. The Guide is not meant to predict the life of any individual film; it merely uses predicted life span as a yardstick to measure the quality of the storage environment. l CONTENTS What the Guide Is (and What It Is Not) ................... 2 The Wheel ................................................................ 4 Time Contours for Vinegar Syndrome .................... 7 The Time Out of Storage Table ............................... 8 Chemical Deterioration of Film Bases .................. 10 The Course of the Vinegar Syndrome .................. 13 Does the Guide Apply to Nitrate Film? ................. 15 Polyester Base Film ............................................... 15 The General Philosophy of Film Storage .............. 16 History of Film Supports ........................................ 21 References ............................................................. 23 ANSI and ISO Film Storage Standards ................. 24 Rochester Institute of Technology, 70 Lomb Memorial Drive, Rochester, NY 14623-5604 Phone: 716-475-5199 Fax: 716-475-7230 Image Permanence Institute Image Permanence l WHAT THE GUIDE IS (AND WHAT IT IS NOT) The IPI Storage Guide for Acetate Film is a tool for evaluating and planning storage environments for acetate base photographic film, cinema film, and microfilms.
  • The Acetate Negative Survey

    The Acetate Negative Survey

    THE ACETATE NEGATIVE SURVEY FINAL REPORT A PROJECT FUNDED BY THE UNIVERSITY OF LOUISVILLE AND THE NATIONAL MUSEUM ACT David G. Horvath University of Louisville Ekstrom Library Photographic Archives February 1987 The University of Louisville Photographic Archives Ekstrom Library Louisville, KY 40292 ACKNOWLEDGMENTS The subject of this study should be of great interest to those who are responsible for the preservation of historical photographic negatives. It has involved the cooperation and advice of many people who, piece by piece, have helped construct the method, process, and format of the final product. My wife, Mary has been very supportive and kept me from becoming discouraged by the endless details of the project. My colleagues at the Photographic Archives were most helpful in their constant encouragement, suggestions and warm friendship, especially Andy Anderson, Bill Carner, and Barbara Crawford; Michel C. Atlas was invaluable for her editorial contributions. I thank the National Museum Act of the Smithsonian Institution and the University of Louisville for their assistance and support, especially Barbara Schneider and Martha Bowman, the University of Louisville Librarian. I am indebted to all the institutions which allowed me access to their collections and provided me with a wealth of background information upon which much of this study is based. I owe special thanks to Ford Peatross, Carol Johnson, and Stephen Ostrow of the Library of Congress; Amy Doherty of the Special Collection Department at Syracuse University; Tim Peterson
  • New Film Order Form Dwayne's Photo

    New Film Order Form Dwayne's Photo

    Dwayne’s Photo New Film Order Form mail to: P.O. Box 274, Parsons, KS 67357 COMPANY ship to: 415 S. 32nd St. (FedEx or UPS) NAME Parsons, KS 67357 ADDRESS phone: or STATE 800-522-3940 620-421-3940 CITY OR PROVINCE go to: www.dwaynesphoto.com POSTAL CODE ZIP COUNTRY SELECT PRINT FINISH FOR THIS ORDER PHONE E-MAIL CHECK OR MONEY ORDER PAY PAL (REQUIRES VALID EMAIL) >WE DO NOT ACCEPT AMEX< CREDIT CARD EXPIRATION 3 DIGIT CVS (ON CARD BACK) Note: This form is to purchase new film only. BILLING ZIP There are seperate forms for film processing. ADDRESS CODE COLOR PRINT FILM UNIT PRICE QUANTITY TOTAL Fujicolor 35mm - 24 exp (200 speed) $3.25 Kodak Gold - 36 exp (200 speed) $5.29 Kodak Ektar 120 (100 speed) $5.45 Fujicolor 35mm - 24 exp (400 speed) $3.75 FUJICHROME E6 SLIDE FILM Fujichrome 35mm Provia RDPIII 100F - 36 exp (single roll unboxed) $10.99 Fujichrome 120 Provia RDPIII 100F $8.25 Fujichrome 35mm Velvia RVP ASA 50 OR 100 (Circle) - 36 exp (single roll unboxed) $12.75 MOVIE FILM Wittnerchrome 200D Regular 8 X 25ft E-6 Process ASA 200 Daylight (for double 8 cameras) (NEW) $43.00 Wittnerchrome 200D Super 8 50ft $43.00 Wittnerchrome 200D 16mm 100ft $61.00 BLACK & WHITE PRINT FILM Fuji Neopan 35mm - 36 exp (100 speed) $6.99 Fuji Neopan 120 Acros (100 speed) $5.79 Kodak TMAX 120 (400 speed) OR TMAX 120 (100 speed) (Circle) $5.99 SHIPPING & HANDLING CHARGES > INSIDE THE U. S. Standard Shipping USPS - First Roll $5.00 Standard Shipping USPS - Each Add’l Roll $0.50 FedEx Ground - First Roll $11.00 FedEx Ground - Each Add’l Roll $0.50 FedEx Overnight - First Roll $25.00 FedEx Overnight - Each Add’l Roll $1.50 INTERNATIONAL SHIPPING > OUTSIDE THE U.S.
  • Bedienungsanleitung Der Fujifilm GFX 50R (PDF, Deutsch)

    Bedienungsanleitung Der Fujifilm GFX 50R (PDF, Deutsch)

    Bedienungsanleitung BL00004964-404 DE Einleitung Vielen Dank, dass Sie dieses Gerät erworben haben. Lesen Sie diese Anleitung vor dem Gebrauch der Kamera auf- merksam durch. Bewahren Sie die Anleitung an einem Ort auf, zu dem alle Benutzer dieses Produkts Zugang haben. Neueste Informationen Die neuesten Version der Anleitungen fi nden Sie auf: http://fujifilm-dsc.com/en-int/manual/ Diese Internetseite lässt sich nicht nur von Ihrem Computer aus aufrufen, sondern auch von Smartphones und Tablets. Sie enthält auch Informationen zur Softwarelizenz. Informationen über Firmware-Updates erhalten Sie auf: http://www.fujifilm.com/support/digital_cameras/software/ ii P Kapitel Menü-Übersicht iv 1 Vor der Inbetriebnahme 1 2 Erste Schritte 25 3 Grundlagen Aufnahme & Wiedergabe Fotos 43 4 Grundlagen Aufnahme & Wiedergabe Videos 49 5 Fotos aufnehmen 55 6 Die Aufnahmemenüs 87 7 Wiedergabe und Wiedergabemenü 129 8 Die Setupmenüs 155 9 Schnellzugriff 191 10 Systemperipherie und optionales Zubehör 203 11 Anschlüsse 217 12 Technische Hinweise 231 iii Menü-Übersicht Nachstehend sind die Kamera-Menüpunkte aufgeführt. Aufnahmemenüs Einstellungen für das Aufnehmen von Fotos oder Videos vor- nehmen. N Einzelheiten ab Seite 87. H BILDQUALITÄTS- EINSTELLUNG P G AF/MF-EINSTELLUNG P BILDGRÖSSE 88 FOKUSSIERBEREICH 100 BILDQUALITÄT 89 AF MODUS 101 RAW-AUFNAHME 89 AF-MODUS D. AUSR. SPEICH. 102 FILMSIMULATION 90 SCHNELL-AF 102 1⁄3 1⁄3 KÖRNUNGSEFFEKT 91 AF-PUNKTKANZEIGE yz 102 FARBE CHROMEFFEKT 91 ANZAHL DER FOKUSSIERPUNKTE 103 DYNAMIKBEREICH 92 PRE-AF 103 WEISSABGLEICH 93 HILFSLICHT 103 TON LICHTER 96 GES./AUGEN-ERKENN.-EINST. 104 SCHATTIER. TON 96 AF+MF 105 FARBE 96 MF-ASSISTENT 106 SCHÄRFE 96 FOKUSKONTROLLE 106 2⁄3 2⁄3 RAUSCHREDUKTION 97 SPERRE SPOT-AE & FOKUSS.