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FUJICHROME Velvia RVP for Professionals

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FUJICHROME Velvia RVP for Professionals 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.
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