DOCSLIB.ORG

Data Sheet Color Reversal Films

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DATA SHEET COLOR REVERSAL FILMS FUJICHROME PROVIA 1600 PROFESSIONAL RSP 1 FEATURES AND USES Base Material .......... Cellulose Triacetate Base Thickness ....... 127 µm FUJICHROME PROVIA 1600 PROFESSIONAL [RSP] is an ultra-high speed daylight-type color reversal film 3 EXPOSURE INDEX AND PROCESSING designed for push-processing. It is optimized for REQUIREMENTS effective speeds of EI 1600 and EI 3200 with Process For best results, the use of an exposure meter is CR-56P and E-6P. recommended. The speeds and recommended Highly suited for low light photography, this film is processing times indicated below are to be used with appropriate to indoor and nighttime sports as well as ISO-compatible exposure meters. nightfall illuminated and available light photography. PROVIA 1600 has excellent properties for making Tungsten Recommend- color transparency originals for photomechanical CR-56P/ Daylight Lamps ed First E-6P Push reproduction and photographic duplication as well as (3200K) Developer Process projection originals. It also produces high quality direct not LBB-12** (or Times Daylight Code printing on FUJICHROME PROFESSIONAL PAPER. required No. 80A***) (minutes) 800/30° 250/25°* P-1 9 Features Results Exposure 1600/33° 500/28°* P-2 12 ● ● Index Improved Granularity Lower loss in granu- (EI) 3200/36° 1000/31°* P-3 15 and Sharpness larity, sharpness and maximum density with 4800/38° 1600/33°* P-4 16.5 push-processing ● Fine image reproduc- *** Indicates the effective speed resulting from designated tion at ultra-high filter use. speeds *** Fuji Light Balancing Filter *** Kodak Filter ● Excellent Suitability ● Fine color reproduction for Artificial Light of nighttime exposures at stadiums and other This film is designed to yield best results when indoor sports arenas exposed at EI 1600 or 3200 speeds and processed in since color balance “Fuji Push Process CR-56P” or E-6P. Exposure at EI shifts are sharply 800 and EI 4800 is also possible. However, since reduced maximum density, color balance, gradation and other ● ● Wide Push-Processing Excellent results in EI* film performance parameters may differ with P-1, P-2, Latitude 1600 or 3200 push- P-3, P-4 processing it is recommended that test expo- processing using sures be made and the results evaluated. Three dif- Process CR-56P** or E-6P** ferent speeds are indicated on the cartridge. Be sure ● Can be used at EI 800 to mark the speed at which exposures were made. or 4800 if necessary Notes on Processing Specifications ** EI is the acronym for Exposure Index and exposure meter ISO designation dials should be adjusted to this value. Of the three exposure indices indicated on the film ** Push Processes based on the standard FUJI CR-56 or E-6 processing chemicals. cartridge, be sure to mark the one which was used during camera exposure and request the respective processing. For P-4 push-processing, write “P-4/16 2 FILM SIZES, EMULSION NUMBER, BASE min. 30 sec.” on the cartridge. MATERIAL AND THICKNESS ● If no such marking is provided the film will be pro- Emulsion cessed at EI 1600/P-2. Sizes Number ● If the film is cut or otherwise modified, quality Rolls • 135 ....... 36-exp. #411~ cannot be guaranteed and there will be cases where processing will not be possible. 1 FUJIFILM DATA SHEET ● FUJICHROME PROVIA 1600 PROFESSIONAL RSP 4 EXPOSURE GUIDE AND EXPOSURE UNDER Excessively high or low subject color temperatures VARIOUS LIGHT CONDITIONS may require the following filter additions and exposure corrections. Use a meter for exposure determination. If not avail- Exposure able refer to the following table. Subject Conditions Filter Correction EI 1600 High Color Temperature: Cloudy weather landscapes LBA-2** +1/3 Cloudy Day Light Bright Hazy Cloudy or portraits and clear (No. 81A)* stop*** or Open Conditions Sunlight Sunlight Bright weather open shade. Shade LBB-2** or Low Color Temperature: Lens LBB-4** f/22 f/16 f/11 Morning and evening twilight +1/3 to +2/3 Aperture (No. 82A or stop*** scenes and portraits. Exposure No. 82C)* 1/1000 1/1500 Time (sec.) *** Kodak Filters ● The foregoing settings are for 2 hours after sunrise and 2 *** Fuji Light Balancing Filters *** “+” = Lens opening hours before sunset. ● Provide lens opening 1/2 stop smaller during the summer and 1/2 stop larger during the winter. ● Excessively bright (or dark) or backlighted subjects may Electronic Flash require plus or minus 1 stop lens opening adjustments. ● Since electronic flash characteristics are similar to daylight, no filters are required. Effective light output EI 1600 and color balance will differ with equipment type, Daytime Indoor Evening age and other factors, requiring thereby initial Indoor and Indoor Scenes and Stage Night Night Scenes (Fluores- Nighttime exposure tests. Scenes Scenes Scenes (on a cent Game ● Adjust lens openings for electronic flash according Clear Day) Lamps) Scenes to following formula. Lens f/4–5.6 Aperture Lens ISO 1600 Electronic Flash Guide Number Aperture = —————————————————— Exposure 1/1251/60 1/125 1/60 Electronic Flash-to-Subject Distance Time (sec.) (f-number) (meters or feet) NOTE Since light intensities for indoor or night scenes vary widely from location to location, the data ● Set the film speed at ISO 1600. Since the amount above should be used only as a guide. of light reflected onto the subject from surrounding surfaces will differ with the conditions, refer to flash Daylight unit instructions. Under daylight conditions color balancing filters are Photo-Reflector Lamps (Daylight Photoflood not necessary, but the following exposure conditions Lamps) may require the indicated filters. ● Daylight photoflood lamps tend to result in under- Exposure Subject Conditions Filter Correction exposure, so it is sometimes essential to increase exposure light output beyond that indicated by an Fair weather open shade and shaded landscapes. exposure meter. ● Color balance and light output will differ with lamp Bright distant scenes, snow UV Filter configuration, use duration and applied voltage. It is landscapes, seaside scenes, (Fuji SC-40 None aerial scenes and open or 41 or essential that exposure conditions be determined in landscapes. No. 2B*) relation to the particular lighting equipment employed. Close-ups of plants and subjects having bright colors. 2 FUJICHROME PROVIA 1600 PROFESSIONAL RSP ● FUJIFILM DATA SHEET Fluorescent Lamps EI 1600 Exposure Time 1/10000 ● 4 16 32 Color balance corrections should be made using (sec.) to 1 the filter combinations suggested below because effective light intensity and color balance varies with Color Compensating 7.5R 10M + 5R lamp make and age. Filters None ● For exacting work, test exposures are recom- Exposure +1/2 mended. +2/3 stop Corrections* stop (Exposure Time: 1/5 second) Cool Warm * Exposure correction values include filter exposure factors. Fluorescent White Daylight White White These values are added to unfiltered exposure meter read- Lamp Type (W) (D) (CW) (W.W) ings. “+” = Lens opening. LBB-8 Color 30M 20M +5M Compensating 40R 6 EXPOSURE PRECAUTIONS +10B +10R (No. 80C Filters* +5M) For artificial light sources such as electronic flash, photoflood lamps, fluorescent lamps, tungsten lamps, Exposure +1 +1 +1 +11/2 Corrections** stop stop stop stop mercury lamps and the like, effective light output and color temperatures will vary with the type, the applied ** Fuji Color Compensating Filters (or Kodak CC Filters) recom- voltage and the age of the equipment. Also, light mended. intensity or color temperature differences may be ** Exposure correction values include filter exposure factors. These values are added to unfiltered exposure meter read- caused by variations in auxiliary lighting equipment ings. “+” = Lens opening. such as reflectors and diffusers. NOTES • Use 1/30th or slower shutter speeds. • For shutter speeds longer than 4 seconds, exposure 7 FILM HANDLING adjustments will be necessary to compensate for reciprocity. ● Expose film before the expiration date indicated on the film package and process promptly after Tungsten Lamps exposure. ● A Fuji Light Balancing Filters LBB-12 (or Kodak Filter ● When loading and unloading roll film avoid direct No. 80A) is recommended with photoflood lamps. sunlight. If there is no shade, turning one’s back A 12/3 stop larger lens opening is also recom- toward the sun will shade the film. mended. ● With household tungsten Lamps, a Fuji Light ● Camera-loaded film should be exposed and Balancing Filter LBB-2 (or Kodak Filter No. 82A) will processed promptly. compensate for inherent color temperatures lower than photoflood lamps. A 2 stop larger lens opening ● Under certain conditions the X-ray equipment used is recommended. to inspect carry-on baggage at airport terminals will adversely affect photographic film (cause fogging). Mixed Light Sources The adverse effects of this are increased with the strength of the X-rays, the speed of the film, and Under mixed light conditions, derive the basic filter the cumulative number of inspection exposures. configuration of the main light source. Since this film retains an ultra-high speed and is especially sensitive to X-rays and other radiation, it 5 LONG EXPOSURE COMPENSATION is essential that at each inspection the film be No exposure or color balance compensation is re- removed from the baggage and that airport security quired for exposures within a 1/10000 to 1 second personnel be asked to inspect the film manually. shutter speed range. However for exposures of 4 ● seconds or longer, reciprocity-related color balance Film fogging may occur in hospitals, factories, and exposure compensations are required. laboratories and other locations using X-rays and other radiation sources. 3 FUJIFILM DATA SHEET ● FUJICHROME PROVIA 1600 PROFESSIONAL RSP 8 FILM STORAGE Processed Film Storage Unprocessed Film Storage Light, high temperatures and humidities cause color changes in processed films. Therefore, place such ● Storing exposed or unexposed, unprocessing film films in mounts or sleeves and store in dark, dry, cool under high temperature and humidity conditions will and well ventilated locations under the following cause adverse speed, color balance and physical conditions.
Recommended publications
  • Still Photography

    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.
  • Push Processing

    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.
  • Photo Warehouse

    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.
  • Introduction

    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......................................................
  • Mindful Photographer

    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
  • PHOTOGRAPHY Film and Darkroom an INTRODUCTION to PHOTOGRAPHIC TECHNIQUE Elaine O’Neil

    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.
  • Fujifilm Commercial Price List

    Fujifilm Commercial Price List

    FUJIFILM COMMERCIAL PRICE LIST # Fujifilm Product Single Net Unit Order Quantity Art.Nr./No./Réf Price € ex.VAT B&W FILMS FN1011 Neopan ACROS 100 135-36 8,06 * FN1001G Neopan ACROS 100 120 / 5er Pack 36,86 FN104 Neopan ACROS 100 10,2x12,7cm (4x5")/20 74,00 FN4011 Neopan 400 135-36** 8,12 * INSTANT B&W FILMS FPB303 FP-3000B Prof. 8,5x10,2cm (3x4")/10 (Typ 667)** 20,25 INSTANT COLOR FILMS FPC103F FP-100C Prof. 8,5x10,2cm (3x4")/10 Glossy 14,39 FPC103S FP-100C Prof. 8,5x10,2cm (3x4")/10 SILK 14,39 FTAXDP INSTAX FILM 100 DP 2x 10 21,63 FTAXMP INSTAX MINI 100 DP 2x 10 17,98 COLOR NEGATIVE FILMS FSR4011 Superia X-TRA 400 135-36 6,60 * FSR411D Superia X-TRA 400 135-36 / 3er Pack 15,00 FSR401P Superia X-TRA 400 120 / 5er Pack 34,50 FSR8011 Superia X-TRA 800 135-36 7,50 * FSR1611 Superia X-TRA 1600 135-36 13,60 * PS1601P PRO 160NS 120 / 5er Pack 40,14 PS104P PRO 160NS 4x5"/20 96,72 FH4011 PRO 400H 135-36 9,50 * FH4001P PRO 400H 120 / 5er Pack 39,84 CS2011P Fujicolor C200 135-36 / 2er Pack 4,56 * * Minimum Order Quantity 10 units **NOTE: Discontinued by Fujifilm, sales as long as stocks last! [ORGX065W] MACO PHOTO PRODUCTS - Commercial price list; valid from April 8th, 2014. All datas illustrated in this cataloque are subject to change without prior notice. Erros ecempted. MACO PHOTO PRODUCTS - HANS O Mahn GmbH & Co KG - Brookstieg 4, D-22145 Hamburg-Stapelfeld, Germany www.mahn.net - [email protected] FUJIFILM COMMERCIAL PRICE LIST # Fujifilm Product Single Net Unit Order Quantity Art.Nr./No./Réf Price € ex.VAT COLOR POSITIVE FILMS FV5011 Velvia 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,
  • FUJICHROME PROVIA 100 Professional [RDPII]

    FUJICHROME PROVIA 100 Professional [RDPII]

    AF3-796E COLOR REVERSAL FILMS FUJICHROME PROVIA 100 Professional [RDPII] ¥ Included in each of the sheet film boxes are speed and color 1. FEATURES AND USES compensating filter values. Use these values in exposure determination. FUJICHROME PROVIA 100 Professional [RDPII ] is a top quality daylight-type color reversal film with an ISO 3. FILM SIZES, EMULSION NUMBERS, rating of 100. It provides exceptional sharpness and BASE MATERIAL AND THICKNESS granularity for an ISO 100 film. Emulsion Faithful color reproduction, rich, realistic gradation and Sizes optimum gradation balance make this versatile film Number suited for product, fashion and landscape photogra- Rolls 135 ....... 36-exp. phy. ....... 36-exp. (5-roll and 20-roll pack) Features Results 35 mm x 30.5 m (100 ft) 120 ....... 12-exp. ¥ Excellent Sharpness ¥ Exceptionally fine grain ....... 12-exp. (5-roll pack) and Granularity and sharp images for an 220 ....... 24-exp. (5-roll pack) ISO 100 reversal film ¥ Faithful Color Repro- ¥ Faithful hues and high Sheets 4 x 5 in.(10.2 x 12.7 cm) 10 sheets #101~ and 50 sheets duction and Rich, saturation, realistic, 5 x 7 in.(12.7 x 17.8cm) 20 sheets Realistic Gradation subtle color tone and gra- 8 x 10 in.(20.3 x 25.4 cm) 10 sheets dation and 50 sheets ¥ Excellent Long ¥ Minimal loss in color bal- 11 x 14 in.(27.9 x 35.6cm) 10 sheets Exposure and ance or sensitivity in ex- 9 x 12 cm 10 sheets Multiple Flash tended exposures of 13 x 18 cm 10 sheets Performance nighttime or astronomical Quickload 4 x 5 in 20 sheets subjects ¥ Minimal color shift with Base Material .........
  • Arista-II Film Fisheye That Lets You Experiment with and Experimenting with Unique Lens Orange and L.A

    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.
  • 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.