DOCSLIB.ORG

Kodak Automatic 35.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kodak Automatic 35.Pdf I ,l will take good clearpictures in sun or shade-on cloudy or bright days-automarically. Aperation is very simple. The built-in exposuremeter takes the guessworkout of picturetaking. Your camera will produce excellent re- sults if you will spenda few minutesgetting acquainted with it. As you are readingthese instructions, keep the camerahandy; then practice each step as it appearsin ihe manual" Before making any important pictures-of a trip or some special event-it is well to shoot a magazineof film outdoorsand indoorswith flash.This will giveyou praetice iri camera operation and provide a check on your equipment. t KODAK GONTENTS KodakFilms 4 Loading6 Unloading8 @SCAMERA Automaticand lVlanual Exposure Control 9 ExposureIndex Settings 10 ShutterSettings 11 DistanceSettings i2 Holdingthe Camera 13 Usingthe Viewfinder 14 LowLight Level Indicator 15 TakingPictures-Automatically 16 IVlanualExposure Control l8 FlashPictures 19 MoreAbout Using the Exposure Meter 24 Detailsof KodakAutomatic 35 Camera 31 T,M. Res.U.S. Pot. Ofi Kodachrome Film Forcolor transparencies, which can be projected 0n a screenor ffom whichprints or enlargements canbe made"For processing, seebelow. UseKodachrome Film for Daylightfor daylight pictures, and Koda- chromeFilm, Type F, for pictureswith clear flash bulbs.20 or 36ex- p0sures Kodak Ektachrome Film KODAK FILMs LikeKodachrome, Ektachrome Film produces lifelike color transparen- ciesfor projection orfrom which color prints and enlargements canbe made.The speed of thisfilm, however, is fasterlhan that of Koda- / UseFilm Size chromeFilm. You can process this film yourself or haveit processedas N0.135Magazines describedbelow. / UseKodak Ektachrome Film tor Daylightfor exposurein daylight, andKodak Ektachrome Film, Type F, for pictures with clear flash bulbs. 20exposures. Kodak tligh Speed Ektachrome Film Withthis new, extremely fast color film you can stop action in lowillu' minationand, at the same time, get faithful color rendition with excel- lentdefinition. Use Daylight Type for exposure in daylight, and Type B forindoor pictures by existing artificial light. 20 exposures. Yourdealer can arrange to haveyour Kodachrome or Ektachrome Film processed by Kodak or any otherlaboratory offering such service. Some laboratories, including Kodak, also provide direct mail servicewhereby you can mail exposed film to the laboratory and have it returneddirectly to you.See yourdealer for the special mailing devices required. Do not mail film without an overwrap 0r special mailingdevice intended for this purpose. Kodak Panalomic-X Film Kodacolor Film Thefilm to usefor big enlargements when high film Thecolor film for color prints speedrs not a factor.lt combinesexceptionally finegrain and the ability to ortransparencies. Expose lhe record extremelyfine detail. 20 or 36 exposures. sameroll of filmby daylight or clearflash. Take the ex- posedroll of film yourphoto to Kodak Plus-X Pan Film dealer.He will arrange tohave negativesand eithercolor Anexcellent high-speed film for general outdoor and interior use. printsor transparencles maCe Thelow graininess and high resolving power permit high-quarrry fromyour negatives. Inlarge. enlargemenls.20or36 exposures. ments,too, as large as 11 by i4 inches,can be ordered throughyour photo dealer. 20 Kodak Tri-X Pan Film exp0sures. Anextremely fast panchromatic filmof moderatecontrast, wide exposureand develcpment latitude, and color sensitivity suitable forflash pictures. 20 or 36exposures. LOAD IN6 Alwaysin SubduedLight OBenthe backby Pushingthe LATCHBtlTT0N upward. 2 Pushout the REWINDKNOB. tnsertthe film magazine inthe reeess nextto the knob.Push the rewind knoh all the waYin, turningit slightlyif necessary. -\;.# I I 4 Swingout the RAPIDWtND LTVER untilthe openingin the take-up drumis up. Insertthe endof the filminto the openinginthe take-up drum. Swing out the rapidwind lever until the pinson the take-updrum engage thcfilm perforations and the film is $/oundhalfway around the drum, Closethe back and make surc that it is latched. 6 Swingout the rapidwind lever until the mechanismlocks-this takesseveral full strokesof the lever.The first frame of film will thenbe in positionand the EXP0- SURECOUNTER will be automat- "1." icallyset at Thecounter will movea markeach time the film is advanced.lt will show the number of exposuresmade. NorerNeither the exposure counter nor the shutter release will operateunless the film for exposure "1" is in position. 7 UNLOADING / Alwaysin SubduedLight i After the 20th or 36th exposure and before the back is opened,it is neces- sary to rewind the film into the magazine. * pull the rewind KNoB until you feel resistance (about % inch). Push the re- wind nrlrASE in its slot in the direction of the arrow and hold the rewind release pull *Film $ ill not rewind if the knob is pulled out too far. In this case, push in the knob completely; then it out the proper distance as indicatecl above. 8 AUTOMATIC AND MANUAL ExposureControl The camera can be set for automatic exposure control for daylight pictures or manual exposure control-used primarily for flash pictures. Seepage 19. Automqtic Exposure Control Look into the curved window on top of the shutter housing, and note the position of the green porNrER.If it points at AUro- MATrc as shown, the camera is set for automatic exposure control-that is,.the size ofthe lens opening is now controlled by the over-all brightness ofthe field as seen by the exposure meter. lf the green pointer is not at automatic, simply move the rcNuRr,EownEnr, to the right until the green pointer locks at automatic. The red EXposuREMETER. NEEDLE,also visible through the curved window, will move to the right or left, depending on the over-all brightness of the field as seen by the exposure meter. when the needle moves to the extreme left in the window, it indicates that there is not sufficient available light to take a properly exposed picture. Seepage I 5. When using the camera on the automatic exposure control setting, the exposure index rcNonmust be turned to the day- EXPOSURE light index number of the film in the camera to obtain properly exposed pictures. The indexes for No. 135 Kodak INDEX Films can be found in the instructions packed with the film. For example: the index for Kodachrome Film for SETTINGS Daylight is 10. Turn the exposure index knob until this number appears in the small window next to the knob as " shown. Position the number exactly opposite the arrow ( ( ). 10 S I-IUTTER S ETTIN GS The Kodak Synchro 80 Shutter has two speeds-the slower speed,40 (1/40 second); the faster speed, 80 (1/g0 second). Either speed can be used when taking pictures in daylight; however, the faster speed (80) is recommended to avoid possiblecamera movement. Use the slower speed(40) when taking.flash pictures; seepage I 9. To selecta shutter speed, turn the knurled spEED coNrRoL RrNG until the deiired speed (40 or 80) is in the ssurrnR spEEDwrNDow. The shut_ ter is cocked automatically when the film is advanced. Hondy SeltingsThe lens mouut has three subject zones- ct-osE-ups,cRoups, and scrurs-to enable you to select and set the camera-to-subject distance quickly. Simply rotate the lens mount until the diamond marking Q of the DISTANCE appropriate zone on the lens mount is oppositd the tri- angular mark A on the shutter housing. For example: the SETTINGS illustration shows the diamond mark of the cRouPszone set at the triangular index mark. This zone setting extends the range of sharpnessfor subjects from about 5Yz to 14 feet, when taking pictures on bright days with the camera set for automaticexposure control. Coreful Settings When taking flash pictures, as well as pictures on cloudy days, with the camera set for automatic exposure control, zone focusing should not be used. Esti- mate the camera-to-subject distance carefully and rotate the lens mount until the figure representing the camera-to- subject distance is opposite the triangular index mark. HOLDING THE CAMERA The illustrations sl.rowtwo ways of holding the camera.It is im_ portant that you hold the canlera steady and that your finger or the neck strap is not jn fronr of the taking ten;.; ;;. exposuremeter. ii t:,:,'- ,* i "W',,, When taking pictures, hold the camera close to your eye so that you can see the complete luminous view- frame. The image seen within this frame will be in the picture. pointers, side and USING THE Note the two parallax one on each near the top of the view-frame. The 5 D near the top VIEWFIN D ER left corner of the view-frame, when the camera. is held horizontally, indicates the upper edge of the picture when the subject is 5 feet from the camera. The ( 3 on the right side indicates the upper edge of the picture when the subject is 3 feet from the camera. The part thus I eliminated at the top of the frame is added to the bottom of the frame. I Also seenin the viewfinder are two built-in signals- rra.q.Nand wrnn. Both signalsread vertically when visible. The Nl.qN signal indicates that the camera is set for manual, not automatic, exposure control. The wrNo signal indicates that the film must be advanced before the next picture can be taken. LOW LIGHT LEVEL INDICATOR ,/ Automatic Exposure Control A nno rNorcnron will appear in the lower left corner of the viewfinder if there is not sufficient available light to take a properly exposed picture at the shutter speed se_ lected. If the red indicator is seenwith the shutter speedset at 80, change the shutter speedto 40. If the red indicator is still visible, the available light is still not sufficient to expose the picture properly. TAKING PICTU RES AutomaticExposure Control Makesure the camera is setfor automatic exposure c0ntr0l. Makesure the exoosure index knob is turned to the indexnumber of the film in thecamera. Selectthe shutter speed by turning the speed con- trolring. For snapshots, use 80 (l/80 second).
Load more

Recommended publications
  • Download the Technical Data for Kodak Professional
    TECHNICAL DATA / COLOR TRANSPARENCY FILM May 2004 • E-2529 KODAK PROFESSIONAL EKTACHROME Duplicating SIZES AVAILABLE Film EDUPE is a low-contrast color reversal duplicating Sizes and catalog numbers may differ from country to film designed for making high-quality duplicates from country. See your dealer who supplies KODAK originals on KODAK EKTACHROME or KODACHROME PROFESSIONAL Products. Films. It features excellent color reproduction, extremely fine grain, and very high sharpness. Rolls Code / Acetate CAT No. Although its primary application is producing duplicate Spec No. Base slides, you can also use this film for making copy slides of 135-36 EDUPE 134 2641 high-contrast color reflection prints. EDUPE/ 35 mm x 100 ft 195 2837 SP663 FEATURES BENEFITS EDUPE/ 35 mm x 400 ft 114 7461 • Optimized spectral • Versatile performance SP663 sensitivity and tone scale • Exceptional tone and color EDUPE/ 35 mm x 1000 ft 197 5358 reproduction from a variety SP663 of original film types 5-mil EDUPE/ (0.13 mm) • Extended tone scale • Increased highlight and 46 mm x 100 ft 122 1985 latitude shadow detail SP446 EDUPE/ • Faithful reproduction of 61.5 mm x 100 ft 102 3035 original tone scale SP816 • Richer blacks EDUPE / 70 mm x 100 ft* 813 7523 • Cleaner whites SP481* • Finest grain available in a • Outstanding reproduction of 120 EDUPE 139 5268 color reversal duplicating detailed images—even with film enlargement *Perforated on both edges. • The perfect match for today’s finer-grained films Film Code Acetate • Excellent latent-image • No color or contrast shifts Sheets Size CAT No. keeping within a roll, or from the start Base to the end of the day 10 802 4531 • Superb reciprocity • No tone scale compromise 4 x 5 in.
    [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]
  • Kodak Ektachrome 100D Color Reversal Film  7294
    KODAK EKTACHROME 100D COLOR REVERSAL FILM 7294 Shoot With a Film Icon The unparalleled look of KODAK EKTACHROME is waiting… For decades, KODAK EKTACHROME set the What’s more, KODAK EKTACHROME 100D standard for ilmmakers seeking beautiful grain, Color Reversal Film / 7294 also has very strong clean vibrant colors and a distinctive aesthetic. reciprocity and keeping stability so you can trust Now KODAK EKTACHROME 100D Color Reversal each shot will remain exactly as you pictured it. Film / 7294 carries that standard forward into the future, for a new wave of ilmmakers to embrace. Conventional or creative. Product, landscape, nature or fashion. Choose KODAK EKTACHROME Making more of daylight illumination, KODAK 100D Color Reversal Film / 7294 to realise your EKTACHROME 100D Color Reversal Film / 7294’s vision – through the lawless beauty of ilm. dense blacks, rich deep color, neutral gray scale and true-to-life skin tones will elevate your storytelling, frame by frame. With exceptional sharpness and an extremely ine grain, it o ers outstanding, consistent, uniform results in outdoor light or in well lit studio applications where moderate color saturation is required. KODAK EKTACHROME 100D COLOR REVERSAL FILM 7294 Base Exposure Index KODAK Filters Exposure Light Source KODAK EKTACHROME 100D Color Daylight (5500K) - 100 on Camera* Index Reversal Film / 7294 has an acetate Tungsten (3200K) - 25 Daylight None 100 safety base. Use these indexes with incident or (5500 K) relected light exposure meters and Metal Halide None 100 Darkroom Recommendations cameras marked for ISO or ASA speeds Do not use a safelight. Handle or exposure indexes. H.M.I.
    [Show full text]
  • KODAK EKTACHROME 100D Color Reversal Film 5285 / 7285
    KODAK EKTACHROME 100D Color Reversal Film 5285 / 7285 TECHNICAL DATA / COLOR REVERSAL FILM February 2010 • H-1-5285 KODAK EKTACHROME 100D Color Reversal Film 5285 / EXPOSURE INDEXES 7285 is a 100-speed, high-color reversal motion picture Daylight (5500K): 100 camera film intended for photography under daylight Tungsten (3200K): 25 (with 80A filter) illumination (5500K). It offers strikingly saturated color Use these indexes with incident- or reflected-light performance while maintaining a neutral gray scale and exposure meters and cameras marked for ISO or ASA accurate flesh reproduction. speeds or exposure indexes. These indexes apply for 5285/7285 Film has exceptional sharpness that is meter readings of average subjects made from the camera unsurpassed by any other 100-speed reversal film, and its position or for readings made from a gray card of grain performance is excellent. This film also offers very 18-percent reflectance held close to and in front of the strong reciprocity uniformity and keeping stability. subject. For unusually light- or dark-colored subjects, This film offers outstanding results in outdoor and decrease or increase the exposure indicated by the meter studio applications where strong color saturation is accordingly. desired. It is excellent for advertising, nature cinematography, documentaries, music videos, and is Super 8 Exposure especially good for telecine transfers and television Some older cameras may automatically set the exposure to filming. ISO 160. In many situations, results at an ISO 160 exposure 5285 Film is available in 35mm formats. 7285 Film is setting (approximately 1⁄2 stop underexposed) would still available in several 16mm formats, as well as Super 8 50-ft be acceptable.
    [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]
  • Pre Pricelist.Pdf
    Please note: All Black-and-White CAT No. Price Placing an order EI Ratings are without filtration. KODAK TRI-X Reversal Film 7278 EI 160 (Tungsten) EI 200 (Daylight) Not all products are stocked in all CAT No. Price Perforated One Edge - Winding B - Super 16 warehouses. 35 mm Black & White Negative Films 147 2190 1 roll 400 ft Core $71.40 EASTMAN PLUS-X Negative Film 5231 Peforated Two Edges To facilitate ordering KODAK Motion EI 64 (Tungsten) EI 80 (Daylight) 147 2133 1 roll 100 ft Spool $18.85 Picture Film, please have the following 167 7723 1 roll 400 ft Core $124.56 147 2166 1 roll 200 ft Spool 36.70 information available: 111 6417 1 roll 1000 ft Core 311.40 147 2182 1 roll 400 ft Core 71.40 For High Speed Cameras 1. Your Customer Number (if you have an EASTMAN DOUBLE-X Negative Film 5222 147 2158 1 roll 100 ft Spool $18.85 EI 200 (Tungsten) EI 250 (Daylight) account with Eastman Kodak Company). 173 7279 1 roll 400 ft Core $124.56 2. The Catalog Numbers of the items you Super 8 mm Black & White Films wish to purchase. KODAK PLUS-X Reversal Film 7276 16 mm Black & White Negative Films EI 40 (Tungsten) EI 50 (Daylight) 502 9087 1 cart. 50 ft $9.65 EASTMAN PLUS-X Negative Film 7231 For more detailed product information, EI 64 (Tungsten) EI 80 (Daylight) KODAK TRI-X Reversal Film 7278 you may request a Price Catalog when Perforated One Edge - Winding B - Super 16 EI 160 (Tungsten) EI 200 (Daylight) you order film.
    [Show full text]
  • KODAK Motion Picture Products Price Catalog for the United States
    KODAK Motion Picture Products Price Catalog for the United States EASTMAN KODAK COMPANY, ROCHESTER, NEW YORK 14650 FOR DIRECT CUSTOMER USE ONLY EFFECTIVE AUGUST 2, 2021* ©2021 Kodak. Kodak, Eastman, Ektachrome, Estar, Tri-X, Double-X, Keykode, Vision, and Wratten and the Kodak logo are trademarks. Prices are subject to change without notice. * Effective date may vary, please see top of each page for current effective date. MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 US Film Pick Up Location 7758 Sunset Blvd Hollywood, CA 90046 Phone: 323-499-1012 To Order Film and Other Items Monday – Friday, 8:00 am to 5:00pm Eastern Time Call KODAK Customer Service: (800) 621-FILM (3456) Fax Orders: (800) 648-9805 Email Orders: [email protected] Technical Product Support [email protected] KODAK Film Laboratories New York 37-18 Northern Blvd. Long Island City, NY 11101 Suite 101 Tel: (718) 606-9263 Email: [email protected] Atlanta Lab/Delivery and Drop Off: 2156 Faulkner Road Atlanta, GA 30324 Tel: (404) 633-1449 Telecine: 6 West Druid Hills Dr. NE Atlanta, GA 30329 Tel: (404) 545-3172 Email: [email protected] London The Ken Adam Building, Pinewood Studios Pinewood Road, Iver Heath Buckinghamshire SL0 0NH. Tel: 0208 993 9779 Email: [email protected] 2 MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 Table of Contents US Film Pick Up Location ....................................................................................................................................................................................................
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]
  • FILM IDENTIFICATION GUIDE January 2012 INSTRUCTIONS: This Guide Is Used to Identify Almost Any Film Size A
    FILM IDENTIFICATION GUIDE January 2012 INSTRUCTIONS: This guide is used to identify almost any film size A. Please sort each fill size into a separate ever manufactured, and to determine what size order envelope! Do not mix color and prints can be produced from that film. B&W films in the same envelope. 1. Hold your film up to the films shown here un- til you identify what size you have. B. If a film size you have is not identified on these pages, order CUSTOM. 2. Refer to our Photofinishing Services & Price List so you can quote the correct price and C. Use the glossary at the end of this guide service time to the customer. to familiarize yourself with any photo- finishing terms you do not understand. 110, 126 & Disc FILM SIZES DO NOT CUT FILM SIZES ON THIS PAGE INTO SINGLE FRAMES! 110 126 Disc FILM IDENTIFICATION GUIDE Page 2 March 2009 35mm FILM SIZES Please sort each film size into a separate order envelope! Do not mix color & B&W. DO NOT CUT FILM SIZES ON THIS PAGE INTO SINGLE FRAMES! 35mm Full-Frame Panoramic 35mm 35mm Half- Frame I.D. Area 35mm Unperforated FILM IDENTIFICATION GUIDE Page 3 March 2009 127 &828 FILM SIZES Please sort each film size into a separate order envelope! Do not mix color & B&W. 828 127 Half - Frame 127Square 127 Full FILM IDENTIFICATION GUIDE Page 4 March 2009 120 & 620 FILM SIZES 120 or 620 Square 2¼x2¼ ” (6x6 cm) 120 Omega, “Perfect Format” Or “Ideal Format” 2¼x2¾ ” (6x7 cm) 120 or 620 Full 2¼x3¼ ” (6x9 cm) 120 - 15 exposure 6x4.5 cm 120 Half-Frame Also call “645” (16 exposures/roll) FILM IDENTIFICATION GUIDE Page 5 March 2009 70mm FILM SIZES 70mm Half-Frame Or 70mm Square Spilt 70mm I.D.
    [Show full text]
  • Kodak Ektachrome 100D Color Reversal Film / 7294
    KODAK EKTACHROME 100D COLOR REVERSAL FILM / 7294 TECHNICAL DATA / COLOR REVERSAL March 2021 • H1-7294u FILM Description Exposure Indexes KODAK EKTACHROME 100D Color Reversal Film / 7294 is Daylight (5500K) - 100 / Tungsten (3200K) - 252 a 100-speed, color reversal motion picture camera film Use these indexes with incident or reflected light exposure intended for photography under daylight illumination meters and cameras marked for ISO or ASA speeds or (5500K). It offers a moderately enhanced color saturation exposure indexes. These indexes apply for meter readings performance while maintaining a neutral gray scale and of average subjects made from the camera position or for accurate flesh reproduction. 7294 Film has exceptional readings made from a gray card of 18 percent reflectance sharpness that is unsurpassed by any other 100-speed held close to and in front of the subject. For unusually light reversal film, and its grain performance is excellent. This or dark colored subjects, decrease or increase the exposure film also offers very strong reciprocity uniformity and indicated by the meter accordingly. keeping stability. 7294 Film offers outstanding results in outdoor and studio KODAK Filters Exposur Light Source 1 applications where moderate color saturation is desired. on Camera e Index It is excellent for advertising, nature cinematography, Daylight (5500 K) None 100 documentaries, music videos, and is especially good for telecine transfers and television filming. Metal Halide None 100 Base H.M.I. None 100 KODAK EKTACHROME 100D Color Reversal Film / 7294 has KINO FLO KF55 None 100 an acetate safety base. WRATTEN2 Optical No. Tungsten (3000 K) 25 80A Darkroom Recommendations WRATTEN2 Optical No.
    [Show full text]
  • THE GRAFLEX GRAPHIC 35 by Michael Parker
    SHARING INFORMATION ABOUT GRAFLEX AND THEIR CAMERAS ISSUE 3, 2016 FEATURES The Graflex Graphic 35 by Michael Parker……………………….……..………1 199564 by Maurice Greeson………………...………………………...……...6 shutter release, both designed for ease of operation, were Graflex Exhibit at George Eastman Museum and Clarus MS-35 by Rob modern and unique, while the separate rangefinder win- dow, separately cocked shutter and knob wind were out- Niederman………………………….…….………………………………….7 dated at a time when most competitors had lever wind Gray, Black, and Red by Bill Inman…………………………….....….…...…...10 combined with shutter cocking and a single viewfinder/ Red and Red by Keith Forsey.………………………………….….…………...10 rangefinder window. Chavez Ravine, 1949 reviewed by Randy Sweatt…………………………….11 The Graphic 35 came with a Prontor–SVS shutter with speeds from 1 to 1/300 sec with self timer, M & X flash synch., and from May 1955, a choice of 50mm lens with f/3.5 or f/2.8 aperture. The top deck carries a hot shoe, frame counter showing how many pictures are left, wind and rewind knobs and a neat, bright blue Graflex logo. A clearly visible distance scale sits just below the top deck in a fan-shaped cutout and is surrounded by engraved aperture numbers indicating depth of field. The camera came with “handsome scuff-proof silver grey covering, satin chrome finish and diamond turned knobs.” Some later coverings seem to have been more black than grey. Figure 1 A late Graphic 35 with Universal Spectramatic band. THE GRAFLEX GRAPHIC 35 By Michael Parker Ken Metcalf has done a thorough job of seeking out and accumulating historic material about the Graphic 35.
    [Show full text]
  • KODAK EKTACHROME Professional Infrared EIR Film
    TECHNICAL DATA / COLOR TRANSPARENCY FILM September 2005 • TI-2323 KODAK EKTACHROME Professional Infrared EIR Film KODAK EKTACHROME Professional Infrared EIR Film is DARKROOM RECOMMENDATIONS an infrared-sensitive, “false-color” transparency film on an Do not use a safelight. Handle unprocessed film in total ESTAR Base*. It is intended for various photographic darkness. applications where infrared discriminations may yield useful results, such as: artistic, industrial, scientific, and aerial or technical ground photography. The amount of infrared STORAGE AND HANDLING reflectance present at any given time will affect the final KODAK EKTACHROME Professional Infrared EIR Film is color rendition. Exposure latitude is limited to ± 1⁄2 stop. usually more seriously affected by adverse storage KODAK EKTACHROME Professional Infrared EIR conditions than normal color or black-and-white films. Color Film can be processed in Process AR-5 using KODAK EA-5 infrared film is extremely sensitive to variations in Chemicals or Process E-6 using KODAK EKTACHROME temperature and relative humidity. Storage conditions affect Chemicals. However, images run through Process E-6 will the three image-forming layers in different degrees, causing be higher in contrast and appear more saturated in color. In a change in color balance as well as a change in overall film scientific and/or technical applications, Process AR-5 is speed and contrast. The infrared-sensitive layer is most recommended where comparisons to historical data are affected, causing a loss in infrared sensitivity and a resultant desired. While Process E-6 will provide meaningful results, color balance drift toward cyan. the higher contrast and color saturation may affect interpretation as compared to this film’s predecessor.
    [Show full text]