DOCSLIB.ORG

Design of Color Reversal Film with Improved Push-Processing Characteristics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Design of Color Reversal Film with Improved Push-Processing Characteristics ―93― J. Soc. Photogr. Sci. Technol. Japan, Vol.62, No.2, 1999 Technical Report Design of Color Reversal Film with Improved Push-processing Characteristics 増感処理性に優れたカラーリバーサルフィルムの設計 Sadanobu SHUTO*, Masayuki KURAMITSU * and Shinsuke BANDO* 首 藤 定 伸*・ 倉 光 昌 之*・ 坂 東 信 介* Abstract Push-processing of a color reversal film is widely and generally used in saving a mistake due to underexposure, or in case of shooting when a high speed is required such as sports photography. Because of these, there is an extremely high demand from the market for improvement in push- processing characteristics of a color reversal film. This paper describes the push-processing mechanism of a color reversal film, and introduces the technology to improve push-processing behavior and its application to .an actual product designing. 要 旨 カ ラ ー リバー サ ル フ ィル ム の増 感 処 理 は,露 光 量 不 足 に よ る撮 影 ミス を救 済 した り,ス ポ ー ツ写 真 な どで高 感度 を必 要 とす る場 合 に,広 く一般 的 に行 わ れ てい る。このた め,カ ラー リバ ー サル フ ィル ム の増 感 処 理 性 能 の 向上 に対 す る市 場 ニ ー ズ は極 めて 高 い。本報 告 で は;カ ラー リバ ーサ ル フ ィル ムの 増感 処 理 の 機 構 につ い て説 明 し,増 感 処 理 性 向 上技 術 と商品設 計 へ の 応 用 に つ いて 紹介 す る。 Key words: color reversal film, push-processing, solution physical development, colloidal silver, multi- layer structure キ ー ワ ー ド:カ ラ ー リバ ー サ ル フ ィ ル ム,増 感 処 理;溶 解 物 理 現 像,コ ロ イ ド銀,多 層 構 成 times as high a speed (Exposure Index, EI1000) 1. Introduction as that for the standard process (EI100)1),2) Push-processing of a color reversal film is In this paper, we describe push-processing widely and generally used when one wants to mechanism of a color reversal film, and intro- save a mistake due to underexposure, or needs duce the performance of Fujichrome MS100/ high speed, for example, in shooting sports and 1000 and also technology for improving the push- so on. Therefore, we meet the high demand processing characteristics. from the market for improvement in its push- 2. Push-processing of Color Reversal Film processing characteristics. "Fujichrome MS100/1000" , which was put on 2.1 Purpose of Push-Processing sale by Fuji Photo Film Co. in march 1998, is a A color reversal film, which is an original multi-speed film in the pursuit of comprehensive appreciation medium of transmission type, is so improvement of push-processing quality. And designed that its exposure latitude is usually it has an advantage that it can be pushed to ten narrower than that of a color negative film. Received 20th, January 1999, Accepted 10th, March 1999 平 成11年1月20日 受 付,平 成11年3月10日 受 理 * Ashigara Research Laboratories , Fuji Photo Film Co., Ltd. 210 Minamiashigara, Kanagawa 250-0193 富 士 写 真 フ イ ル ム(株)足 柄 研 究 所 〒250-0193神 奈 川 県 南 足 柄 市 中 沼210 ―94― Sadanobu SHUTO et al J. Soc. Photogr. Sci. Technol. Japan Because of this, in case when one wants to save underexposure due to a mistake, or in case of shooting when a high shutter speed is required, push-processing is generally used. In some case, push-processing is one of convenient means to create an artistic picture by modifying grada- tion or color reproduction intentionally. 2.2 Method for Push-Processing Push-processing of a color reversal film is usually done by extending first development (black-and-white development) time in the color reversal processing described below. <Color Reversal Processing> First Development (Black-and-White Devel- Fig. 1 Characteristic Curves of Multi-Layer Color Rever- opment) •¨Wash •¨ Reversal •¨ Color Develop- sal Film ment •¨ Adjustment •¨ Bleaching •¨ Fixing •¨ Wash •¨ Stabilizing The standard time of first development is 6 attained by extending the processing time in minutes. Extending this time to 8 and 11 min- contrast with the system where only chemical utes, push-processing of +1 stop and + 2 stops development occurs. are carried out, and by specifying the first devel- B. Each BGR color-sensitive emulsion layer of opment time more minutely, push-processing a multi-layered color film consists of plural which is set up for speed corresponding to every photosensitive layers with different speeds, i.e., 1/3 stop may be carried out. high-speed emulsion layers for shadow gradation 2.3 Mechanism of Push-Processing and low-speed ones for highlight gradation (Fig. In the first developer of the color reversal 1). Because the speed of a color reversal film is processing, silver halide solvents, such as potas- estimated on the basis of the speed at the high- sium thiocyanate and sodium sulfite, are light rather than that at the shadow, it is depen- contained3). Because of this, in the first develop- dent on the speed of the silver halide grains in ment process, silver halide grains are partially the low-speed emulsion layers for highlight gra- dissolved by these silver halide solvents to sup- dation. And since silver halide grains in the ply silver ions in the developer solution in paral- low-speed emulsion layers are usually smaller in lel with chemical development where the devel- size as compared with those in the high-speed oping agent directly reduces the silver halide emulsion layers, they have a tendency of dissolu- grains to form silver. These silver ions are tion by silver halide solvents in the first devel- reduced to separate out on developed silver oper. Especially in the push-processing where nuclei by the solution physical development the first development is prolonged, dissolution of process. the silver halide grains proceeds more easily. The push-processing of a color reversal film Thus, at the push-processing, the low-speed makes use of this solution physical development emulsion layers contribute less to the speed than phenomenon in the first development, and a at the standard processing, and in place of them, higher speed is achieved by extending the proces- the high-speed emulsion layers play the part of sing time according to the following mechanisms the highlight gradation which then come to of A and B. determine the film speed. As a result, the den- A. In addition to the fact that the solution sity is lowered by push-processing, which yields physical development increases the developed a characteristic curve as if it were one with only silver amount, internal latent images which can- high-speed layer, and one gets an even higher not be developed at the standard development increase in speed in addition to a substantial processing time come to be developed as the first increase in speed as described in A. development time is extended. Thus, in the color reversal processing, much speed increase is Design of Color Reversal Film with Vol.62, No.2, 1999 Improved Push-processing Characteristics ―95― 3. Push-Processing Improving Technologies Intermediate Layers (MFIL) which carry out functions of inter-image effect control and push- As described before, push-processing of a processing characteristics control in addition to color reversal film makes use of the effect of their primary function of color mixing preven- solution physical development during the first tion, are coated between each layer of B (Blue), development. So, it is necessary to introduce G (Green), and R (Red). the technologies for controlling the solution MFIL adjusts each speed of BGR emulsion physical development, when one wants to layers through the speed range from EI100, the improve push-processing characteristics. minimum speed by standard processing, up to For instance, it is known that addition of EI1000, the maximum speed by push-processing. colloidal silver to a emulsion coating enhances Fig. 3 shows the conceptual diagram of func- solution physical development°. One can tions carried out by MFIL. Usually in a color enhance the speed at push-processing by adding reversal film, a yellow filter layer containing a small amount of colloidal silver to an emulsion yellow colloidal silver is coated beneath the layer or to an intermediate layer neighboring the blue-sensitive emulsion layer. This colloidal emulsion layer5)6). Instead of colloidal silver, silver has an effect of promoting solution physi- one can use silver halide fine grains with fog cal development in the neighboring blue nuclei on surface or inside of them so as to photosensitive emulsion layers. During the expand the speed increase by the push- push-processing, development of silver halide processing7"e. On the other hand, one can grains in the blue photosensitive layers are espe- decrease the speed at push-processing by instal- cially enhanced, and the color balance sifts to be ling an intermediate layer between a layer bluish as a result. The MFIL positioned containing colloidal silver or fogged grains and between the blue photosensitive emulsion layer an emulsion layer so as to prevent enhancement and the yellow filter layer has a function of of solution physical development 9). controlling the solution physical development in the blue photosensitive layer and regulates its 4. Application to Product Designing too much speed increase during the push- The following technologies are introduced in processing. On the other hand, the MFIL's "Fujichrome MS100/1000" so as to realize excel - positioned under the green photosensitive layer lent push-processing performance with very lit- and the red photosensitive layer which contain a tle variance in gradation, gradation balance, and small amount of colloidal silver adjust the speeds color balance.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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......................................................
    [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]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • EASTMAN TRI-X Reversal Film 7278™
    TECHNICAL DATA / BLACK-AND-WHITE REVERSAL FILM February 1999 • H-1-7278 H-1-7278 EASTMAN TRI-X July 1996 Reversal Film 7278™ DESCRIPTION For more information about medium- and long-term EASTMAN TRI-X Reversal Film 7278 (16 mm) is a high- storage, see NAPM IT9.11-1992, and KODAK Publications speed, panchromatic black-and-white film with an anti- H-1, KODAK Motion Picture Film, and H-23, The Book of halation undercoat that makes it suitable for general interior Film Care. photography with artificial light. It can be used in daylight and is particularly useful for photographing sports at regular EXPOSURE INDEXES speed or in slow motion in low-light conditions late in the Use the following exposure indexes for recommended day or with an overcast sky. This film is characterized by reversal processing: excellent tonal gradation and high resolving power. Tungsten (3200K)—160 When processed as a reversal film, the resulting positive Daylight*—200 can be used for projection or for duplication. If processed as Use these indexes with incident- or reflected-light exposure a negative material by conventional methods, this film will meters and cameras marked for ISO or ASA speeds or yield satisfactory results, although there will be some loss in exposure indexes. These indexes apply for meter readings of speed. average subjects made from the camera position or for readings made from a gray card of 18-percent reflectance BASE held close to and in front of the subject. For unusually light- This film has a gray acetate safety base with an additional or dark-colored subjects, decrease or increase the exposure anti-halation undercoat.
    [Show full text]
  • Using KODAK EKTACHROME 100D Color Reversal Film 7285 in Your Super 8 Camera CURRENT INFORMATION SUMMARY March 2010 • CIS-287
    Using KODAK EKTACHROME 100D Color Reversal Film 7285 in Your Super 8 Camera CURRENT INFORMATION SUMMARY March 2010 • CIS-287 Kodak has recently announced the availability of KODAK Below is a detailed table summarizing the suggested EKTACHROME 100D Color Reversal Film 7285 in the filtration, Exposure Index, based on the available light Super 8 format. 100D Color Reversal Film features bright source: saturated colors, fine grain with excellent sharpness. It is important to note that KODAK EKTACHROME Light Source KODAK Filters on Camera Exposure 100D Color Reversal Camera Film 7285 is a daylight Index balanced film. No additional filtration is required when Daylight (5500 K) None 100 using the film in daylight conditions. The film cartridge is Tungsten (3000 K) WRATTEN Gelatin No. 80A 25 notched appropriately for the speed and color balance, Tungsten (3200 K) WRATTEN Gelatin No. 80A 25 which will allow it to perform optimally in automatic Fluorescent, Cool Color Compensating Filter 80 cameras. White CC20M Many older manual cameras will require some special Fluorescent, Deluxe WRATTEN Gelatin No. 82C 80 attention. Due to historical reasons (e.g. the films available Cool White at their time of manufacture), most of these cameras Metal Halide (H.M.I.) None 100 assume that the film to be used is tungsten balanced and either EI40 or EI160. This publication will help you get the EXPOSURE best possible results using 100D Film in these cameras. KODAK EKTACHROME 100D Color Reversal Camera Film FILTER USAGE 7285 is an ISO 100 rated product. It is important when exposing the film under daylight conditions that the Many cameras utilize an internal conversion filter to camera is set as close to ISO 100 as possible.
    [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]
  • Introduction to Basic Color Photography Edition Date
    SUBCOURSE EDITION SS0514 A INTRODUCTION TO BASIC COLOR PHOTOGRAPHY EDITION DATE: SEPTEMBER 1994 INTRODUCTION TO BASIC COLOR PHOTOGRAPHY Subcourse Number SS0514 EDITION A United States Army Signal Center and School Fort Gordon, GA 30905-5074 5 Credit Hours Edition Date: September 1994 SUBCOURSE OVERVIEW This subcourse presents you with information on color photography, including theory, exposure, and printmaking. Topics covered include the theory of light, how colors are formed, and color print materials--their structure and exposure. Color negative developing using the popular C-41 process is explained, as well as the Ektaprint 2 process that is most often used to make color prints from negatives. The E6 reversal processing and the two methods of making prints from slides are examined (color coupler (conventional reversal paper) and dye destruction (like Cibachrome)). In addition, this subcourse defines general quality control procedures. Since duplicate transparencies are often required, the generation process is explained. There are no prerequisites for this subcourse. This subcourse reflects the doctrine which was current at the time it was prepared. In your own work situation, always refer to the latest official publications. Unless otherwise stated, the masculine gender of singular pronouns is used to refer to both men and women. TERMINAL LEARNING OBJECTIVE ACTION: You will identify procedures for color negative printing techniques, color reversal film processing and printing, and slide duplicating techniques. CONDITION: You will be given information from TM 11-401-2, STP 11- 25S13-SM-TG, and Photographer's Mate Training Series NAVEDTRA 373-02-45-83, MOD 2. STANDARD: To demonstrate competency of this task, you must achieve a minimum score of 70% on the subcourse examination.
    [Show full text]
  • KODAK TRI-X Reversal Film 7266
    TECHNICAL DATA / BLACK-AND-WHITE REVERSAL FILM August 2003 • H-1-7266t KODAK TRI-X Reversal Film 7266 We are committed to black & white film—improvements to DARKROOM RECOMMENDATIONS our family of reversal films prove it. New KODAK TRI-X Reversal Processing Reversal Film 7266 offers finer grain and increased All processing operations should be carried out in total sharpness, and includes EASTMAN KEYKODE Numbers darkness until the bleaching step has been completed. If for easy cross-reference of shots in minutes, not hours. necessary, the film can be examined (for a few seconds only) Reduced static support allows for a cleaner image after development is 50 percent complete. Use a throughout the filmmaking process. And because our new KODAK 3 Safelight Filter / dark green, with a 15-watt bulb, films do not require processing in a bleach containing heavy no closer to the film than 1.2 metres (4 feet). Following metals, they are easier on the environment. Our improved bleaching, normal room lighting can be used. films provide the rich blacks and high contrast you have come to expect from KODAK Black & White reversal films. Negative Processing KODAK TRI-X Reversal Film 7266 (16 mm) is a No safelight is recommended until after the stop bath. high-speed, panchromatic black-and-white film with an Unprocessed films must be handled in total darkness. antihalation undercoat that makes it suitable for general interior photography with artificial light. It can also be used in daylight and is particularly useful for sports pictures STORAGE taken at regular speed or slow motion in weak light (overcast Store unexposed film at 13°C(55°F) or lower.
    [Show full text]