AF3-207U
US
1. COLOR FILM AND RELATED PHOTOSENSITIVE MATERIALS ....................................6
1-1. Films for Color Photography ................................................6 Color Reversal Films .............................................................8 Color Negative Films ...........................................................12 1-2. Pathways to Color ................................................................16 1-3. Film Identification Edge Markings and Code Notches .....18 1-4. Exposure Guide ...................................................................22 1-5. Corrections for Various Light Conditions .........................24 Filter Selection and Exposure Adjustments for Natural Light Source Variations .........................................24 Filter Selection and Exposure Adjustments for Artificial Light Source Variations .......................................26 1-6. Reciprocity Failure Compensation for Speed and Color Balance ....................................................30 1-7. Printing/Duplicating Materials and Internegative Film ................................................................33 1-8. Color Film and Paper Processing Specifications .............38 1-9. Technical Data on Camera Films ........................................45 2. INSTANT FILMS ..................................................................70 2-1. Films for Instant Photography ............................................70 2-2. Technical Data ......................................................................71 3. BLACK-AND-WHITE FILMS ............................................72 3-1. Films for Black-and-White Photography............................72 3-2. Processing Black-and-White Films ....................................74 3-3. Film Identification Edge Markings ......................................79 3-4. Technical Data ......................................................................80 4. GENERAL INFORMATION ..............................................86
5. FUJIFILM OVERSEAS SUBSIDIARIES AND LIAISON OFFICES .............................................................98 6. APPENDICES ....................................................................100
6-1. World Time Chart ...............................................................100 6-2. Main Characteristics of the Advanced Photo System ....102 6-3. Image Sizes of Camera-use Negative / Reversal Films ......110 6-4. Photographic Techniques ................................................112 6-5. Glossary of Photographic Terms .....................................119 COPYRIGHT ?? 2005 FUJI PHOTO FILM CO., LTD. Tokyo 106-8620, Japan
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FUJIFILM PROFESSIONAL DATA GUIDE
1. COLOR FILM AND RELATED PHOTOSENSITIVE MATERIALS 1-1. FILMS FOR COLOR PHOTOGRAPHY
There are two basic types of color films-reversal (positive) and negative. The choice of one type over the other depends on the intended use. Color reversal films (transparencies) produce positive images which can be viewed right after processing by using a light source from behind, such as a viewing box or daylight, as well as projected up to any size with slide projection equipment. Reversal film is particularly suited to color separation work, as used in the production of highquality printed matter, as well as having many other professional and amateur applications. In comparison to negative films, reversal films have narrower exposure latitudes and are much more sensitive to differences in light quality and intensities. As a result, reversal films require much stricter exposure control. However, with correctly exposed reversal film, the resulting transparencies have a wider density range, richer gradation and deeper color saturation than negative film/prints. Furthermore, they are not subject to printing differences which can affect density, color balance, sharpness, and size, etc. The advantages of using reversal film in color separation work are very important, as color scanner operators can make accurate comparisons between transparency originals and printed matter tests, regarding such aspects as density, color rendition, contrast, and texture. Through the use of transparency duplicating films, any number of reversal duplicates of transparency originals can be made, but these copies are never quite equal to the original in terms of sharpness and density range. Therefore, when several copies are needed, it is best to expose several frames as originals initially if possible.
Color negative films are used mainly for the production of color prints. Exposure accuracy is less of a problem with negative films since they have a wider exposure latitude, and a considerable degree of density and color compensation can be made in the negative-topositive printing stages. Color transparencies can also be produced directly from color negatives. Color negatives can be made from reversal films through the use of internegative film. Printing these color negatives on color paper or other printing materials results in high-quality prints that are ideal for display purposes. The reversal and negative films produced by the Fuji Photo Film Company are identified and described in the following pages. Reversal films designed for professional use are designated "FUJICHROME Professional" while amateur reversal films are designated simply "FUJICHROME." Negative films designed for special uses are designated "FUJICOLOR Professional", while amateur negative films are simply designated "FUJICOLOR." Highly unique and specialized Fujifilm technologies have been used in the design and manufacture of "FUJICHROME" and "FUJICOLOR" films. These exclusive technological innovations have resulted in: ??High and ultrahigh ISO ratings ??Fine grain ??Great dimensional depth ??Exceptional sharpness ??Vivid color saturation ??High color fidelity ??Rich gradation ??Fine detail ??Improved reciprocity characteristics
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FUJIFILM PROFESSIONAL DATA GUIDE
COLOR REVERSAL FILMS (1)
Film Name and Processing FUJICHROME Velvia for Professionals [RVP] Type and Speed Daylight ISO 50/18° Film Sizes 135 (36-exp.) 135 (36-exp., 5 and 20-roll packs) 35 mm 30.5 m (100 ft) 120, 120 (5-roll packs) 220 (5-roll packs) 4x5 in. (10 and 50 sheets) 8x10 in. (10 and 50 sheets) 13x18cm (10 sheets) QuickLoad 4x5 in. (20 sheets) (See NOTE below.) 135 (36-exp.) 135 (36-exp., 5- and 20-roll packs) 35 mm 30.5 m (100 ft) 120, 120 (5-roll packs) 220 (5-roll packs) 4x5 in. (10 and 50 sheets) 8x10 in. (10 sheets) QuickLoad 4x5 in. (20 sheets) (See NOTE below.) 135 (36-exp.), 135 (36-exp., 5- and 20-roll packs), 35 mm 30.5 m (100 ft), 120, 120 (5-roll packs) 220 (5-roll packs) 4x5 in. (10 and 50 sheets) 8x10 in. (10 and 50 sheets) 9x12cm (10 sheets) 13x18cm (10 sheets) QuickLoad 4x5 in. (20 sheets) (See NOTE below.) 135 (36-exp.) 135 (36-exp, 5 and 20-roll packs) 35 mm 30.5 m (100 ft) 120, 120 (5-roll packs) 220 (5-roll packs) 4x5 in. (10 and 50 sheets) 8x10 in. (10 and 50 sheets) 9x12cm (10 sheets) 13x18cm (10 sheets) QuickLoad 4x5 in. (20 sheets) (See NOTE below.) Features and Uses ?? Professional-quality, medium-speed, daylight-type color reversal film with high sharpness, highly saturated colors, and fine grain (RMS: 9). ?? Suited to such applications as landscape, marine and product photography. ?? Provides high sharpness and unique image color, producing full-bodied photos with a feeling of three-dimensional depth.
Process E-6/CR-56 FUJICHROME Velvia 100 Professional [RVP 100] Daylight ISO 100/21°
?? Professional-quality, medium-speed, daylight-type, color reversal film with ultrafine grain (RMS: 8) and ultrahigh color saturation through the incorporation of new-generation cyan, magenta and yellow couplers. ?? Suited especially to scenery and nature photography as well as other subjects that require precisely modulated vibrant color reproduction and high image quality. ?? Provides color image stability equal to that of RVP 100F and can be push-processed up to +1 stops with excellent results and little photographic variation.
Process E-6/CR-56 FUJICHROME Velvia 100F Professional [RVP100F] Daylight ISO 100/21°
?? Professional-quality, medium-speed, daylight-type color reversal film with ultrafine grain, designed to produce high-contrast images with the highest color saturation among 100F series films. Incorporates new-generation cyan, magenta and yellow couplers. ?? Suited to a variety of uses such as landscape, nature, commercial, food, and interior applications. ?? Provides ultrahigh-saturation colors and unsurpassed hue fidelity, along with the ability to reproduce purples, greens and other subtle colors with a fidelity not found in previous films, as well as good light source compatibility, resulting in minimal color tinging under mixed light sources or fluorescent lighting. Can be push-processed up to +1 stops with excellent results and little photographic variation.
Process E-6/CR-56 FUJICHROME PROVIA 100F Professional [RDPIII] Daylight ISO 100/21°
?? Professional-quality, medium-speed, daylight-type color reversal film with ultrafine grain (RMS: 8), designed to provide medium color saturation and contrast compared to other films in the 100F series. ?? Suited to a wide range of applications, such as product, landscape, nature and fashion photography as well as portraiture. ?? Provides ideal color saturation and contrast, making it suitable for all types of subject matter, along with minimal variation in performance even in long exposures and the ability to be pushprocessed up to +2 stops with excellent results.
Process E-6/CR-56 NOTE
?? For RVP, RVP100, RVP100F, and RDPIII films, some formats and packaging may not be available in your area. Please consult with your local Fujifilm distributor for details. ?? For information about color duplicating film, see page 37.
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FUJIFILM PROFESSIONAL DATA GUIDE
COLOR REVERSAL FILMS (2)
Film Name and Processing FUJICHROME ASTIA 100F Professional [RAP100F] Type and Speed Daylight ISO 100/21° Film Sizes 135 (36-exp.), 135 (36-exp., 5- and 20-roll packs), 35 mm 30.5 m (100 ft), 120, 120 (5-roll packs) 220 (5-roll packs) 4x5 in. (10 and 50 sheets) 8x10 in. (10 sheets) QuickLoad 4x5 in. (20 sheets) (See NOTE below.) 135 (36-exp.) 35 mm 30.5m (100 ft) 120, 120 (5-roll packs) Features and Uses ?? Professional-quality, medium-speed, daylight-type color reversal film with ultrafine grain (RMS: 7), subdued color reproduction and the softest tone reproduction among the 100F films. Incorporates new-generation cyan, magenta and yellow couplers. ?? Suited to such uses as fashion, portraiture, interior, and product photography. ?? Provides exceptionally fine grain, smooth, natural-looking skin tone continuity, and faithful reproduction of delicate hues, along with good light source compatibility, resulting in minimal color tinging under mixed light or fluorescent lighting. Produces excellent results with little photographic variation even when push-processed up to +2 stops.
Process E-6/CR-56 FUJICHROME PROVIA 400F Professional [RHPIII] Process E-6/CR-56 FUJICHROME 64T TYPE II Professional [RTPII] Tungsten (3100K) ISO 64/19° Daylight ISO 400/27°
?? Professional-quality, high-speed, daylight-type color reversal film with the finest grain (RMS: 13) in its class and highly saturated colors. ?? Suited to such uses as sports photography, reportage, and stage show coverage. ?? Provides the finest granularity in ISO 400 class films, vibrant color reproduction comparable to that of medium-density films, smooth gradation, and the ability to be push-processed up to +3 stops, and even up to +3 1/2 stops depending on the scenes. ?? Professional-quality, medium-speed, tungsten-type color reversal film with natural color reproduction. ?? Suited to product photography, interiors and for reproducing illustrations and paintings. ?? Provides smooth, continuous gray gradations, excellent color reproduction and subtle textural depiction of the subject matter.
135 (36-exp.) 35 mm 30.5 m (100 ft) 120, 4x5 in. (10 and 50 sheets) 8x10 in. (10 and 50 sheets) 9x12cm (10 sheets) QuickLoad 4x5 in. (20 sheets) (See NOTE below.)
Process E-6/CR-56 FUJICHROME Sensia 100 [RA] Daylight ISO 100/21°
135 (24- and 36-exp.)
?? Medium-speed, daylight-type color reversal film with faithful color reproduction and fine grain (RMS: 8). Incorporates new cyan, magenta and yellow couplers. ?? Suited to a wide range of applications, including general subject matter such as landscape and portraiture. ?? Provides faithful color reproduction, natural, smooth skin tones, and wide exposure latitude. ?? Versatile, medium-speed, high-quality, daylight-type color reversal film with extremely fine grain and improved sharpness. ?? Suited not only to normal outdoor photography, but also to a wide variety of indoor applications and situations requiring the use of high shutter speeds, such as at sports and racing events. ?? Provides faithful and brilliant color reproduction and rich tones, ranging from the brightest highlights to the deepest shadows, and high suitability for slide projection and big enlargements. ?? Multi-use, high-speed, daylight-type color reversal film providing fine grain (RMS: 13) and vibrant color reproduction in spite of its high speed. ?? Suited to such applications as sports, portraiture, nighttime photography, astrophotography, portraiture, and snapshots. ?? Provides smoothly continuous gray gradation and vibrant color reproduction, along with ease of use that makes it ideal for amateur photographers. available. Please contact your local dealer for details.
Process E-6/CR-56 FUJICHROME Sensia 200 [RM] Daylight ISO 200/24° 135 (24- and 36-exp.)
Process E-6/CR-56 FUJICHROME Sensia 400 [RH] Daylight ISO 400/27° 135 (24- and 36-exp.)
Process E-6/CR-56 NOTE ?? For RAP100F and RTPII films, other sizes, beside the sizes indicated above, are also ?? For information about color duplicating film, see page 37.
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FUJIFILM PROFESSIONAL DATA GUIDE
COLOR NEGATIVE FILMS (1)
Film Name and Processing FUJICOLOR PRO 160S PROFESSIONAL Type and Speed Daylight ISO 160/23° Film Sizes Rolls: 135 (36-exp.) 135 (36-exp., 20-roll packs) 120 (5 and 20-roll packs) 220 (5-roll packs) Sheets: 4x5 in. (10 and 50 sheets) QL 4x5 in. (20 sheets) 8x10 in. (10 sheets) 9x12 cm (20 sheets) 13x18 cm (20 sheets) Rolls: 135 (36-exp.) 120 (5-roll packs) 220 (5-roll packs) Sheets: QL 4x5 in. (20 sheets) Features and Uses ?? Professional-quality, medium-speed, daylight-type, extremely fine-grain color negative film. ?? Suited especially to portrait photography. ?? Provides wide exposure latitude from under- to overexposures, superb skin tones with smoothly continuous gradation from the highlights to the shadows, highly faithful color reproduction, an exciting three-dimensional appearance to the image and single-channel suitability for uniform printing efficiency. New generation emulsion design allows for optimum scanning quality.
Process C-41/CN-16 FUJICOLOR PRO 160C PROFESSIONAL Process C-41/CN-16 FUJICOLOR NPL 160 PROFESSIONAL [NPL] Process C-41/CN-16 FUJICOLOR PRO 400H PROFESSIONAL Daylight ISO 400/27° Tungsten ISO 160/23° Daylight ISO 160/23°
?? Professional-quality, medium-speed, daylight-type, extremely fine-grain, higher-contrast color negative film. ?? Suited to a wide range of photographic applications, including portrait, commercial work, fashion, architectural and interior photography. ?? Provides enhanced saturation and higher sharpness, superb gray balance, wide exposure latitude and single-channel suitability for uniform printing efficiency. It also has improved reciprocity characteristics and enhanced color image stability. New generation emulsion design allows for optimum scanning quality. ?? Professional-quality, medium-speed, tungsten-type, fine-grain color negative film for exposure durations of 1/30th to 2 seconds. ?? Suited to studio portrait and copy work. ?? Provides smooth, pleasing skin tones and natural color images with exceptional detail ideal for portraits. It also has improved reciprocity characteristics and enhanced color image stability. ?? Professional-quality, high-speed, daylight-type, fine-grain, color negative film, incorporating Fujifilm’s proprietary 4th color layer. ?? Suited especially to wedding, portrait and fashion photography where accurate rendition of the subject is essential. ?? Provides wide exposure latitude from under- to overexposures, superb skin tones with smoothly continuous gradation from the highlights to the shadows, highly faithful color reproduction, an exciting three-dimensional appearance to the image and single-channel suitability for uniform printing efficiency. ?? Professional-quality, very-high-speed, daylight-type, fine-grain, high-contrast color negative film. ?? Suited especially to portrait, wedding and fashion photography. ?? Provides vibrant colors with high fidelity, smooth textures, excellent grays, wide exposure latitude and single-channel suitability for uniform printing efficiency. ?? Medium-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited particularly to exacting photographic work, especially for big enlargements where fine grain reproduction is essential. ?? Provides superb granular fineness, faithful and natural color reproduction, rich highlight-to-shadow tone reproduction, greater latitude for underexposures, and good results even under mixed-light sources including fluorescent light. ?? Medium-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited to all general applications and produces fine-quality prints, especially in conjunction with FUJICOLOR papers. ?? Provides great vividness and enhanced color realism across the entire spectrum, beautiful and natural skin tones, refined sharpness, wide exposure latitude, fine grain quality for outstanding enlargements, and accurate reproduction of difficult colors, such as certain violets and greens, even under fluorescent lighting*. ?? * When the proper color compensation filters are used.
Rolls: 120, 120 (5-roll packs) Sheets: 4x5 in. (10 and 50 sheets) 8x10 in. (10 sheets) QL 4x5 (20) 135 (36-exp.) 135 (36-exp., 20-roll packs) 120 (5 and 20-roll packs) 220 (5-roll packs)
Process C-41/CN-16 FUJICOLOR PRO 800Z PROFESSIONAL Process C-41/CN-16 FUJICOLOR SUPERIA REALA [CS] Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S FUJICOLOR SUPERIA 100 [CN] Daylight ISO 100/21° 135 (12-,24- and 36-exp.) 120 Daylight ISO 100/21° 135 (12-, 24- and 36-exp.) Daylight ISO 800/30° 135 (36-exp., 5 roll packs) 120 (5-roll packs) 220 (5-roll packs)
Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S
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FUJIFILM PROFESSIONAL DATA GUIDE
COLOR NEGATIVE FILMS (2)
Film Name and Processing FUJICOLOR SUPERIA 200 [CA] Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S FUJICOLOR SUPERIA X-TRA 400 [CH] Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S FUJICOLOR TRUE DEFINITION 400 [CH] Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S FUJICOLOR SUPERIA X-TRA 800 [CZ] Daylight ISO 800/30° 135 (24- and 36-exp.) Daylight ISO 400/27° 135 (24-exp.) Daylight ISO 400/27° 135 (12-, 24- and 36-exp.) Type and Speed Daylight ISO 200/24° Film Sizes 135 (12-, 24- and 36-exp.) 110 (12- and 24-exp.) Features and Uses ?? Medium-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited to all general applications, including candid work under low illumination and produces finequality prints, especially in conjunction with FUJICOLOR papers. ?? Provides great vividness and enchanced color realism across the entire spectrum, beautiful and natural skin tones, refined sharpness, wide exposure latitude, fine grain for high-quality enlargements, and accurate reproduction of difficult colors, such as certain violets and greens, even under fluorescent lighting*. ?? High-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited to general, available-light and action-stopping high shutter-speed applications and produces fine-quality prints, especially in conjunction with FUJICOLOR papers. ?? Provides great vividness and enhanced color realism across the entire spectrum, smooth and beautiful skin tones, extremely high sharpness, fine grain quality for superb enlargements, wide exposure latitude, neutral gray balance, enhanced storability, and accurate reproduction of difficult colors, such as certain violets and various greens, even under fluorescent lighting.* ?? High-speed, daylight-type, fine grain color negative film incorporating a 4th color layer and new gradation design. ?? Suited especially to the capturing of scenes in precise detail, with brilliant colors maintained under a wide range of exposure conditions. ?? Provides natural skin tones and soft gradation with fine details fully reproduced, a wide exposure latitude and extremely sharp images including the precise depiction of textures. ?? Very-high-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited to outdoor and flash photography, high-speed action situations, low-light scenes and increased depth-of-field work using small lens openings. ?? Provides great vividness and enhanced color realism, even under fluorescent lights*, across the entire spectrum, including brilliant reds, bright blues and strong yellows, plus accurate rendition of hard-to-reproduce colors, such as violet and certain greens, thanks to Fujifilm’s 4th color layer technology, as well as rendering natural-looking face tones and extremely sharp images for big enlargements. ?? Ultrahigh-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited to low-light environments such as indoor available-light scenes, parties, wedding ceremonies, stage performances and early morning/evening twilight scenes as well as sports and other high-shutter-speed action-stopping photography, in addition to general applications, producing fine-quality prints, especially in conjunction with FUJICOLOR papers. ?? Provides outstanding grain quality in spite of its ISO 1600 speed rating, faithful color reproduction, beautiful skin tones, superb sharpness, wide exposure latitude, neutral gray balance, enhanced storability, and faithful reproduction of violets and various greens for more natural color reproduction, even under fluorescent lighting.* ?? High-speed, press-use, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited to a wide range of applications, including outdoor available-light photography, electronicflash use, and high shutter speed work, whenever fine prints are required. ?? Provides exceptionally faithful color reproduction, stunningly natural skin tones, excellent gray balance and unexcelled fluorescent light suitability, thanks to Fujifilm’s 4th color layer technology, plus superb grain quality and outstanding sharpness. ?? Very-high-speed, press-use, daylight-type, fine-grain color negative film incorporating a 4th color layer. ?? Suited not only to all outdoor available-light and electronic flash photography, but especially to news and sports coverage where high shutter speeds are essential for stop-action shots, and when exposures under low-light conditions are unavoidable. ?? Provides realistic color rendition, with high saturation, even of hard-to-reproduce violets and greens, and unexcelled fluorescent light suitability, thanks to Fujifilm’s 4th color layer technology, along with outstanding grain quality, excellent gradation balance and wide exposure latitude. ?? * When the proper color compensation filters are used.
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Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S FUJICOLOR SUPERIA 1600 [CU] Daylight ISO 1600/33° 135 (12-, 24- and 36-exp.)
Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S FUJICOLOR PRESS 400 [CH] Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S FUJICOLOR PRESS 800 [CZ] Daylight ISO 800/30° 135 (36-exp., 20-roll packs) Daylight ISO 400/27° 135 (36-exp., 5-roll and 20-roll packs)
Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L CN-16S
FUJIFILM PROFESSIONAL DATA GUIDE
1-2. PATHWAYS TO COLOR
The processes which initial color film exposures go through to become positive images are indicated below along with the relevant photographic materials supplied by Fujifilm.
EXPOSURE EXPOSURE
COLOR REVERSAL FILMS
FUJICHROME Professional Films:RVP, RVP100, RVP100F, RDPIII, RAP100F, RHPIII, RTPII FUJICHROME Amateur Films: RA, RM, RH
COLOR NEGATIVE FILMS
FUJICOLOR Professional Films: PRO160S, PRO160C, NPL, PRO400H, PRO800Z FUJICOLOR Amateur Films: SUPERIA REALA/100/200/X-TRA400/ TRUE DEFINITION 400/X-TRA800/1600/PRESS 400/800
PROCESSING
Process E-6/CR-56
PROCESSING
Process C-41/CN-16
Color Transparencies
Color Negatives
PRINTING
FUJICOLOR Papers ?? FUJICOLOR CRYSTAL ARCHIVE PAPER TYPE II
DUPLICATING
Color Duplicating Film ?? FUJICHROME DUPLICATING FILM CDU TYPE II
PRINTING
Color Papers (negative)
FUJICOLOR Professional Papers ?? FUJICOLOR CRYSTAL ARCHIVE PROFESSIONAL PAPER TYPE P III ?? NEW FUJIFLEX CRYSTAL ARCHIVE PRINTING MATERIAL ?? FUJICOLOR CRYSTAL ARCHIVE PROFESSIONAL PAPER SUPER TYPE PD ?? FUJICOLOR CRYSTAL ARCHIVE PROFESSIONAL PAPER SUPER TYPE C FUJICOLOR Amateur Papers ?? FUJICOLOR CRYSTAL ARCHIVE PAPER TYPE II
PRINTING
Color Display Materials ?? FUJITRANS Display Material for Digital Printers ?? FUJICLEAR Display Material for Digital Printers
PROCESSING
Process CP-49E/CP-48S/CP-47L/ CP-43FA/CP-40FA RA-4/RA-4RT
PROCESSING
Process E-6/CR-56
Color Prints
Color Transparencies
PROCESSING
?? Process CP-40FA/ RA-4/RA-4RT
PROCESSING
?? Process CP-40FA/ RA-4/RA-4RT
Color Prints
Color Display Prints
PHOTOMECHANICAL REPRODUCTION
Printed Matter
?? Process CR-56: FUJICHROME Film Process CR-56 ?? Processes E-6 and E-6P: Kodak Processes E-6 and E-6P for Kodak Ektachrome * Eastman Kodak Company Trademark
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[
??] *
Films
?? Process CN-16: FUJICOLOR Film Processes CN-16, CN-16Q, CN-16FA, CN-16L and CN-16S ?? Process C-41: Kodak Processes C-41 and C-41RA for color negative films ?? Process CP-40FA/CP-43FA: FUJICOLOR Paper Processes CP-40FA, CP-43FA, CP-47L, CP-48S and CP-49E ?? Process RA-4: Kodak Process RA-4 for color papers (negative)
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FUJIFILM PROFESSIONAL DATA GUIDE
1-3. FILM IDENTIFICATION EDGE MARKINGS AND CODE NOTCHES
FUJICHROME and FUJICOLOR film types are distinguishable by either their edge markings or code notches. ?? Roll films: Edge markings ?? Sheet films: Code notches
?? 120 Size: RVP, RVP100, RVP100F, RDPIII, RAP100F, RHPIII, RTP II 220 Size: RVP, RVP100, RVP100F, RDPIII, RAP100F Film Type RVP RDPIII RHPIII RTPII
FUJI RAP ABCDEF-GHIJ FUJI RAP
Emulsion Number 501 001 201 701
RAP 601
Roll Film Edge Markings
Edge markings are used for identifying processed film. In addition to edge markings, "DX" codes are also seen on 135-size color negatives. Code patterns are designated for each film type. The correlation between film type, edge markings, and "DX" and frame number bar codes is indicated below. ■ FUJICHROME Films ?? 135 Size: RVP, RVP100, RVP100F, RDPIII, RAP100F, RHPIII, RTP II, RA, RM, RH
Film Type RVP RVP100 RVP100F RDPIII RAP100F RHPIII RTPII RA RM RH Emulsion Number 501 460 401 001 601 201 701 651 951 251
RAP
1
RAP
2
RAP
3
RAP
4
Film Type
Frame Number 1 through 19 for 120 size 1 through 39 for 220 size
Film Type RVP100 RVP100F RAP100F
Emulsion Number 460 401 601
Number of Exposures 24 or 36
Frame Number
?? 35 mm Long Roll: RVP, RVP100, RVP100F, RDPIII, RAP100F, RHPIII, RTP II, CDUII Film Type
RVP RVP100 RVP100F RDPIII RAP100F RHPIII RTPII CDUII
Emulsion Number
501 460 401 001 601 201 701 301
Frame Number 1 through 43
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Half-frame number preceded by outlined arrow and followed by A.
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FUJIFILM PROFESSIONAL DATA GUIDE ■ FUJICOLOR Films
?? 135 Size: SUPERIA REALA*, SUPERIA 100*, SUPERIA 200*, SUPERIA X-TRA 400*, TRUE DEFINITION 400*, SUPERIA X-TRA 800*, SUPERIA 1600*, PRO 160S*, PRO 160C*, PRO 400H*, PRO 800Z*, PRESS 400/800* *Abbreviated Film Type Production Number
(Emulsion Number)
Designation
Sheet Film Code Notches and Emulsion Numbers
The code notches used in FUJICHROME and FUJICOLOR films serve two purposes. (1) They enable photographers and laboratory personnel to distinguish films by touch and shape. (2) They confirm emulsion surface position when loading film holders. It can be ascertained that the emulsion surface is facing upward when the code notch is located at the upper right-hand corner of a vertical sheet.
Film Designation FUJICHROME Velvia for Professionals [RVP] 501 FUJICHROME Velvia 100 Professional [RVP100] 460 FUJICHROME Velvia 100F Professional [RVP100F] 401 FUJICHROME PROVIA 100F Professional [RDPIII] Code Notch/Emulsion Number
SUPERIA REALA* SUPERIA 100* SUPERIA 200* SUPERIA X-TRA 400* TRUE DEFINITION 400* SUPERIA X-TRA 800* SUPERIA 1600* PRO 160S* PRO 160C* PRO 400H* PRO 800Z* PRESS 400* PRESS 800*
REALA S-100 S-200 S-400 TD400 S-800 1600 PRO 160S PRO 160C 400 800 P-400 P-800
J51 and above E51 and above F51 and above U01A and above / G51 and above D01A and above L01 and above P51 and above 502 and above 902 and above Number 123 and above of Exposures 023 and above 12, 24 or 36 G01 and above L01 and above
DX Bar Code
Frame Number FUJICHROME ASTIA 100F Professional [RAP100F]
001
?? 120 Size: PRO 160S, PRO 160C, NPL, PRO 400H, PRO 800Z, SUPERIA REALA, SUPERIA 100 220 Size: PRO 160S, PRO 160C, PRO 400H, PRO 800Z, SUPERIA REALA 110 Size: SUPERIA 200
Film Type PRO 160S PRO 160C NPL 160 PRO 400H PRO 800Z REALA S-100 S-200 Production Number
(Emulsion Number)
601 FUJICHROME 64T TYPEII Professional [RTPII] 701
502 902 601 123 023 J51 and above S01 and above 951 and above
FUJICOLOR PRO 160S PROFESSIONAL 502 FUJICOLOR PRO 160C PROFESSIONAL 902 FUJICOLOR NPL 160 PROFESSIONAL [NPL] 601 FUJICHROME DUPLICATING FILM CDU TYPE II [CDU II]
301
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1-4. EXPOSURE GUIDE
Exposure requirements determined from film speeds and light levels are indicated below. Since light levels may vary widely from situation to situation, the indicated exposures should be used only as a rough guide. Exposure Guide Table
Outdoor Daylight Exposures Snow-covered flat land, mountain, highland, and seashore scenes Common flat landscapes High Light Level Conditions Low Light Level Conditions
FUJIFILM PROFESSIONAL DATA GUIDE
From 2 hours after sunrise to 2 hours before sunset
Immediately after sunset; Daytime bright interiors
Morning/Evening
ISO Speeds and Exposure Conditions 50 ISO 100 ISO 160 ISO 200 ISO 400 ISO
Numbers in the upper row indicate lens apertures and those in the lower row, shutter speeds. Example: 11 = f/11 250 = 1/250
ISO 11 . 250 4 . 125 4 . 250 5.6 . 250 11 . 250 16 . 500 16 . 1000 16 . 250 8 . 250 11 . 250 16 . 500 5.6 . 250 8 . 250 16 . 250 4 . 125 4 . 250 11 . 250 8 . 250 4 . 250 5.6 . 250 11 . 250 16 . 250 16 . 500 16 . 500 16 . 250 16 . 250 11 . 250 8 . 250 5.6 . 250 8 . 250 5.6 . 250 4 . 250 4 . 60
2.8 . 60 4 . 60 4 . 125 4 . 125 4 . 250 8 . 250
2.8 . 30 2.8 . 60 4 . 60 4 . 60 4 . 125 5.6 . 250
2 . 30 2.8 . 30 2.8 . 60 2.8 . 60 4 . 60 4 . 250 2 . 30 2.8 . 30 2.8 . 30 2.8 . 60 4 . 125 2 . 30 2 . 30 2.8 . 30 4 . 60 2 . 30 2.8 . 60 2.8 . 30 2 . 30
22 16 22 . . . 1600 2000 1000 1000
Existing Light Exposures
(low-light level conditions)
Stage Scenes (Spot-lit) (Flood-lit)
Amusement Parks at Night Night Stadium Games Brightly lit Street Scenes Brightly lit Shop Interiors at Night Interiors with Fluorescent Lighting (1/30 sec.)
Fireworks
Night Skiing
Candle-lit Scenes
Gymnasiums
Festival Scenes at Night
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FUJIFILM PROFESSIONAL DATA GUIDE
1-5. CORRECTIONS FOR VARIOUS LIGHT CONDITIONS
Light quality varies with the particular light source. FUJICHROME and FUJICOLOR films are generally designed either for exposure under normal daylight or tungsten light conditions, but in certain situations it is advisable to use filters to obtain optimum color balance. ●Filter Selection and Exposure Adjustments for Natural Light Sources The term natural light refers to the various conditions of daylight. Light quality varies greatly with the time of day, the weather and the particular location. To compensate for such wide natural light variations, it is advisable to use filters. Natural light contains ultraviolet radiation which varies in intensity with the location and time. Since ultraviolet radiation adversely affects dye images, photosensitive emulsions are designed to filter out such radiation. However, when photographing seashore, mountain or snow scenes in which ultraviolet radiation is intense, use of UV filters is advisable to obtain optimum quality. ●Filter Selection and Exposure Adjustments for Artificial Light Sources (Pages 26-30) Artificial light sources used in photography include electronic flash, daylight photoflood / photo-reflector lamps, and fluorescent lamps, in addition to tungsten and discharge lamps. Since electronic flash and daylight-type lamps have many of the properties of daylight, the use of filters is not normally required. Other artificial light sources, however, may require the use of filters, as is often the case with reversal films which are highly susceptible to changes in lighting. Filter information and exposure adjustments for light source variations are provided in the tables that follow.
Filter Selection and Exposure Adjustments for Natural Light Source
FUJICHROME Films Subject Filter
Variations
(Daylight Type) Exposure Adjustments FUJICOLOR PORTRAIT FILM NPS 160 PROFESSIONAL [NPS] Filter Kodak No.2C (Fuji Filter SC-40) Exposure Adjustments
Fair weather, open shade, and shady landscapes Kodak No.2C (Fuji Filter SC-39 or SC-40) Kodak No.2C or 2B for Velvia, Fuji Filter SC-40 or SC-41 for Velvia
Bright distant scenes, snow landscapes, seaside scenes, aerial views and other open landscapes
((
))
None Kodak No.1A (Fuji Filter SC-40M)
None
Close-ups of flowers and other subjects with bright colors
High Color Temperature: Cloudy weather landscapes and portraits, or subjects in the shade on a clear day. Low Color Temperature: Scenes and portraits in morning or evening twilight.
Kodak No.81A (Fuji Filter LBA-2)
+1/3 stop
Kodak No.81A (Fuji Filter LBA-2)
+1/3 stop
Kodak No.82A or No.82B (Fuji Filter LBB-2 or LBB-3)
+1/3 to +2/3 stop
Kodak No.82A (Fuji Filter LBB-2)
+1/3 stop
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FUJIFILM PROFESSIONAL DATA GUIDE
Filter Selection and Exposure Adjustments for Artificial Light Source
Recommended Meter Setting (ISO) and Illumination Balance Daylight 50
Variations (1)
Correction Filters / Exposure Adjustments Fluorescent Lamps*1
Films
Daylight
Tungsten Lamps (3200K)*2
White (W) 40M+10B +1 2/3 stops
Daylight (D) 40R+10M +12/3 stops
Cool White (CW) 40M+5R +11/2 stops
Warm White (WW) No. 80C+25M +2 stops
FUJICHROME Velvia for Professionals [RVP] FUJICHROME Velvia 100 Professional [RVP100] FUJICHROME Velvia 100F Professional [RVP100F] FUJICHROME PROVIA 100F Professional [RDPIII] FUJICHROME ASTIA 100F Professional [RAP100F] FUJICHROME PROVIA 400F Professional [RHPIII] FUJICHROME 64T TYPEII Professional [RTPII] FUJICHROME Sensia 100 [RA] FUJICHROME Sensia 200 [RM] FUJICHROME Sensia 400 [RH]
None
No. 80A +2 stops
Daylight 100
None
No. 80A +2 stops
5B+10M +1/2 stop
30R +1 stop
20M +2/3 stop
No. 80C+15M +11/3 stops
Daylight 100 Daylight 100
None
No. 80A +2 stops
10B+5M +1/2 stop
25R +1 stop
15M+5B +2/3 stop
No. 80C+10M +1 stop
None
No. 80A +2 stops
25M+20B +1 stop
30R+10M +1 stop
35M +1 stop
No. 80B+15M+10R +2 1/3 stops
Daylight 100
None
No. 80A +2 stops
10B+5M +1/2 stop
25R +1 stop
15M+5B +2/3 stop
No. 80C+10M +1 stop
Daylight 400 Tungsten (3100K) 64 Daylight 100
None
No. 80A +2 stops
25M +2/3 stop No. 85B+81D +40B+10M +21/2 stops 10B+5M +11/2 stop
30R+10M +11/3 stops
30M +1 stop No. 85B+25M +10R +11/2 stops 15M+5B +2/3 stop
No. 80B+10M+10R +2 stops
No. 85B +2/3 stop
None*2
No. 85B+40R +11/2 stops
30R+5M +1 stop
None
No. 80A +2 stops
25R +1 stop
No. 80C+10M +1 stop
Daylight 200
None
No. 80A +2 stops
25M +2/3 stop
30R+10M +11/3 stops
30M +1 stop
No. 80B+10M+10R +2 stops
Daylight 400
None
No. 80A +2 stops
25M +2/3 stop
30R+10M +11/3 stops
30M +1 stop
No. 80B+10M+10R +2 stops
*1 When using fluorescent lighting, exposure meter readings tend to be low. Therefore, the exposure exposures made under actual fluorescent lighting conditions. *2 The rated color temperature of photographic tungsten lamps is 3200K, but in actual use, designed to provide the best results at a color temperature of 3100K.
adjustments indicated in this table are approximate in that they have been derived from actual film the color temperature is about 3100K. FUJICHROME 64T TYPEII Professional [RTPII] is thus
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FUJIFILM PROFESSIONAL DATA GUIDE
Spectral Characteristics of Fluorescent Lighting The fluorescent light distribution curves below plot comparative energy against wavelength. The curves indicate the phosphor-derived continuous light spectra while the bars represent the mercury-induced bright-line spectra. To take into consideration all the radiant light energy emitted by a fluorescent lamp, the mercury bright-line spectrum must be superimposed on the continuous phosphor spectrum.
Filter Selection and Exposure Adjustments for Artificial Light Source Variations (2) ?? FUJICOLOR PRO 160S PROFESSIONAL ?? FUJICOLOR PRO 160C PROFESSIONAL ?? FUJICOLOR PRO 400H PROFESSIONAL ?? FUJICOLOR PRO 800Z PROFESSIONAL ?? FUJICOLOR SUPERIA REALA [CS]
Sunlight Electronic Flash None _ *2 Daylight Type Photoflood Lamps None _ *2
100 80 60 40 20 0
D
100 80 60 40 20 0
CW
Filter Lens Aperture *1
None _
Specific Energy (%)
Specific Energy (%)
*1 When photographic subjects come under the influence of ultraviolet radiation or are illuminated by extremely high or low color temperature light, refer to the table on page 26 to 27. *2 The effective light intensity and color balance of artificial light sources will vary according to the maker. It is thus recommended that you obtain the relevant information from the lamp manufacturer.
?? FUJICOLOR NPL 160 PROFESSIONAL [NPL]
Tungsten (3200K) None _ *1 Daylight No.85B +2/3 stop
300
400
500
600
700
300
400
500
600
700
Wavelength (nm)
Wavelength (nm)
Filter Lens Aperture
100 80 60 40 20 0
W
100 80 60 40 20 0
WW
*1 Recommended shutter speeds: 1/30 sec. to 2 seconds. Exposures longer than 2 seconds require exposure compensation.
Specific Energy (%)
Specific Energy (%)
Filter Selection and Exposure Adjustments for Artificial Light Source Variations (3) High-intensity Discharge Lamps The most commonly encountered high-intensity discharge lamps are : ?? Sodium Vapor Discharge Lamps There are two types of sodium-vapor discharge lampshigh-pressure and low-pressure. The low-pressure type is used mainly for tunnel and certain road illumination. Photographic compensation for the strong orange color which these lamps emit is impossible. ?? Metal Halide Discharge Lamps High-pressure metal halide lighting is used mainly for illuminating outdoor stadiums, baseball grounds and gymnasiums. ?? Mercury Vapor Discharge Lamps Mercury vapor discharge lamps can be divided basically into two types: one used for lighting roads, parks, etc. and the other for factories, gymnasiums, and other outdoor / indoor spaces.
300
400
500
600
700
300
400
500
600
700
Wavelength (nm)
Wavelength (nm)
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FUJIFILM PROFESSIONAL DATA GUIDE
64 sec. and longer
Not recommended
Not recommended 4 min. None +1/2 stop
Not recommended 8 min.
Not recommended 7.5G +1 stop 5G +2/3 stop None
2.5G +1/3 stop 2 min.
4 min.
5G +2/3 stop 1/15 sec. to 64 sec. None
Good color rendition when the main (or only) illumination comes from high-intensity discharge lamps is very difficult, and in some cases impossible. With negative film, considerable color correction can be done during the printing stage, often with quite acceptable results. However, with reversal film the undesirable effects are intensified, especially if no attempt at color correction during exposure is made. As the quality of the light emitted by these sources is affected by many factors such as the type of lighting equipment, manufacturer, length of use, output level, etc., it is recommended that tests be done well in advance of the actual photographic work. The following table can be used as a rough guide if actual testing cannot be carried out. It gives various color correction (CC) filter combinations that may provide a reasonable degree of color correction.
For Daylight-rated Films
Shutter Speed / Correction Filters / Exposure Adjustments
16 sec. 10M +2/3 stop
2.5M +1/2 stop
8 min.
2 min. to 4 min.
5B +1/2 stop 2 min. to 4 min.
2 min. to 4 min. 1/4000 sec. to 32 sec. FUJICHROME Sensia 400 [RH] 64 sec.
2.5B +1/2 stop
7.5G +1 stop 2 min. None +1/3stop
2.5M +1/3 stop
2.5B +1/3 stop
4 sec. 5M +1/3 stop
None 1/4000 sec. to 1/30 sec. Not recommended
1/4000 sec. to 128 sec.
1/4000 sec. to 32 sec.
Mercury Vapor (outdoor)
+12/3 stops
*Fuji Light Balancing Filter
Reciprocity Characteristics of FUJICHROME Films
None
None
FUJICHROME ASTIA 100F Professional [RAP100F]
FUJICHROME PROVIA 100F Professional [RDPIII]
None
None
FUJICHROME Velvia 100F Professional [RVP100F]
During photographic exposures, a decrease in density occurs with certain combinations of exposure time and illumination. This phenomenon, known as reciprocity law failure, affects film speed and color balance. Therefore, to prevent this phenomenon films are generally designed so that speed and color balance match the range of normally used shutter speeds and do not vary too much even when this range is exceeded. Satisfactory results can generally be obtained without correcting the exposure conditions, but to meet strict requirements, especially with reversal films, color and exposure corrections should be made using as a guide the data given in the following table.
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FUJICHROME 64T TYPE II Professional [RTPII]
FUJICHROME Velvia 100 Professional [RVP100]
FUJICHROME Velvia for Professionals [RVP]
1-6. RECIPROCITY FAILURE COMPENSATION FOR SPEED AND COLOR BALANCE
FUJICHROME PROVIA 400F Professional [RHPIII]
FUJICHROME Sensia 200 [RM]
FUJICHROME Sensia 100 [RA]
Film
None
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Low-Pressure Sodium Vapor High-Pressure Sodium Vapor Metal Halide Mercury Vapor (Indoor)
CC - Impossible LBB - 16*+30M+10B 20M+10R 20M+20R 40R+30M or 30R+40M
– +3 stops +1 stop (approx.) +1 stop (approx.)
None 1/4000 sec. to 32 sec.
Source
CC Filters
Exposure Adjustments
1/4000 sec. to 1 min.
1/4000 sec. to 1 min.
None 1/4000 sec. to 1 min.
1/4000 sec. to 1 min.
1/4000 sec. to 1 sec.
5G +2/3 stop
5B +1/3 stop
5B +1/3 stop 64 sec.
64 sec.
2 min.
2 min.
2 min.
7.5G +1 stop
5B +1/2 stop
4 min.
4 min.
4 min.
4 min.
Not recommended
2.5M +2/3 stop
2.5B +2/3 stop
5B +2/3 stop
5B +2/3 stop 8 min.
All of the foregoing lamps emit energy spikes (peaks) in different areas of the spectrum, according to the elements involved. As a result, rating them in terms of color temperature is impossible because they are not temperature dependent for the color of light emitted. Use of the Kelvin and mired scales is, therefore, inappropriate for these sources.
8 min.
8 min.
8 min.
8 min.
8 min.
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Reciprocity Characteristics of FUJICOLOR Films
Film FUJICOLOR PRO 160S PROFESSIONAL FUJICOLOR PRO 160C PROFESSIONAL FUJICOLOR NPL 160 PROFESSIONAL [NPL] FUJICOLOR PRO 400H PROFESSIONAL FUJICOLOR PRO 800Z PROFESSIONAL FUJICOLOR SUPERIA REALA [CS] FUJICOLOR SUPERIA 100 [CN] FUJICOLOR SUPERIA 200 [CA] None None None None None None None +2/3 stop +1/3 stop +2/3 stop +2/3 stop +1/3 stop +1/3 stop +1/3 stop FUJICOLOR SUPERIA X-TRA 400 [CH] FUJICOLOR TRUE DEFINITION 400 [CH] FUJICOLOR SUPERIA X-TRA 800 [CZ] FUJICOLOR SUPERIA 1600 [CU] FUJICOLOR PRESS 400 [CH] FUJICOLOR PRESS 800 [CZ] 1/4000 sec. to 2 sec. None 1/4000 sec. to 2 sec. None 1/4000 sec. to 1 sec. Not recommended 1/4000 sec. to 1 sec. None 1/4000 sec. to 1 sec. None 1/4000 sec. to 1 sec. None 1/4000 sec. to 2 sec. None +2/3 stop +2/3 stop +2/3 stop +1 1/2 stops +1 1/2 stops +2/3 stop +1 1/2 stops +1 stop +1 stop +1 stop +2 stops +2 stops +1 stop +2 stops Shutter Speed / Exposure Adjustments 4 sec. Not recommended +1/3 stop 4 sec. 32sec. +1/3 stop +1 stop 4 sec. 16 sec. 32 sec. +1/2 stop +1 stop +1 stop 4 sec. 16 sec. Not recommended +1/2 stop +1 stop 4 sec. 16 sec. Not recommended +2/3 stop +1 1/2 stops 4 sec. 16 sec. 64 sec. Not recommended +1/3 stop +1 stop 4 sec. 16 sec. 64 sec. +1/3 stop +2/3 stop +1 stop
FUJIFILM PROFESSIONAL DATA GUIDE
1-7. PRINTING/DUPLICATING MATERIALS
Fujifilm's advanced technologies and expertise accumulated in the development and production of photographic materials have been fully exploited in the design of printing materials, duplicating films, and internegative films. FUJICHROME DUPLICATING FILM CDU II is designed for optimum performance in photo-mechanical reproduction.
COLOR NEGATIVE PAPERS (1)
Paper Name and Processing Paper Type — FUJICOLOR CRISTAL ARCHIVE PAPER TYPE II Process CP-49E/CP-48S/CP-47L/ CP-43FA/CP-40FA/RA-4 or equivalent Surfaces Glossy, Lustre, Matte Sizes Rolls: Widths ranging from 3.5 in. to 12 in. Length: 275 ft. to 1750 ft. Features and Uses ?? High-image-quality, silver halide color paper designed for use with both analog and digital printers. ?? Suited to the fast output of high-image quality prints especially in conjunction with the Frontier 570. ?? Provides vivid color reproduction, more brilliant whites and clearer highlight details due to the adoption of new silver halide emulsion, coupler and layer design technologies, along with high image stability under both dark and light storage conditions.
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COLOR NEGATIVE PAPERS (2)
Paper Name and Processing Paper Type Surfaces Sizes Rolls: Widths ranging from 2.75 in. to 40 in. Sheets: Sizes ranging from 8 × 10 in. to 30 × 40 in. Features and Uses Glossy, Lustre, Matte _ FUJICOLOR CRYSTAL ARCHIVE PROFESSIONAL PAPER TYPE PIII
Process RA-4 or equivalent FUJICOLOR CRYSTAL ARCHIVE PROFESSIONAL PAPER SUPER TYPE PD _ Lustre Rolls: Widths ranging from 3.5 in. to 50 in.
FUJIFILM PROFESSIONAL DATA GUIDE
Process RA-4 or equivalent FUJICOLOR CRYSTAL ARCHIVE PROFESSIONAL PAPER SUPER TYPE C Process RA-4 or equivalent _ Glossy, Matte Rolls: Widths ranging from 4 in. to 50 in. Sheets: Sizes ranging from 8 × 10 in. to 30 × 40 in.
?? Professional-quality, enlarging and contact-printing paper. ?? Suited especially to printing and enlarging from FUJICOLOR professional negatives or similar negatives of other manufacturers designed primarily for wedding and portrait applications and provides even longer lasting prints than before. This paper is intended for processing in Kodak RA-4 processing chemicals. ?? Provides enhanced image stability, unsurpassed whites, excellent skin tone reproduction, true-to-life color reproduction, ideal gradation balance and wide printing latitude. ?? Backprinted with “Fujicolor Professional Paper” and an advice to customers and photofinishers regarding copyright. ?? Professional-quality, silver-halide color printing paper designed for use with digital exposure systems. ?? Suited especially to the production of high-image-quality professional and commercial prints from medium and large format digital printers and FUJI MINILAB FRONTIER series. ?? Provides high D-max and enhanced suitability to laser exposure, pure whites and cleaner/crisper highlights, improved processing stability, enhanced latent image stability, and the highest level of color image stability. ?? Backprinted with “Fujicolor Professional Paper” and an advice to customers and photofinishers regarding copyright. ?? Professional-quality, silver-halide color printing paper designed for use with both digital and conventional exposure systems. ?? Suited especially to the production of high-image-quality professional and commercial prints from medium and large format digital printers and FUJI MINILAB FRONTIER series. ?? Provides high D-max and enhanced suitability to laser exposure, pure whites, and cleaner/crisper highlights, improved processing stability, enhanced latent image stability, and the highest level of color image stability.
COLOR NEGATIVE PAPERS (3)
Paper Name and Processing Paper Type Surfaces Super Glossy _ NEW FUJIFLEX CRYSTAL ARCHIVE PRINTING MATERIAL Process RA-4 or equivalent Sizes Rolls: Width ranging from 31/2 in. to 50 in. Features and Uses ?? Professional-quality laser printer-dedicated silver halide printing material with a polyester base. ?? Suited to the production of high-quality exhibition prints, displays, advertisements and a wide variety of other uses. ?? Provides an expanded color range, high color saturation, pure whites for clearer images and sharper text outline and the highest level of post-processing stability, plus superb latent image stability, for higher productivity.
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COLOR DISPLAY MATERIAL
Material Name and Processing Film Sizes Features and Uses ?? Professional-quality, translucent-base, color display material optimized for exposure, by laser light, using laser printers or other digital printing devices. ?? Suited to use with digital image data of color film and other sources, for the production of extremely high-quality, back-lit displays in sizes from small to large. ?? Provides high D-max, assuring rich color saturation with great detail and a wide range of gradation setup, neutral gray balance, vibrant color reproduction, excellent latent image stability, the highest level of color image stability and increased whiteness for improved highlight clarity. Rolls: Widths ranging from 20 in. to 50 in. FUJITRANS Display Material for Digital Printers Process RA-4 or equivalent FUJICLEAR Display Material for Digital Printers Rolls: Widths ranging from 20 in. to 50 in.
FUJIFILM PROFESSIONAL DATA GUIDE
Process RA-4 or equivalent
?? Professional-quality, clear-base, color display material optimized for exposure, by laser light, using laser printers or other digital printing devices. ?? Suited to use with digital image data of color film and other sources, for the production of extremely high-quality, back-lit displays in sizes from small to large. ?? Provides high D-max, assuring rich color saturation with great detail and a wide range of gradation setup, neutral gray balance, vibrant color reproduction, excellent latent image stability and the highest level of color image stability. NOTE Without a built-in translucent layer for light diffusion.
COLOR DUPLICATING FILM
Film Name and Processing Exposure Light sources: Electronic flash and tungsten lamps Exposure times: 1/1000 to 20 sec. FUJICHROME DUPLICATING FILM CDU TYPE II [CDU II] Process E-6/CR-56 NOTE For the CDU II film, other sizes are available. Please contact your local dealer for details. Film Sizes Rolls: 35 mm 30.5 m (100 ft) 35 mm 122 m (400 ft) 70 mm 30.5 m (100 ft) Sheets: 4 × 5 in. (25 sheets × 2) 8 × 10 in. (25 sheets × 2) Features and Uses ?? Professional-quality transparency duplicating film. ?? Suited to making same-size, reduced, or enlarged positive duplicates from reversal film, or for making high-quality copies of duplicated films. ?? Provides enhanced gray balance, shadow detail and black depth for improved originalto-duplicate fidelity.
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FUJIFILM PROFESSIONAL DATA GUIDE
1-8. COLOR FILM AND PAPER PROCESSING SPECIFICATIONS
Described below are the standard processing steps and specifications which result in maximum quality for Fujifilm color reversal films, color negative films, color reversal papers and color negative papers when these materials are processed using suitable processors under controlled conditions.
2. Process CN-16Q
For FUJICOLOR negative films. The table below summarizes the standard Process CN-16Q steps and conditions for Minilab film processors used for processing FUJICOLOR negative films. CN-16Q Standard Processing Steps
No. Step Code NQ1 NQ2 NQ3 NQS-1 NQS-2 NQ4 _ Time (min:sec) 3:15 1:00 3:15 0:40 1:00 0:40 _ Temperature °C (°F) 38.0±0.2 (100.4±0.4) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 32 to 38 (90 to 100) 32 to 38 (90 to 100) 35 to 41 (95 to 106) 50 (122) 30 20 Normal room light Replenishment Safelight Rate (mL/135-24 exp.) 45 20 30 Total darkness
1. Process CR-56
For FUJICHROME films. The table below summarizes the standard Process CR-56 steps and conditions for continuous type (cine film type) and hanger type (dip system) processors used for processing FUJICHROME films. CR-56 Standard Processing Steps
No. Step Replenishment Rates Time (min:sec) (mL/m2) (mL/roll) Temperature Code Lower Stand- Upper Continuous Dip-and- Safelight °C (°F) dunk Type type Limit ard Limit 135-24 135-36 H1 W1 _ 1:30 1:30 _ 1:30 _ _ 6:00 2:00 2:00 6:00 2:00 6:00 4:00 2:00 2:00 1:00 _ _ 4:00 4:00 8:00 4:00 8:00 6:00 4:00 4:00 4:00 38.0±0.3 (100.4±0.5) 33 to 39 (92 to 102) 33 to 39 (92 to 102) 38.0±0.6 (100.4±1.0) 33 to 39 (92 to 102) 33 to 39 (92 to 102) 33 to 39 (92 to 102) 33 to 39 (92 to 102) 33 to 39 (92 to 102) Room temp. 63°C (145°F) or less 2,150 21L/min/m 1,100 2,150 1,100 215 1,100
2
1 Color Developer 2 Bleach 3 Bleach-Fix 4 Super Rinse 1 5 Super Rinse 2 6 Stabilizer 7 Drying Total darkness
1 First Developer 2 First Wash
80.6
111
0.8L/min 1.1L/min
3 Reversal Bath H2II 4 Color Developer 5 Pre-bleach 6 Bleach 7 Fixer 8 Second Wash 9 Third Wash 10 Final Rinse 11 Drying H3 H4II H5II H6 W2 W3
40 80.6 40 8.1 40
56 111 56 11 56 Normal room light
3. Process CN-16FA
For FUJICOLOR negative films. The table below summarizes the standard Process CN-16FA steps and conditions for Minilab film processors used for processing FUJICOLOR negative films. CN-16FA Standard Processing Steps
No. Step Color Developer Bleach Fixer 1 Fixer 2 Super Rinse Stabilizer 1 Stabilizer 2 Drying Code N1 N2 N3-1 N3-2 NS N4-1 N4-2 _ Time (min:sec) 3:05 0:50 0:50 0:50 0:30 0:20 0:20 _ Temperature °C (°F) 38.0±0.2 (100.4±0.4) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 50 (122) 20 16 34 Normal room light Replenishment Safelight Rate(mL/135-24 exp.) 23 5 Total darkness
1:30 1:30
Countercurrent cascade water flow from Third Wash (W3) 21L/min/m2 1,100
0.8L/min 1.1L/min
1 2 3 4 5
H7III 0:30 _
40
56
NOTE E-6 chemicals can be used in place of CR-56 chemicals for processing any type of
FUJICHROME film. 6 7 8
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FUJIFILM PROFESSIONAL DATA GUIDE
4. Process CN-16L
For FUJICOLOR negative films. The table below summarizes the standard Process CN-16L steps and conditions for Minilab film processors used for processing FUJICOLOR negative films. CN-16L Standard Processing Steps
No. Step Code N1 N2 N3-1 N3-2 NS N4-1 N4-2 _ Time (min:sec) 3:05 0:50 0:50 0:50 0:30 0:20 0:20 _ Temperature °C (°F) 38.0±0.2 (100.4±0.4) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 50 (122) 15 8 17 Normal room light Replenishment Safelight Rate(mL/135-24 exp.) 21 5 Total darkness
6. Process CP-40FA
For FUJICOLOR negative papers. The table below summarizes the standard Process CP-40FA steps and conditions for Minilab printer processors used for processing FUJICOLOR negative papers. CP-40FA Standard Processing Steps
No. Step Code P1 P2 PS _ Time (sec) 45 45 90 _ Temperature °C (°F) 35.0±0.3 (95.0±0.5) 33 to 37 (91 to 99) 33 to 37 (91 to 99) 60 to 90 (140 to 194) Replenishment Rate (mL/m2) 161 218 364 Safelight
Total darkness or Fuji Safelight Filter SLG-103A (10W lamp)
1 Color Developer 2 Bleach 3 Fixer 1 4 Fixer 2 5 Super Rinse 6 Stabilizer 1 7 Stabilizer 2 8 Drying
1 Color Developer 2 Bleach-Fix 3 Super Rinse 4 Drying
Normal room light
NOTE RA-4 chemicals can be used in place of CP-40FA chemicals for processing any type of
FUJICOLOR negative paper.
7. Process CP-43FA
For FUJICOLOR negative papers. The table below summarizes the standard Process CP-43FA steps and conditions for Minilab printer processors used for processing FUJICOLOR negative papers. CP-43FA Standard Processing Steps
No. Step Code P1 P2 PS _ Time (sec) 45 45 90 _ Temperature °C (°F) 38.5±0.3 (101.3±0.5) 33 to 37 (91 to 99) 33 to 37 (91 to 99) 60 to 90 (140 to 194) Replenishment Rate (mL/m2) 73 61 121*1 242*2 Safelight
5. Process CN-16S
For FUJICOLOR negative films. The table below summarizes the standard Process CN-16S steps and conditions for Fujifilm Minilab film processors FP363SC/FP563SC used for processing FUJICOLOR negative films. CN-16S Standard Processing Steps
No. 1 2 3 4 5 6 7 8 Step Color Developer Bleach Fixer 1 Fixer 2 Stabilizer 1 Stabilizer 2 Stabilizer 3 Drying Code N1 N2 N3-1 N3-2 N4-1 N4-2 N4-3 _ Time (min:sec) 3:05 0:50 0:50 0:50 0:30 0:20 0:20 _ Temperature °C (°F) 38.0±0.2 (100.4±0.4) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 35 to 41 (95 to 106) 50 (122) 30 7.5 Normal room light Replenishment Safelight Rate(mL/135-24 exp.) 15 5 Total darkness
1 Color Developer 2 Bleach-Fix 3 Super Rinse 4 Drying
Total darkness
Normal room light
*1 With RC50D incorporated *2 Without RC50D incorporated
NOTE The CP-43FA processing formula is a reduced replenishment version of Process CP-40FA.
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FUJIFILM PROFESSIONAL DATA GUIDE
8. Process CP-47L
For FUJICOLOR negative papers. The table below summarizes the standard Process CP-47L steps and conditions for Minilab printer processors used for processing FUJICOLOR negative papers. CP-47L Standard Processing Steps
No. Step Code P1 P2 PS _ Time (sec) 45 45 90 _ Temperature °C (°F) 38.5±0.3 (101.3±0.5) 36 to 40 (96.8 to 104) 35 to 40 (95 to 104) 60 to 90 (140 to 194) Replenishment Rate (mL/m2) 45 35 121*1 242*2
10. Process CP-49E
For FUJICOLOR negative papers. The table below summarizes the standard Process CP-49E steps and conditions for Fujifilm Digital Minilab FRONTIER 340 and FRONTIER 550/570 used for processing FUJICOLOR negative papers. CP-49E Standard Processing Steps for FRONTIER 340
Safelight No. Total darkness Step Code P1 P2 PS _ Time (sec) 25 25 24 _ Temperature °C (°F) 45.0±0.3 (113±0.5) 38 to 42 (100 to 108) 38 to 42 (100 to 108) 65 to 85 (149 to 185) Replenishment Rate (mL/m2) 45 35 215 Safelight
1 Color Developer 2 Bleach-Fix 3 Super Rinse 4 Drying
1 Color Developer 2 Bleach-Fix
Total darkness
Normal room light
3 Super Rinse 4 Drying
Normal room light
*1 With RC50D incorporated *2 Without RC50D incorporated
NOTE The CP-47L processing formula is used as a substitute for CP-43FA thereby reducing
replenishment rates.
CP-49E Standard Processing Steps for FRONTIER 550/570
No. Step Code P1 P2 PS _ Time (sec) 19 19 17 _ Temperature °C (°F) 43.0±0.3 (109.4±0.5) 41 to 45 (106 to 113) 43 to 46 (109 to 115) 75 to 80 (167 to 176) Replenishment Rate (mL/m2) 45 35 175 Safelight
9. Process CP-48S
For FUJICOLOR negative papers. The table below summarizes the standard Process CP-48S steps and conditions for Fujifilm Digital Minilab FRONTIER 330/350/370/390 used for processing FUJICOLOR negative papers. CP-48S Standard Processing Steps
No. Step Code P1 P2 PS _ Time (sec) 45 45 90 _ Temperature °C (°F) 38.5±0.3 (101.3±0.5) 36 to 40 (96.8 to 104) 35 to 40 (95 to 104) 45 to 65 (113 to 149) Replenishment Rate (mL/m2) 45 35 150*1 175*2 242*3 Safelight 4 Drying 1 Color Developer 2 Bleach-Fix 3 Super Rinse
Total darkness
Normal room light
1 Color Developer 2 Bleach-Fix 3 Super Rinse 4 Drying * FRONTIER 350 / 370 *2 FRONTIER 330 *3 FRONTIER 390
1
Total darkness
Normal room light
4 2
4 3
FUJIFILM PROFESSIONAL DATA GUIDE
1-9. TECHNICAL DATA ON CAMERA FILMS
This section contains technical data on FUJICHROME films and FUJICOLOR films.
● Films
FUJICHROME Velvia for Professionals FUJICHROME Velvia 100 Professional FUJICHROME Velvia 100F Professional FUJICHROME PROVIA 100F Professional FUJICHROME ASTIA 100F Professional FUJICHROME PROVIA 400F Professional FUJICHROME 64 T TYPE II Professional FUJICHROME Sensia 100 FUJICHROME Sensia 200 FUJICHROME Sensia 400 FUJICOLOR PRO 160S PROFESSIONAL FUJICOLOR PRO 160C PROFESSIONAL FUJICOLOR NPL 160 PROFESSIONAL FUJICOLOR PRO 400H PROFESSIONAL FUJICOLOR PRO 800Z PROFESSIONAL FUJICOLOR SUPERIA REALA FUJICOLOR SUPERIA 100 FUJICOLOR SUPERIA 200 FUJICOLOR SUPERIA X-TRA 400 FUJICOLOR TRUE DEFINITION 400 FUJICOLOR SUPERIA X-TRA 800 FUJICOLOR SUPERIA 1600 FUJICOLOR PRESS 400 FUJICOLOR PRESS 800
● Technical Data ● Spectral Sensitivity Curves ● Spectral Dye Density Curves ● Characteristic Curves ● MTF Curve ● Diffuse RMS Granularity Value ● Resolving Power
4 4
[RVP] [RVP100] [RVP100F] [RDPIII] [RAP100F] [RHPIII] [RTPII] [RA] [RM] [RH] [PRO 160S] [PRO 160C] [NPL] [PRO 400H] [PRO 800Z] [CS] [CN] [CA] [CH] [CH] [CZ] [CU] [CH] [CZ]
4 5
FUJIFILM PROFESSIONAL DATA GUIDE
To help readers better understand the graphs which follow, these brief technical explanations are given.
Characteristic Curves
Characteristic curves graphically represent the densities that are produced on a given photographic emulsion by a specific exposure using a given combination of developer and development time. They serve as a standard yardstick for evaluating the exposure-density relationship for different emulsions and different processing conditions. A characteristic curve consists of densitometric measurements plotted against the log of exposure. Each part of the curve reflects a different density characteristic of the given exposure, as follows:
The nature of a photosensitive material is indicated by its characteristic curve. For example, the slope (or gamma) of the straight line indicates the film's relative contrast. The larger the gamma, the higher the contrast (3.0 is typical for high-contrast lithographic black-and-white film). The position of the characteristic curve with respect to the exposure scale indicates the speed of the emulsion. The further left it is, the faster the emulsion and the shorter the time required to produce any particular density on the curve. Since color emulsions usually have three photosensitive layers, one curve is plotted for each layer. These curves, however, will not be identical because each layer responds to light in a different way.
Spectral Sensitivity Curves
Spectral sensitivity curves graphically represent a film's response to different colors of the spectrum. They are produced by plotting wavelength against sensitivity (indicated by “log sensitivity,” or the reciprocal of the exposure (J/cm2) needed to obtain a density of 1.0 above minimum density). A set of three curves is used for color films, one for each of the color-sensitive layers (blue, green and red). These curves are obtained by exposing the photographic material to narrowband (5-10 nm) radiation.
Point A B C D E F Toe
Name Base Fog Density Level Straight Line Shoulder Maximum Density Reversal
Density Characteristic Area with no visible exposure and no detail. Area where density gradually begins to increase. Area where density increases at a more or less linear rate. Area where the curve changes from diagonal to horizontal. Area of maximum density. Referred to as "Dmax"or "Max. black." Area where increasing exposure causes the density to drop. This effect is called "solarization."
Spectral Dye Density Curves
Spectral density is a measure of the amount of light absorbed by a given area illuminated by light within a narrow range of wavelengths. Spectral dye density curves graphically represent the light-absorption characteristics of dyes in reversal, duplicating, and negative films. A spectrophotometer or color analyzer is used to take spectral diffuse density measurements for a given emulsion under given lighting conditions, and these values are plotted against wavelength to produce a spectral dye density curve.
●
D Photpgraphic Density
E
F
C
A
B Exposure (log)
Two spectral density curves are obtained for negative films: one for standard neutral gray (i.e., a spectral density of 1.0) and one for minimum density. ● Three spectral density curves are obtained for reversal films (one for each photosensitive dye layer) with the obtained spectral density level set at 1.0.
4 7
4 6
FUJIFILM PROFESSIONAL DATA GUIDE
FUJICHROME Velvia for Professionals [RVP] ISO 50/18°, Daylight Type
●
FUJICHROME Velvia 100 Professional [RVP100] ISO 100/21°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES 2.0
Green Sensitive Layer Blue Sensitive Layer 400
●
SPECTRAL DYE DENSITY CURVES 1.5 Yellow Magenta Cyan
SPECTRAL SENSITIVITY CURVES
2.0 Green Blue Red Sensitive Sensitive Sensitive Layer Layer Layer
●
SPECTRAL DYE DENSITY CURVES 1.5 Yellow Magenta Cyan
Spectral Diffuse Density
Spectral Diffuse Density
Sensitivity* (log)
1.0
1.0
1.0 Sensitivity* (log)
1.0
0.0
0.5
0.0
0.5
-1.0
Red Sensitive Layer 500 600 700 Wavelength (nm)
0.0 400
Exposure: Process :
500 600 Wavelength (nm)
Separated Light E-6/CR-56
700
-1.0
0.0
400 500 600 Wavelength (nm) 700
400
Exposure: Process :
500 600 Wavelength (nm)
Separated Light CR-56/E-6
700
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Process : CR-56/E-6 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density
Red Green Blue
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5
Red Green Blue
2.0 1.5 1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Exposure : Daylight, 1/50 sec. Process : E-6/CR-56 Densitometry : Status A
1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Exposure
: Daylight, 1/50 sec. Process : CR-56/E-6 Densitometry : Status A
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........9
Response (%)
DIFFUSE RMS GRANULARITY VALUE........8
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 80 lines/mm Chart Contrast 1000:1 - 160 lines/mm
Chart Contrast 1.6:1 - 80 lines/mm Chart Contrast 1000:1 - 160 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : E-6/CR-56
4 8
Exposure: Daylight Process : E-6/CR-56
4 9
FUJIFILM PROFESSIONAL DATA GUIDE
FUJICHROME Velvia 100F Professional [RVP100F] ISO 100/21°, Daylight Type
●
FUJICHROME PROVIA 100F Professional [RDPIII ] ISO 100/21°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES
2.0 Green Blue Red Sensitive Sensitive Sensitive Layer Layer Layer
●
SPECTRAL DYE DENSITY CURVES 1.5 Yellow Magenta Cyan
Spectral Diffuse Density
Sensitivity* (log)
1.0 Sensitivity* (log)
1.0
Spectral Diffuse Density
SPECTRAL SENSITIVITY CURVES 2.0 Green Blue Red Sensitive Sensitive Sensitive Layer Layer Layer 1.0
●
SPECTRAL DYE DENSITY CURVES 1.0 Yellow 0.5 Magenta Cyan
0.0
0.5
0.0
-1.0
400
500 600 Wavelength (nm)
700
0.0 400
Exposure: Process :
500 600 Wavelength (nm)
Separated Light CR-56/E-6
700
-1.0
400
500 600 Wavelength (nm)
700
0.0
400
500 600 Wavelength (nm)
Separated Light E-6/CR-56
700
Process : CR-56/E-6 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Exposure: Process :
CHARACTERISTIC CURVES 4.0 3.5 3.0
Red Green Blue
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5
Red Green Blue
Density
Density
Exposure : Daylight, 1/50 sec. Process : CR-56/E-6 Densitometry : Status A
2.5 2.0 1.5 1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
2.0 1.5 1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Exposure : Daylight, 1/50 sec. Process : E-6/CR-56 Densitometry : Status A
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........8
Response (%)
DIFFUSE RMS GRANULARITY VALUE........8
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 80 lines/mm Chart Contrast 1000:1 - 160 lines/mm
Chart Contrast 1.6:1 - 60 lines/mm Chart Contrast 1000:1 - 140 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : E-6/CR-56
5 0
Exposure: Daylight Process : E-6/CR-56
5 1
FUJIFILM PROFESSIONAL DATA GUIDE
FUJICHROME ASTIA 100F Professional [RAP100F] ISO 100/21°, Daylight Type
●
FUJICHROME PROVIA 400F Professional [RHPIII ] ISO 400/27°, Daylight Type
●
Spectral Diffuse Density
Sensitivity* (log)
Yellow 1.0
Magenta
Cyan
1.0
Spectral Diffuse Density
SPECTRAL SENSITIVITY CURVES 2.0 Green Blue Red Sensitive Sensitive Sensitive Layer Layer Layer 1.0
●
SPECTRAL DYE DENSITY CURVES
1.5
SPECTRAL SENSITIVITY CURVES 2.0
●
SPECTRAL DYE DENSITY CURVES 1.0 Yellow 0.5 Magenta Cyan
Sensitivity* (log)
0.0
0.5
0.0
-1.0
400
500 600 Wavelength (nm)
700
0.0
400
500 600 Wavelength (nm)
Daylight E-6/CR-56
700
Blue Green Red Sensitive Sensitive Sensitive Layer Layer Layer -1.0 400 500 600 700 Wavelength (nm)
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
0.0
400
500 600 Wavelength (nm)
Separated Light E-6/CR-56
700
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above D-min *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Exposure: Process :
Exposure: Process :
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Exposure : Daylight, 1/50 sec. Process : E-6/CR-56 Densitometry : Status A Red Green Blue
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5
Red Green Blue
Density
2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 Exposure [log H (lux-seconds)] 0.0
Exposure : Daylight, 1/50 sec. Process : E-6/CR-56 Densitometry : Status A
●
MTF CURVE
150 100 70 50 30 20 10 7 51
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........7
Response (%)
DIFFUSE RMS GRANULARITY VALUE........13
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 60 lines/mm Chart Contrast 1000:1 - 140 lines/mm
Chart Contrast 1.6:1 - 55 lines/mm Chart Contrast 1000:1 - 135 lines/mm
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : E-6/CR-56
5 2
Exposure: Daylight Process : E-6/CR-56
5 3
FUJIFILM PROFESSIONAL DATA GUIDE
FUJICHROME 64 T TYPEII Professional [RTPII] ISO 64/19°,Tungsten Type
●
FUJICHROME Sensia 100 [RA] ISO 100/21°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES 1.0 Green Red Sensitive Sensitive Layer Layer Blue Sensitive Layer
●
SPECTRAL DYE DENSITY CURVES 1.5
Spectral Diffuse Density
Spectral Diffuse Density
SPECTRAL SENSITIVITY CURVES 2.0 Exposure: Separated Light Process : CR-56/E-6
1.0
●
SPECTRAL DYE DENSITY CURVES 1.5 Yellow 1.0 Magenta Cyan
Sensitivity* (log)
1.0
Yellow
Magenta
Cyan
0.0
Sensitivity* (log)
0.5
0.0
-1.0
Blue Sensitive Layer 400
Green Red Sensitive Sensitive Layer Layer 700
0.5
400
500 600 Wavelength (nm)
700
0.0
-1.0
400
500 600 Wavelength (nm)
Separated Light E-6/CR-56
700
500 600 Wavelength (nm)
0.0
400
500 600 Wavelength (nm)
Daylight E-6/CR-56
700
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Exposure: Process :
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above D-min *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Exposure: Process :
CHARACTERISTIC CURVES 4.0 3.5 3.0 Density 2.5
Red Green Blue
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5
Red Green Blue
2.0 1.5 1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Exposure : Tungsten 4 sec. Process : E-6/CR-56 Densitometry : Status A
1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Exposure
: Daylight, 1/50 sec. Process : E-6/CR-56 Densitometry : Status A
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........10
Response (%)
DIFFUSE RMS GRANULARITY VALUE........8
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0 above minimum density
●
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 55 lines/mm Chart Contrast 1000:1 - 135 lines/mm
Chart Contrast 1.6:1 - 60 lines/mm Chart Contrast 1000:1 - 140 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Tungsten Process : E-6/CR-56
5 4
Exposure: Daylight Process : E-6/CR-56
5 5
FUJIFILM PROFESSIONAL DATA GUIDE
FUJICHROME Sensia 200 [RM] ISO 200/24°, Daylight Type
●
FUJICHROME Sensia 400 [RH] ISO 400/27°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES 2.0
SPECTRAL DYE DENSITY CURVES 1.5 Yellow Magenta Cyan
●
SPECTRAL SENSITIVITY CURVES 2.0
●
SPECTRAL DYE DENSITY CURVES 1.5
Spectral Diffuse Density Yellow Magenta Cyan
Spectral Diffuse Density
Sensitivity* (log)
1.0
1.0
Sensitivity* (log)
1.0
1.0
0.0
0.5
Blue Green Red Sensitive Sensitive Sensitive Layer Layer Layer 400 500 600 Wavelength(nm) 700
0.0
0.5
-1.0
0.0
400
500 600 Wavelength (nm)
Separated Light E-6/CR-56
700
Blue Green Red Sensitive Sensitive Sensitive Layer Layer Layer -1.0 400 500 600 700 Wavelength (nm)
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
0.0
400
500 600 Wavelength (nm)
Separated Light E-6/CR-56
700
Process : E-6/CR-56 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Exposure: Process :
Exposure: Process :
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density
Red Green Blue
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5
Red Green Blue
2.0 1.5 1.0 0.5 0.0 -3.0 -2.0 -1.0 -0.0 Exposure [log H (lux-seconds)] 1.0
Exposure : Daylight, 1/50 sec. Process : E-6/CR-56 Densitometry : Status A
1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 -0.0 Exposure [log H (lux-seconds)]
Exposure
: Daylight, 1/50 sec. Process : E-6/CR-56 Densitometry : Status A
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........13
Response (%)
DIFFUSE RMS GRANULARITY VALUE........13
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
Micro-densitometer Measurement Aperture: 48??m in diameter Sample Density:1.0
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 60 lines/mm Chart Contrast 1000:1 - 140 lines/mm
Chart Contrast 1.6:1 - 55 lines/mm Chart Contrast 1000:1 - 135 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : E-6/CR-56
5 6
Exposure: Daylight Process : E-6/CR-56
5 7
FUJIFILM PROFESSIONAL DATA GUIDE
FUJICOLOR PRO 160S PROFESSIONAL [PRO 160S] ISO 160/23°, Daylight Type
●
FUJICOLOR PRO 160C PROFESSIONAL [PRO 160C] ISO 160/23°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES
Green Blue Sensitive Sensitive Layer Layer Red Sensitive Layer
●
SPECTRAL DYE DENSITY CURVES
3.0 Mid-scale Density 2.0 Minimum Density 1.0
SPECTRAL SENSITIVITY CURVES
Relative Sensitivity* (log) 1.0 Green Sensitive Layer Blue Sensitive Layer Cyan
Sensitive Layer
●
SPECTRAL DYE DENSITY CURVES
3.0 Mid-scale Density 2.0 Minimum Density 1.0
Relative Sensitivity* (log) 1.0
Spectral Diffuse Density
Red Sensitive Layer
Cyan Sensitive Layer 400 500 600 Wavelength (nm) 700
Spectral Diffuse Density
0.0
400
500 600 Wavelength (nm)
700
0.0 400 500 600 Wavelength (nm) 700
400
500 600 Wavelength (nm)
700
Process : C-41 Densitometry : Status M Density : 1.0 above D-min. *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for D-min.
Process : C-41 Densitometry : Status M Density : 1.0 above D-min. *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for D-min.
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Blu e en
Exposure : Daylight, 1/125 sec. Process : C-41 Densitometry : Status M
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 -0.0 Exposure [log H (lux-seconds)] 1.0
Blu
e
en
Exposure : Daylight, 1/125 sec. Process : C-41 Densitometry : Status M
Gre
Gre
Red
Red
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........3
Response (%)
DIFFUSE RMS GRANULARITY VALUE........3
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 63 lines/mm Chart Contrast 1000:1 - 125 lines/mm
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : C-41
5 8
Exposure: Daylight Process : C-41
5 9
FUJIFILM PROFESSIONAL DATA GUIDE
FUJICOLOR NPL 160 PROFESSIONAL [NPL] ISO 160/23°, Tungsten Type
●
FUJICOLOR PRO 400H PROFESSIONAL [PRO 400H] ISO 400/27°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES Blue Sensitive Layer Green Sensitive Red Layer Sensitive Layer
●
SPECTRAL DYE DENSITY CURVES
3.0
SPECTRAL SENSITIVITY CURVES Relative Sensitivity* (log) 1.0 Red Green Sensitive Sensitive Layer Layer Blue Sensitive Layer Cyan Sensitive Layer 400 500 600 Wavelength (nm) 700
●
SPECTRAL DYE DENSITY CURVES 2.0
Spectral Diffuse Density
Relative Sensitivity* (log) 1.0
Spectral Diffuse Density
Mid-scale Density 1.5 1.0 0.5 0.0 Minimum Density
2.0
Mid-scale Density
1.0
Minimum Density
Cyan Sensitive Layer 400 500 600 Wavelength (nm) 700
0.0
400
500 600 Wavelength (nm)
700
400
500 600 Wavelength (nm)
700
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Blu e en
Exposure : Tungsten, 1/10 sec. Process : C-41/CN-16 Densitometry : Status M
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 –4.0 Blue Green Red –3.0 –2.0 –1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Exposure : Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
Gre
Red
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........4
Response (%)
DIFFUSE RMS GRANULARITY VALUE........4
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 63 lines/mm Chart Contrast 1000:1 - 125 lines/mm
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Tungsten Process : C-41/CN-16
6 0
Exposure: Daylight Process : C-41/CN-16
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FUJIFILM PROFESSIONAL DATA GUIDE
FUJICOLOR PRO 800Z PROFESSIONAL [PRO 800Z] ISO 800/30°, Daylight Type
●
FUJICOLOR SUPERIA REALA [CS] ISO 100/21°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES Green Red Sensitive Sensitive Layer Layer Blue Sensitive Layer Cyan Sensitive Layer 400 500 600 Wavelength (nm) 700
●
SPECTRAL DYE DENSITY CURVES 2.0
SPECTRAL SENSITIVITY CURVES Relative Sensitivity* (log) 1.0 Green Sensitive Layer Blue Sensitive Layer Cyan Sensitive Layer 400
●
SPECTRAL DYE DENSITY CURVES 2.0
Relative Sensitivity* (log) 1.0
Spectal Diffuse Density
Mid-scale Density 1.5 1.0 0.5 0.0 Minimum Density
Spectral Diffuse Density
Mid-scale Density 1.5 1.0 Minimum Density 0.5 0.0 400 500 600 Wavelength (nm) 700
Red Sensitive Layer 700
400
500 600 Wavelength (nm)
700
500 600 Wavelength (nm)
Process : C-41 Densitometry : Status A Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 –4.0
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5
e Blu n ree G ed R
Blue Green
Exposure
Red
–3.0 –2.0 –1.0 –0.0 Exposure [log H (lux-seconds)] 1.0
: Daylight, 1/125 sec. Process : C-41 Densitometry : Status M
1.0 0.5 0.0 –4.0 –3.0
Exposure
: Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
–2.0 –1.0 –0.0 Exposure [log H (lux-seconds)]
1.0
●
MTF CURVE 150 100 70 50 30 20 10 7 5
●
●
MTF CURVE 150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........5
DIFFUSE RMS GRANULARITY VALUE........4
Response (%)
●
RESOLVING POWER
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 115 lines/mm
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
Chart Contrast 1.6:1 - 63 lines/mm Chart Contrast 1000:1 - 125 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : C-41
6 2
Exposure: Daylight Process : C-41/CN-16
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FUJIFILM PROFESSIONAL DATA GUIDE
FUJICOLOR SUPERIA 100 [CN] ISO 100/21°, Daylight Type
●
FUJICOLOR SUPERIA 200 [CA] ISO 200/24°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES Relative Sensitivity* (log) 1.0 Green Sensitive Layer
SPECTRAL DYE DENSITY CURVES 2.0
●
SPECTRAL SENSITIVITY CURVES Relative Sensitivity* (log) 1.0 Green Sensitive Layer
●
SPECTRAL DYE DENSITY CURVES 2.0
Spectral Diffuse Density
Spectral Diffuse Density
Mid-scale Density
Mid-scale Density
1.5
1.5
1.0 Minimum Density
1.0 Minimum Density
Blue Cyan Red Sensitive Sensitive Sensitive Layer Layer Layer 400 500 600 Wavelength (nm) 700
0.5
Red Blue Cyan Sensitive Sensitive Sensitive Layer Layer Layer 400 500 600 Wavelength (nm) 700
0.5
0.0
400
500 600 Wavelength (nm)
700
0.0
400
500 600 Wavelength (nm)
700
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure (J/cm2) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5
2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
e Blu en Gre Red
Exposure : Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
1.0 0.5 0.0 -4.0
e Blu n ree G
Re d
Exposure
: Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
– 3.0 – 2.0 – 1.0 0.0 Exposure [log H (lux-seconds)]
1.0
●
MTF CURVE 150 100 70 50 30 20 10 7 5
●
●
MTF CURVE 150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........4 Response (%)
DIFFUSE RMS GRANULARITY VALUE........4
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 63 lines/mm Chart Contrast 1000:1 - 125 lines/mm
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : C-41/CN-16
6 4
Exposure: Daylight Process : C-41/CN-16
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FUJIFILM PROFESSIONAL DATA GUIDE
FUJICOLOR SUPERIA X-TRA 400 [CH] ISO 400/27°, Daylight Type FUJICOLOR PRESS 400 [CH]
●
FUJICOLOR TRUE DEFINITION 400 [CH] ISO 400/27°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES Green Sensitive Layer Blue Sensitive Layer Cyan Red Sensitive Sensitive Layer Layer 400 500 600 Wavelength (nm) 700
●
SPECTRAL DYE DENSITY CURVES
SPECTRAL SENSITIVITY CURVES Relative Sensitivity* (log) 1.0 Green Sensitive Layer Blue Sensitive Layer Cyan Red Sensitive Sensitive Layer Layer 400 500 600 Wavelength (nm) 700
●
SPECTRAL DYE DENSITY CURVES
Spectral Diffuse Density
Relative Sensitivity* (log) 1.0
Spectral Diffuse Density
2.0
Mid-scale Density
2.0
Mid-scale Density
1.0 Minimum Density 0.0 400 500 600 Wavelength (nm) 700
1.0 Minimum Density 0.0 400 500 600 Wavelength (nm) 700
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
Process : CN-16 Densitometry : Status M Density : 1.0 above D-min. *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for D-mini.
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density
2.0 1.5 1.0 0.5 0.0 -4.0
e Blu een Gr d Re
Exposure : Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
2.0 1.5 1.0 0.5 0.0 -4.0 – 3.0 – 2.0 – 1.0 0.0 Exposure [log H (lux-seconds)] 1.0
Blu
e
en
Gre
Re
d
Exposure
: Daylight, 1/125 sec. Process : CN-16 Densitometry : Status M
– 3.0 – 2.0 – 1.0 0.0 Exposure [log H (lux-seconds)]
1.0
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........4
DIFFUSE RMS GRANULARITY VALUE........5
Response (%)
●
RESOLVING POWER
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
Exposure: Daylight Process : C-41/CN-16
6 6
Exposure: Daylight Process : CN-16
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FUJIFILM PROFESSIONAL DATA GUIDE
FUJICOLOR SUPERIA X-TRA 800 [CZ] ISO 800/30°, Daylight Type FUJICOLOR PRESS 800 [CZ]
●
FUJICOLOR SUPERIA 1600 [CU] ISO 1600/33°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES Green Sensitive Layer Blue Sensitive Layer Red Sensitive Layer
●
SPECTRAL DYE DENSITY CURVES 3.0 Mid-scale Density 2.0
SPECTRAL SENSITIVITY CURVES
Relative Sensitivity* (log) 1.0 Green Sensitive Layer
●
SPECTRAL DYE DENSITY CURVES
Relative Sensitivity* (log) 1.0
Spectal Diffuse Density
Spectal Diffuse Density
2.0 Mid-scale Density
Blue Sensitive Layer Cyan Sensitive Layer 400
Red Sensitive Layer
1.0 Minimum Density 0.0 400 500 600 Wavelength (nm) 700
1.0 Minimum Density 0.0 400 500 600 Wavelength (nm) 700
400
Cyan Sensitive Layer 500 600 Wavelength (nm)
700
500 600 Wavelength (nm)
700
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density. *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
CHARACTERISTIC CURVES * 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 -0.0 Exposure [log H (lux-seconds)] 1.0
e Blu en Gre d Re
Exposure : Daylight, 1/125 sec. Process :C-41/CN-16 Densitometry:Status M
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 -0.0 Exposure [log H (lux-seconds)] 1.0
Exposure : Daylight, 1/125 sec. Process :C-41/CN-16 Densitometry :Status M
e Blu en Gre d Re
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........5
Response (%)
DIFFUSE RMS GRANULARITY VALUE........7
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
RESOLVING POWER
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
Exposure: Daylight Process : C-41/CN-16
6 8
Exposure: Daylight Process : C-41/CN-16
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FUJIFILM PROFESSIONAL DATA GUIDE
2. INSTANT FILMS 2-1. FILMS FOR INSTANT PHOTOGRAPHY
There are three types of FUJI instant films: New FP-100C/FP-100C SILK, FP-100B SUPER, and FP-3000B SUPER SPEEDY. All are peelapart instant pack films with the photo size being 85 ×108 mm (except for FP-100C 4 ×5 with a photo size of 102 ×131 mm), and are designed for use with instant pack film cameras or instant pack film holders. FP-100C is an ISO 100 instant color film with unsurpassed color reproduction which makes it especially suited for identification photography and commercial test imaging applications. FP-100B SUPER, and FP-3000B SUPER SPEEDY are black-andwhite instant films having respective speeds of EI 100 and EI 3200 and the highest levels of grain quality and tone reproduction smoothness within its class. Because each film has a different development time, the table on the next page serves as a guide in providing optimum performance.
2-2. TECHNICAL DATA
Development Times and Temperatures
Temperatures Film Type New FP-100C/ FP-100C SILK FP-100B SUPER FP-3000B SUPER SPEEDY Unit: sec. 15-17°C 18-19°C 20-23°C 24-27°C 28-31°C 32-35°C 180 60 30 50 25 120 40 20 90 30 15 75 30 15 60
↑Standard Development Times
Reciprocity Characteristics (For FP-100C)
Exposure Time (second) 1/1000 1/100 1/10 1 Exposure Correction — — +1/3 stop +11/3 stops Color Balance Correction — — 5Y 20Y
INSTANT FILMS
Film Name FUJI INSTANT COLOR FILM New FP-100C/ FP-100C SILK Speed ISO 100/21° Color Sensitivity Film Sizes Regular Size: Photo Size: 85 × 108 mm Prints /Pack: 10 4 × 5 Size: Photo Size: 102 ×131 mm Prints /Pack: 10 Panchromatic Photo Size: 85 × 108 mm Prints /Pack: 10 Features and Uses ?? Peel-apart type ISO 100 instant color film for daylight / electronic flash use in a convenient 10exposure pack. ?? Suited to very wide range of photographic applications including commercial, fashion, portrait, identification and diagnostic photography, as well as CRT photography. ?? Provides superb fine-grain image quality, improved gradation balance, faithful reproduction and features extended low-temperature use, and reduced peel-time-induced color variations. ?? Peel-apart type instant black-and-white film in a convenient 10-exposure pack. ?? Suited for identification photography, commercial photo proofs, photo-micrography and other specialized applications. ?? Provides rich tonal gradation, fine grain quality and an easy-to-use ISO 100 speed rating for exposures using both daylight and tungsten light source.
FUJI INSTANT BLACK & WHITE FILM FP-100B SUPER
EI 100
FUJI INSTANT BLACK & WHITE FILM FP-3000B SUPER SPEEDY
EI 3200
Panchromatic
Regular Size: Photo Size: 85 × 108 mm Prints /Pack: 10 4 × 5 Size: Photo Size: 102 ×131 mm Prints /Pack: 10
?? Ultrahigh-speed peel-apart-type black-and-white instant film in a convenient 10-exposure pack. ?? Suited for identification photography, ultrasonic diagnostics, photo-micrography and other specialized applications. ?? Provides rich tonal gradation, excellent resolution in exposures using both daylight and tungsten light sources and convenient 15-second development, which significantly boosts handling efficiency.
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FUJIFILM PROFESSIONAL DATA GUIDE
3. BLACK-AND-WHITE FILMS 3-1. FILMS FOR BLACK-AND-WHITE PHOTOGRAPHY
Black-and-white negative films are used for the production of blackand-white prints. These films can be processed in the many conventional black-and-white negative film developers presently available. By using different developer type and development condition (time and/or temperature) combinations, the film speed, contrast and granularity can be varied to a considerable extent. NEOPAN Professional films are marketed by the Fuji Photo Film Company.
BLACK-AND-WHITE NEGATIVE FILMS
Film Name NEOPAN 100 ACROS Film Speed Daylight Tungsten ISO 100/21° ISO 100/21° Color Sensitivity Film Sizes Features and Uses ?? Medium speed, super fine grain, black-and-white negative film featuring Super Fine-∑ Grain Technology. ?? Suited to all normal indoor and outdoor photography as well as long exposure applications. ?? Provides outstanding sharpness, rich gradation, wide exposure latitude and excellent reciprocity characteristics. ?? Professional-quality, high-speed, fine-grain black-and-white negative film. ?? Suited to rapid-action subjects, telephotography, available-light photography, long-distance flash situations, and pull-/ push-processing to exposure indices between EI 200 and EI 3200. ?? Provides enhanced sharpness and excellent tonal gradation.
Panchromatic 135 (36-exp.) 120,
NEOPAN 400 Professional
ISO 400/27°
ISO 400/27°
Panchromatic 135 (24-and 36-exp.) 135 (36-exp. 20-roll packs) 35mm 30.5m (100ft) 120, 120 (5-roll packs)
NEOPAN 1600 Professional
EI 1600/33° Multi-speed Film
EI1600/33° Multi-speed Film
Panchromatic 135 (24-and 36-exp.) 135 (36-exp. 20-roll packs) 35mm 30.5m (100ft)
?? Professional-quality, very-high-speed black-and-white negative film. ?? Suited to available-light photography such as in night games and stage productions, while allowing pull-/ push-processing to exposure indices between EI 400 and EI 3200. ?? Provides enhanced sharpness and rich gradation.
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FUJIFILM PROFESSIONAL DATA GUIDE
3-2. PROCESSING BLACK-AND-WHITE FILMS
Suggested development times for NEOPAN 100 ACROS, NEOPAN 400 Professional and NEOPAN 1600 Professional films are indicated below.
Development Conditions Developing Tank : Small tank Agitation : Continuous agitation for the first minute and for 5 seconds every minute thereafter.
NEOPAN 100 ACROS [135 Size]
Developer Microdol-X D-76 D-76 (1:1)* T-MAX Developer T-MAX RS Developer X tol HC-110 (Dil.B) ID-11 Perceptol Temp. EI 100 100 200 100 100 200 100 100 80 100 100 18°C (64°F) 131/2 81/2 12 13 6 1/2 91/2 61/4 91/2 51/2 8 151/2 20°C (68°F) 111/2 71/4 10 101/2 5 1/2 8 51/4 8 41/2 63/4 121/2 22°C (72°F) 93/4 61/4 81/2 83/4 4 3/4 61/2 41/2 63/4 33/4 53/4 10 24°C (75°F) 8 1/4 51/4 7 71/4 4 51/2 33/4 51/2 31/4 43/4 8
Unit: minutes 26°C (79°F) 7 41/2 6 61/4 3 1/2 43/4 31/4 43/4 NR 4 61/2
NEOPAN 100 ACROS [120 Size]
Developer Microdol-X D-76 D-76 (1:1)* T-MAX Developer T-MAX RS Developer X tol HC-110 (Dil.B) ID-11 Perceptol Temp. EI 100 100 200 100 100 200 100 100 80 100 100 18°C (64°F) 131/2 81/2 12 13 6 1/2 91/2 61/4 91/2 51/2 8 151/2 20°C (68°F) 111/2 71/4 10 101/2 5 1/2 8 51/4 8 41/2 63/4 121/2 22°C (72°F) 93/4 61/4 81/2 83/4 4 3/4 61/2 41/2 63/4 33/4 53/4 10 24°C (75°F) 8 1/4 51/4 7 71/4 4 51/2 33/4 51/2 31/4 43/4 8
Unit: minutes 26°C (79°F) 7 41/2 6 61/4 3 1/2 43/4 31/4 43/4 NR 4 61/2
NR: Not recommended *Normally, developer stock solution does not require diluting. However, in this case above *(1:1), one part water is to be added to one part developer.
NR: Not recommended *Normally, developer stock solution does not require diluting. However, in this case one part water is to be added to one part developer.
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FUJIFILM PROFESSIONAL DATA GUIDE
Development Conditions Developing Tank : Small tank Agitation : Continuous agitation for the first minute and for 5 seconds every minute thereafter.
NEOPAN 400 Professional [135 Size]
Developer D-76 Temp. EI 400 800 1600 400 800 200 320 400 800 1600 400 800 1600 400 800 1600 400 800 1600 3200 400 800 1600 400 800 1600 18°C (64°F) 9 1/4 10 3/4 16 1/2 10 3/4 15 9 1/2 111/4 6 8 1/2 14 1/2 7 8 3/4 111/4 6 1/2 7 3/4 11 5 7 10 19 8 9 1/2 14 3 3/4 5 1/2 8 1/4 20°C (68°F) 7 1/2 8 3/4 13 1/2 9 1/2 13 8 1/2 10 5 7 1/4 12 6 7 1/2 10 5 1/2 6 1/2 9 1/2 4 1/4 5 3/4 8 1/2 16 7 8 1/2 12 1/2 3 1/4 4 1/2 7 22°C (72°F) 6 1/4 7 1/4 11 8 1/2 11 7 3/4 9 4 1/4 6 10 5 6 1/2 9 4 1/2 5 1/2 8 3 1/2 5 7 1/4 13 3/4 6 1/4 7 1/2 11 NR 3 3/4 6 24°C (75°F) 5 5 3/4 9 1/4 7 1/2 9 3/4 7 8 3 1/2 5 8 1/4 4 1/2 5 1/4 8 3 3/4 4 3/4 7 3 4 1/4 6 1/4 11 3/4 51/2 6 3/4 9 3/4 NR 3 1/4 5
Unit: minutes 26°C (79°F) 4 1/4 4 3/4 7 3/4 6 1/2 8 1/2 6 1/4 7 3 4 1/4 7 3 3/4 4 3/4 7 3 1/4 4 6 NR 3 1/2 5 1/4 10 5 6 1/4 8 3/4 NR NR 4 1/4
NEOPAN 400 Professional [120 Size]
Developer D-76 Temp. EI 250 400 800 1600 400 800 200 320 400 800 1600 400 800 1600 400 800 1600 400 800 1600 400 800 1600 400 800 1600 18°C (64°F) 7 3/4 9 1/4 111/2 16 1/2 111/2 16 10 12 6 1/4 9 14 1/2 6 3/4 8 1/2 111/2 6 1/2 8 1/4 111/2 5 7 10 8 9 1/2 13 1/2 4 6 8 1/4 20°C (68°F) 6 1/2 7 1/2 9 1/2 131/2 9 3/4 13 1/2 8 1/2 10 5 1/4 7 1/2 12 6 7 1/2 10 5 1/2 7 10 4 1/4 5 3/4 8 1/2 7 8 1/2 12 3 1/4 4 3/4 7 22°C (72°F) 5 1/2 6 1/4 7 3/4 111/2 8 1/4 111/2 7 1/4 8 1/2 4 1/2 6 1/4 10 5 1/4 6 1/2 8 3/4 4 3/4 6 81/2 3 1/2 5 7 1/4 6 1/4 7 1/2 10 3/4 NR 4 6 24°C (75°F) 4 1/2 5 1/4 6 1/2 9 1/2 7 9 3/4 6 7 3 3/4 5 1/4 8 1/2 4 3/4 5 3/4 7 3/4 4 5 1/4 7 1/2 3 4 1/4 6 1/4 5 1/2 6 3/4 9 1/2 NR 3 1/4 5
Unit: minutes 26°C (79°F) 3 3/4 4 1/2 5 1/2 8 6 8 1/2 5 1/4 6 3 1/4 4 1/2 7 1/4 4 1/4 5 1/4 7 3 1/2 4 1/2 6 1/2 NR 3 1/2 5 1/4 5 6 1/4 8 1/2 NR NR 4 1/4
D-76 (1:1)* Microdol-X HC-110 (Dil. B) T-MAX Developer T-MAX RS Developer Microphen
D-76 (1:1)* Microdol-X HC-110 (Dil. B) T-MAX Developer T-MAX RS Developer Microphen
ID-11
ID-11
Acufine
Acufine
NR: Not recommended *Normally, developer stock solution does not require diluting. However, in this case one part water is to be added to one part developer. NOTE To prevent development marks and assure uniform finish, agitate the developer continuously for the first minute and for five seconds every minute thereafter. This applies especially when the development time is shorter than 5 minutes.
NR: Not recommended *Normally, developer stock solution does not require diluting. However, in this case one part water is to be added to one part developer.
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FUJIFILM PROFESSIONAL DATA GUIDE
Development Conditions Processing Tank : Small tank Agitation : Continuous agitation for the first minute and for 5 seconds every minute thereafter.
3-3. FILM IDENTIFICATION EDGE MARKINGS
NEOPAN film types are distinguishable by the edge markings indicated below.
NEOPAN Films
?? 135 Size: 100 ACROS, 400 Professional, 1600 Professional
NEOPAN 1600 Professional
Developer D-76 Temp. EI 400 800 1600 3200 400 800 1600 800 1600 400 800 1600 800 1600 1600 3200 1600 3200 1600 3200 800 1600 1600 18°C (64°F) 4 3/4 6 9 NR 6 1/2 8 11 13 17 8 10 13 5 1/2 8 1/4 5 1/2 12 5 3/4 10 1/2 4 7 5 1/4 8 7 20°C (68°F) 4 5 7 1/2 15 5 1/2 7 9 111/2 15 1/4 6 1/2 8 1/4 10 1/2 4 3/4 7 4 1/2 10 5 9 1/2 3 1/4 5 3/4 4 1/2 6 1/2 5 3/4 22°C (72°F) 3 1/4 4 1/4 6 12 4 3/4 6 7 1/2 10 13 1/2 5 1/4 6 3/4 8 1/2 4 5 3/4 4 8 1/2 4 1/2 8 1/2 NR 4 3/4 3 3/4 5 1/2 4 3/4
Unit: minutes 24°C 26°C (75°F) (79°F) NR 3 1/2 5 10 4 5 6 1/2 9 12 4 1/4 5 1/2 7 31/2 5 3 1/2 7 1/2 3 3/4 7 3/4 NR 4 31/4 4 1/2 4 NR NR 4 8 3 1/2 4 1/4 5 1/2 8 10 1/2 3 1/2 4 1/2 5 3/4 NR 4 1/4 3 6 3/4 3 1/4 7 NR 3 1/4 NR 3 3/4 3 1/4
Film Type 100 ACROS 400PR 1600PR
Emulsion Number 101 to 999
Number of Exposures 24. 36
D-76 (1:1)*
D-76 (1:3)* Microdol-X
Frame Number
Half-frame number preceded by arrow.
?? 35mm Size: 400 Professional, 1600 Professional
Film Type 400PR 1600PR Emulsion Number 101 to 999
43
400PR-147
HC-110 (Dil. B) T-MAX Developer T-MAX RS Developer Microphen ID-11 ACU-1 (1:5)*
1
FUJI FILM
2
42A
43
325F85
43A
1
1A
2
2A
NR: Not recommended *Normally, developer stock solution does not require diluting. However in, one (1:1), three (1:3) or five (1:5) parts water are to be added to one part developer, respectively.
Frame Number 1 through 43
Half-frame number preceded by outlined arrow.
?? 120 Size: 100 ACROS, 400 Professional
FUJI NP400PR
AACCAJ-AEIE
Emulsion Number 101 to 999
NP400PR 505
FUJI NP400PR
NP400PR
2
NP400PR
3
Film Type 100 ACROS 400 PR
7 8
Frame Number
1 through 19
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FUJIFILM PROFESSIONAL DATA GUIDE
3-4. TECHNICAL DATA
NEOPAN 100 ACROS ISO 100/21° ?? SPECTRAL SENSITIVITY CURVE
Spectrogram to Daylight (5400K) Average Gradient (G) Relative Sensitivity (log) 1.0
_ ?? TIME-G CURVE
[135 Size]
1.2 1.0 0.8 0.6 0.4 0.2 0 0 2 4 6 8 10 12 14 16 18 20 Develolopment Time (minutes) D-76, Small Tank Development at 20°C (68°F)
400
500 600 Wavelength (nm)
700
[120 Size]
1.2 Average Gradient (G) 1.0 0.8 0.6 0.4 0.2 0 0 2 4 6 8 10 12 14 16 18 20 Develolopment Time (minutes) D-76, Small Tank Development at 20°C (68°F)
?? CHARACTERISTIC CURVES
[135 Size]
3.0 2.5 Density (D) 2.0 1.5 1.0 0.5 0.0 0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
_ 10 min., G = 0.65 _ 7 min., G = 0.53 _ 4 min., G = 0.43
D-76, Small Tank Development at 20°C (68°F)
[120 Size]
3.0 2.5 Density (D) 2.0 1.5 1.0 0.5 0.0 0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0
_ 10 min., G = 0.65 _ 7 min., G = 0.53 _ 4 min., G = 0.43
D-76, Small Tank Development at 20°C (68°F)
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FUJIFILM PROFESSIONAL DATA GUIDE
NEOPAN 400 Professional ISO 400/27° ?? SPECTRAL SENSITIVITY CURVE
Spectrogram to Daylight (5400K)
_ ?? TIME-G CURVE
[135 Size]
1.2 Average Gradient (G) 1.0 0.8 0.6 0.4 0.2 0 0 4 8 12 16 Development Time (minutes) 20 D-76, Small Tank Development at 20°C (68°F)
Relative Sensitivity (log) 1.0 400
500 600 Wavelength (nm)
700
[120 Size]
1.2 Average Gradient (G) 1.0 0.8 0.6 0.4 0.2 0 0 4 8 12 16 Development Time (minutes) 20 D-76, Small Tank Development at 20°C (68°F)
?? CHARACTERISTIC CURVES
[135 Size]
D-76, Small Tank Development at 20°C (68°F) 3.0 2.5 2.0 Density 1.5 1.0 0.5 0.0 –3.0 –2.0 –1.0 0.0 Exposure [log H (lux-seconds)] 1.0
_ 12 min., G = 0.83 _ 8 3/4 min., G = 0.65 _ 7 1/2 min., G = 0.54
[120 Size]
3.0 2.5 Density (D) 2.0 1.5 1.0 0.5 0.0 -3.0 -2.0 -1.0 0.0 Exposure [log H (lux-seconds)] 1.0 D-76, Small Tank Development at 20°C (68°F)
_ 12 min., G = 0.83 _ 8 3/4 min., G = 0.64 _ 7 1/2 min., G = 0.54
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FUJIFILM PROFESSIONAL DATA GUIDE
NEOPAN 1600 Professional EI 1600/33° ?? SPECTRAL SENSITIVITY CURVE
Spectrogram to Daylight (5400K) Relative Sensitivity (log) 1.0 400
500 600 Wavelength (nm)
700
?? CHARACTERISTIC CURVES
3.0 2.5 2.0 Density 1.5 1.0 0.5 0.0 –3.0 –2.0 –1.0 0.0 Exposure [log H (lux-seconds)] 1.0 D-76, Small Tank Development at 20°C (68°F)
_ 7 1/2min., G = 0.81 _ 5 1/4 min., G = 0.59 _ 4 min., G = 0.48
_ ?? TIME-G CURVE
1.2 Average Gradient (G) 1.0 0.8 0.6 0.4 0.2 0 0 4 8 12 16 Development Time (minutes) 20 D-76, Small Tank Development at 20°C (68°F)
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FUJIFILM PROFESSIONAL DATA GUIDE
4. GENERAL INFORMATION
Film and Paper Handling and Storage 1. Film Handling ?? Be sure to expose and process film before the expiration date indicated on the film package. ?? Films stored under cold conditions (in a freezer or refrigerator) should be allowed to warm to room temperature prior to being opened. Opening the film while it is still cold may cause condensation to form, rendering it unusable. ?? Camera loading or removal of roll films should be done quickly and away from direct sunlight. ?? Sheet films should be handled in total darkness, with care taken not to touch emulsion surfaces. ?? Film loaded into cameras should be exposed and processed as promptly as possible. ?? At airport and other terminals, unprocessed film should be kept away from X-rays used to inspect checked-in baggage. Strong X-rays can cause fogging of unprocessed film. Always place such film in your carry-on baggage. (It is recommended that film be placed in transparent plastic bags through which the film is visible.) The majority of X-ray machines used for inspecting carry-on baggage have been shown to be safe for most films. However, film which may be subjected to multiple X-ray inspections or film with an extremely high speed rating (ISO 1000 or higher) should be removed from carry-on baggage for visual (manual) inspection instead. ?? Film fogging may occur in hospitals, factories, laboratories, and other locations using X-rays and other radiation sources. Always keep film away from possible sources of radiation. 2. Paper Handling ?? Be sure to use paper on a First in, First out (FIFO) basis, in emulsion number sequence. ?? Raw paper stored under cold conditions (in a freezer or refrigerator) should be kept in its moisture-proof wrapper and allowed to warm to room temperature prior to being opened. If the paper is taken out of its wrapper immediately after being removed from refrigerated storage, condensation will form on the paper surfaces, resulting in color changes and easily damaged surfaces. ?? Leaving exposed paper unprocessed in a room for a long time or putting it where it is subject to high temperatures or humidity may adversely affect the color balance and other properties of the print. ?? The time between exposure and development should be fixed in order to obtain consistent quality. Avoid waiting until the next day to develop exposed paper. Rather than holding the paper for processing the next day, initiate processing as soon as possible. If paper cannot be immediately processed after exposure, it should be stored at below 10°C. Even if kept in cold storage, paper should be returned to room temperature and processed at the first opportunity. 3. Film and Paper Storage Unprocessed Film and Paper The higher the temperature and humidity, the more film or paper, whether exposed or not, is susceptible to adverse changes in speed, color balance (in the case of color film and color paper), physical characteristics and other properties. Unprocessed film and paper are best stored at low temperatures. Specifically, the following conditions should be used for film and paper storage.
Negative/Black-and-white Color Reversal Films Negative/Instant Films Store at a location away from direct sunlight, high Below 15°C temperatures and high humidity. Below 10°C Below 0°C Color Papers/ Blackand-white Photo Paper Store at a location (cool and dark) away from direct sunlight, high temperatures and high humidity. Below 10°C
Normal or short-term storage Long-term storage
?? Harmful gases from new building materials, new furniture, paint, or adhesives, etc. can adversely affect the photographic properties of film. Raw film, boxed film (in lightproof boxes), and film loaded in cameras or film holders should be kept away from these vapor sources. ?? Films and papers stored under cold conditions should be allowed to warm to room temperature prior to being opened (a least 3 hours for refrigerated storage and at least 6 hours for freezer storage). A longer time is needed in the case of roll papers or wide-width papers. Opening the film or paper while it is still cold may cause condensation to form, rendering it unusable. Processed Film and Paper (Prints) As with materials used in other products, the materials used in photographic products will change over time. Since prints and film are usually used for the long-term recording of memorable events, as much effort as possible is made to use materials that exhibit the least amount of change over time, but the effects of light, heat, oxygen in the air, humidity and mold cannot be completely avoided. It is possible, however, to minimize the change in the photographic image or base material*1 by maintaining the appropriate storage conditions for prints and films, such as those used by museums and art galleries. Temperature and humidity control is the most important key to minimizing the changes that occur in film and paper. Prints stored in the dark under the following conditions*2 may be expected to show almost no change over time.
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FUJIFILM PROFESSIONAL DATA GUIDE
Storage Period with Almost No Change More than 20 years 10-20 years
Temperature Below 10°C Below 25°C
Relative Humidity 30%-50% 30%-50%
*1 For color prints, base material consisting of paper laminated with polyethylene resin (WP base) and coated with a gelatin layer containing photosensitive materials is used. For color negative films and color reversal films, a plastic base is used instead of a WP base. In the case of black-andwhite photographic paper and black-and-white film, images are formed by silver grains instead of color dyes. Changes in the photographic image or base material generally take the form of reduced image quality (color fading). In some cases, however, damage to the base material may be caused by chemical changes that occur in the product when placed in a closed environment under hot and humid conditions. *2 For the conditions indicated above, a well-ventilated place is the ideal; however, since containers prevent the passage of air, it is recommended that films and papers be removed from containers and ventilated about once a year. Ventilation should be done during seasons in which the air is dry. ?? In the marketplace, lifespans of more than 100 years are sometimes claimed for color prints. Such claims, however, allow for image deterioration to a level at which viewing is still tolerable. If such allowance is presumed, longer storage periods than those indicated in the table above are possible. ?? Freezer storage or other measures are sometimes used for the long-term storage of film. Such measures, however, require complicated handling and cannot be generally recommended. For this reason, they have been omitted here.
Storing prints with their front surfaces facing each other may result in unexpected problems. For this reason, prints should be stored with their front surfaces facing away from each other. If the front surfaces of two prints become stuck to each other, it may be necessary to insert a piece of paper in between to separate them. ● On the Display of Photographic Prints Framed photographic prints should not be displayed at places subject to direct sunlight. Also, when placed in a very humid place, the print may become stuck to the surface of the glass, making it impossible to remove. To prevent this, a thick mat board should be used between the print and the glass. The use of non-glare glass in the frame is also recommended. Regardless of whether a frame is used or not, when displaying a print (for example, on a wall), the amount of time-induced image deterioration that occurs will vary according to the strength of the light that falls on the print, the temperature and the humidity, and the presence of gas in the atmosphere. For this reason, a general determination of storage period cannot be made. ● Note on the Handling of Photographic Prints Since the back surface of photographic prints made on Fujicolor papers, etc. is waterproof, it will not accept water-based adhesives or ink.
● Notes on Storage When storing color negatives or black-and-white film, insert them into sleeves*4 prior to storage. Color reversal film should either be mounted*4 or inserted into sleeves.*4 Prints should be mounted or placed in a plastic bag*4 designed for photographs.
*4
Made of polyester, polystyrene, polyethylene or polypropylene plastic.
Even during normal storage, it is recommended that prints be stored at a place not subject to hot and humid conditions, and away from direct sunlight and other strong light or from direct illumination. The following examples are of conditions that are unsuitable for print storage. These conditions should not be used for long-term storage of prints. ?? Storage in a room closet facing a wall exposed to cold outside air (condensation may form). ?? Storage in a place near the ceiling, such as an attic, a closet, or the top of a cupboard (high temperatures may arise).
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?? ?? ??
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FUJIFILM PROFESSIONAL DATA GUIDE
FUJI and Kodak Filter Correspondence Tables (1) Color Compensating Filter (CC Filter)
Fuji CC-1.25Y CC-2.5Y CC-5Y Kodak _ CC025Y CC05Y _ CC10Y CC20Y CC30Y CC40Y CC50Y _ CC025M Fuji CC-1.25B CC-2.5B CC-5B CC-7.5B CC-10B CC-20B CC-30B CC-40B CC-50B CC-1.25G CC-2.5G CC-5G Kodak _ CC025B CC05B _ CC10B CC20B CC30B CC40B CC50B _ CC025G CC05G _ CC10G CC20G CC30G CC40G CC50G _ CC025R CC05R _ CC10R CC20R CC30R CC40R CC50R Fuji IR-76 IR-78 IR-80 IR-82 IR-84 IR-86 IR-88 IR-90 IR-92 IR-94 IR-96 Kodak 88A 87 _ _ _ _ _ _ _ 87B _ 1.25 2.5 5 7.5 10 20 30 40 50 +1/3 +1/2 +2/3 +2/3 +1 +1/4 +1/3 +1/2 +2/3 +2/3 +1 11/3
FUJI CC Filter Exposure Factors (Lens Diaphragm Factors)
Y M C 0 0 +1/3 B G R
Sharp-cut Filter
Fuji SC-37 SC-38 SC-39 SC-40 SC-40M SC-41 SC-42 SC-46 SC-46G SC-48 SC-48G SC-50 SC-50A SC-50G SC-52 SC-52G SC-54 SC-56 SC-58 SC-60 SC-62 SC-64 SC-66 SC-68 SC-70 SC-72 SC-74 Kodak _ 1 _ 2C 1A 2B 2A 3 3N5 8 _ 9 _ _ 12 _ 16 21 3A 25 29 92 _ 70 _ _ _
Yellow
CC-10Y CC-20Y CC-30Y CC-40Y CC-50Y CC-1.25M CC-2.5M CC-5M CC-7.5M CC-10M CC-20M CC-30M CC-40M CC-50M CC-1.25C CC-2.5C CC-5C CC-7.5C CC-10C CC-20C CC-30C CC-40C CC-50C
Magenta
CC10M CC20M CC30M CC40M CC50M _ CC025C CC05C _ CC10C CC20C CC30C CC40C CC50C
Green
CC05M _
Blue
CC-7.5Y
CC-7.5G CC-10G CC-20G CC-30G CC-40G CC-50G CC-1.25R CC-2.5R CC-5R CC-7.5R CC-10R CC-20R CC-30R CC-40R CC-50R
Infrared Filter (IR Filter)
Cyan
9 0
Red
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FUJIFILM PROFESSIONAL DATA GUIDE
FUJI and Kodak Filter Correspondence Tables (2) Light Balancing Filter
Fuji LBA-1 LBA-2 LBA-3 LBA-4 LBA-6 LBA-8 LBA-12 LBA-16 LBA-20 LBB-1 LBB-2 LBB-3 LBB-4 LBB-6 LBB-8 LBB-12 LBB-16 LBB-20 Kodak 81 81A 81B 81D _ 85C 85B _ _ 82 82A 82B 82C _ 80C 80A _ _
Band Pass Filter (BP Filter)
Fuji BPB-42 BPB-45 BPB-50 BPB-53 BPB-55 BPB-60 BPN-42 BPN-45 BPN-50 BPN-53 BPN-55 BPN-60 BPM-42 BPM-45 BPM-50 BPM-53 BPM-55 BPM-60 Kodak 35 47 _ 58 _ _ _ 48A 65 61 _ _ _ 50 _ 74 53 _
Special Purpose Filter
Fuji SP-1 SP-2 SP-3 SP-4,4A,4M SP-5 SP-6 SP-7 SP-8 SP-9 SP-10 SP-11 SP-12 SP-13 SP-14 SP-15 SP-16 SP-17 SP-18 SP-19 SP-20 Kodak _ _ _ _ _ _ _ _ _ _ _ 30 _ 35 57 _ _ _ _ 72B
Neutral Density Filter (ND Filter)
Fuji ND-0.1 ND-0.2 ND-0.3 ND-0.4 ND-0.5 ND-0.6 ND-0.7 ND-0.8 ND-0.9 ND-1.0 ND-1.2 ND-1.5 ND-1.8 ND-2.0 ND-3.0 ND-4.0 Kodak 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0 _ _ _ 2.0 3.0 4.0
FUJI Light Balancing Filter Exposure Factors (Lens Diaphragm Factors)
LBA _ +1/3 +1/3 +1/3 +1/2 +2/3 +2/3 +1 +1 LBB _ +1/3 +1/2 +2/3 +2/3 +1 +12/3 +2 +21/3
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1 2 3 4 6 8 12 16 20
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FUJIFILM PROFESSIONAL DATA GUIDE
ISO/ASA/DIN Film Speed Conversion Table
ISO 4/7° 6/9° 10/11° 12/12° 16/13° 20/14° 25/15° 32/16° 40/17° 50/18° 64/19° 80/20° 100/21° 125/22° 160/23° 200/24° 250/25° 320/26° 400/27° 500/28° 640/29° 800/30° 1000/31° 1600/33° 3200/36° ASA 4 6 10 12 16 20 25 32 40 50 64 80 100 125 160 200 250 320 400 500 640 800 1000 1600 3200 DIN 7 9 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33 36
Color Temperature/Mired Value Conversion Table
Color Temperature (K) 1,500 1,600 1,700 1,800 1,900 2,000 2,100 2,200 Mired (M) 667 625 588 556 526 500 476 456 435 417 400 385 370 353 350 348 333 323 313 303 294 286 278 270 263 256 250 244 238 233 227 222 Color Temperature (K) 4,600 4,700 4,800 B 4,874 4,900 5,000 5,100 5,200 5,300 5,400 5,500 5,600 5,700 5,800 5,900 6,000 6,100 6,200 6,300 6,400 6,500 6,600 6,700 C 6,774 6,800 6,900 7,000 7,100 7,200 7,300 7,400 7,500 Mired (M) 217 213 208 205 204 200 196 192 189 185 182 179 175 172 169 167 164 161 159 156 154 152 149 148 147 145 143 141 139 137 135 133
× 1/2 × 1.6
× 1/4 ×2 ×4 × 16
2,300 2,400 2,500 2,600 2,700 2,800 A 2,855 2,900 3,000 3,100 3,200 3,300 3,400 3,500 3,600 3,700 3,800 3,900 4,000 4,100 4,200 4,300 4,400 4,500
A in the table indicates the CIE Standard Illuminant A color temperature, B the Standard Illuminant B, and C the Standard Illuminant C.
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Conversion Scales
in 0 cm 0 1 1 2 1 3 3 2 yd ft 0 0 1 2 3 4 5 6 7 8 4 9 10 2 5 11 4 12 13 6 14 5 15 7 3 8 16 17 6 18 19 20 9 7 21 22 4 10 23 8 24 11 25 26 12 5 13 9 27 28 29 10 30 31 14 32 11 33 10 _ 9 _ 8 7 6 70 60 50 40 30 20 10 0 10 20 _ 30 _ 20 0 _ 10 10 20 100 5 90 80 30 4 3 2 180 170 160 150 140 130 120 110 40 50 60 70 80 1 m 0 °F 210 200 190 90 °C 100
Conversion Tables
?? Linear Measure Meter* (m) 1 0.0254 0.3048 0.9144 ?? Area Square Meter* (m2) 1 0.0006 0.0929 0.8361 ?? Volume Cubic Meter (m3) 1 0.001 0.0283 0.7646 ?? Pressure Hectopascal (hPa) 1 981 1,013 1.333 Kilogram* (kg/cm2) 0.001020 1 1.033 0.00136 Atmospheric Pressure* (atm) 0.000987 0.968 1 0.001316 Mercurial Column Centimeter* (mmHg 15°C/59°F) 0.75 735.5 760 1 Liter* (l) 1,000 1 28.32 764.5 Cubic Foot (ft3) 35.31 0.0353 1 27.00 Cubic Yard (yd3) 1.308 0.0013 0.0370 1 Liter* (l) 1 3.7854 4.5465 0.0164 US Gallon (gal.) 0.2642 1 1.2011 0.0043 UK Gallon (gal.) 0.2200 0.8327 1 0.0036 Cubic Inch (in3) 61.02 231.00 277.45 1 Square Inch (in2) 1,550 1 144 1,296 Square Foot (ft2) 10.764 0.0069 1 9 Square Square Acre Kilometer* Yard 2 2 (km ) (acre) (yd ) 1.1960 0.0008 0.1111 1 1 0.0040 2.590 0.01 247.1 1 640 Square Hectare* Mile (ha) (mile2) 0.3861 100 0.0016 1 0.4047 259.0 1 Inch (in) 39.37 1 12 36 Foot (ft) 3.281 0.0833 1 3 Yard (yd) 1.0936 0.0278 0.3333 1 Kilometer (km) 1 1.6093 1.852 – Mile (mile) 0.6214 1 1.151 – Nautical Mile* (M) 0.5400 0.8690 1 –
2.471 0.0039
*The meter is the basic unit of length established by the International System of Units (le Systeme ` International d'Unite the square meter, cubic meter, kilogram, atmospheric pressure and ??s), mercurial column millimeter based units and the nautical mile, hectare, liter and hectopascal being auxiliary units.
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5. FUJIFILM OVERSEAS SUBSIDIARIES AND LIAISON OFFICES
● Overseas Subsidiaries
FUJI PHOTO FILM U.S.A. INC. 200 Summit Lake Drive Valhalla NY 10595-1356, U.S.A Tel: 1-914-789-8100 FUJI PHOTO FILM CANADA INC. 600 Suffolk Court, Mississauga, Ontario, L5R 4G4, Canada Tel: 1-905-890-6611 FUJI PHOTO FILM HAWAII, INC. 94-468 Akoki Street Waipahu, Hawaii 96797, U.S.A. Tel: 1-808-677-3854 FUJI PHOTO FILM (EUROPE) G.m.b.H. Heesenstrasse. 31, 40549 Dusseldorf, Germany Tel: 49-211-50890 FUJIFILM France SAS Parc d'Activites du Pas-du-Lac-2 Avenue Franklin, 78186 St., Quentin en Yvelines Cedex, France Tel: 33-1-3085-6404 FUJI PHOTO FILM (U.K.) LTD. Fuji Film House, 125 Finchley Road, Swiss Cottage, London NW3 6HY, England Tel: 44-20-7586-5900 ~ FUJIFILM ESPANA, S.A. Aragon, 180, 08011-Barcelona, Spain Tel: 34-93-4511515 FUJIFILM ITALIA S.p.A. Via Della Unione Europea Palazzo Beta N.4 Quartiere Affari 20097 San Donato Milanese (MI) Italy Tel: 39-02-895821 FUJI PHOTO FILM DO BRASIL LTDA. Avenida Vereador Jose Diniz 3400, Campo Belo, Sao Paulo CEP 04604-901 SP, Brasil Tel: 55-11-5091-4181 FUJIFILM REGIONAL SERVICES (SINGAPORE) PTE LTD. 10 New Industrial Road, Singapore 536201 Tel: 65-6383-9933 FUJI PHOTO FILM (THAILAND) LTD. S.P. Building, 8th Floor, 388 Phaholyothin Road, Bangkok 10400, Thailand Tel: 66-2-273-0254 FUJI PHOTO FILM (MALAYSIA) SDN. BHD. Letter Box 1, Level 10, 11, & 12 Menara Axis, No.2, Jalan 51A/223 46100 Petaling Jaya Selangor Darul Ehsan Malaysia Tel: 60-3-79584700 FUJI PHOTO FILM (CHINA) INVESTMENT CO., LTD. 31st Floor, Hong Kong New World Tower No.300 Huai Hai Zhong Road Shanghai China Tel: 86-21-3302-4655 FUJIFILM AUSTRALIA PTY LTD. 114 Old Pittwater Road Brookvale, N.S.W. 2100 Australia Tel: 61-2-94662600
●Overseas Offices
FUJI PHOTO FILM CO., LTD. HONG KONG OFFICE Room 2208, Tower 6, The Gateway Harbour City, 9 Canton Road Tsim Sha Tsui, Kowloon, Hong Kong Tel: 852-2317-0131 FUJI PHOTO FILM CO., LTD. SEOUL OFFICE 505-19, Kasan-Dong, Kumchon-Gu, Seoul 152-020, Korea Tel: 82-2-3281-9880 FUJI PHOTO FILM CO., LTD. TAIPEI OFFICE Rm. 601 Hung Chong Bldg. No.38, Sec.6 Min Chuan E. Road, Taipei 11453, Taiwan Tel: 886-2-2793-4858 FUJI PHOTO FILM CO., LTD. DUBAI OFFICE P.O. Box 17212, LOB16-320, Jabel Ali Dubai, U.A.E Tel: 971-4881-5752 FUJI PHOTO FILM CO., LTD. NEW DELHI OFFICE Le Meridian Commercial Tower 8F Janpath, New Delhi 110001, India Tel: 91-11-2335-5396 FUJI PHOTO FILM CO., LTD. MANILA OFFICE c/o YKL Development & Trading Corporation, 24 Sto. Domingo St., Quezon City, Metro Manila, Philippines Tel: 63-2-414-5267 FUJI PHOTO FILM CO., LTD. MEXICO OFFICE Av. Ejercito Nacional 351 5° piso Col Granada 11520 Mexico D.F. Mexico Tel: 52-55-5254-6656 FUJI PHOTO FILM CO., LTD. JOHANNESBURG OFFICE 9th Floor, Sandton City Office Towers, Cnr Rivonia Road & 5th Street, Sandton 2196, South Africa Tel: 27-11-883-1955
●Head Office
FUJI PHOTO FILM CO., LTD. 26-30, Nishiazabu 2-chome, Minato-ku, Tokyo 106-8620, Japan Tel: 03-3406-2111
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6. APPENDICES 6-1. WORLD TIME CHART
-9 Anchorage -8 -7 -3 0
Reykjavik
0 -5
+1
Helsinki
+3 +4
+7
Yakaterinburg
+5 +6
+9
Novosibirsk Qaraghandy Ulan Bator
Yakutsk
+10
+11 Magadan
+12
Calgary Seattle
-8 -7
-6
-4
Toronto Chicago Houston
-6
-3:30 St. Johns
London Paris Madrid Algiers
+1 Berlin Kiev
+2
Moscow +4
+3
+8
Denver
San Francisco Los Angeles
-10
New York
Havana
0 Dakar
Honolulu
Mexico City Caracas
Tashkent +5 +8 Beijing Seoul +2 Kabul Tokyo Athens +4:30 Shanghai +5:45 Tehran +9 +5 Kathmandu +3:30 Karachi +3 Cairo +6:30 Calcutta Dacca Riyadh Hong Kong +1 +5:30 Guam +6 +2 Bangkok Manila Yangon
+3 Nairobi +6 Colombo +7 Singapore +8 +7 Jakarta +9
Roma
DIRECTIONS:
The time zone values indicated in this map and in the table below provide specific time zone designations which allow determination of the time in a target zone based on local zone time while also ailowing the determination of the differences in hours between a local time zone and a target time zone. In determining the time in another area of the world, use the procedures described in the following example.
-5
Kinshasa
-4 -3 +1
Lima
Suva
+2 +3
EXAMPLE:
A person in Tokyo, Japan (Time Zone +9) needs to call New York, USA (Time Zone -5). To determine the current time in New York, Iocate the column and row in the table below the map which designates the current time in the Tokyo zone and then follow that same row over to the column which designates time values for the New York zone. The value in the column and row for New York which corresponds to the column and row current time for Tokyo is the current time in the New York zone. The time differentiai in hours is determined by subtracting the New York time zone value from the Tokyo time zone value.
Rio De Janeiro
-3
+8
+10 +9:30
Perth Buenos Aires Cape Town
Santiago
Adelaide
Sydney Auckland
+12
-11 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12
1 0 0
-10 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13
-9 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14
-8 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
-7 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
-6 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
-5 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
-4 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19
-3 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
-2 22 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
-1 23 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
0 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
+1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0
+2 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1
+3 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2
+4 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3
+5 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4
+6 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5
+7 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6
+8 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7
+9 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8
+10 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9
+11 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10
+12 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 6 7 8 9 10 11
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6-2. MAIN CHARACTERISTICS OF THE ADVANCED PHOTO SYSTEM
A Worldwide Photographic Standard The remarkable convenience and versatility of the Advanced Photo System and the world-class imaging expertise of Fujifilm-together they expand the possibilities of photography into new realms.
??
??
A Smaller, more advanced film cartridge The heart of the Advanced Photo System is its specially designed film cartridge. It is smaller than a conventional 35mm film magazine and has no protruding film leader. The film always remains safely inside the cartridge before and after exposure and even after processing.
Lightlock door
30mm
A choice of three print formats The new system offers three print formats: C (Classic) which corresponds to conventional 35mm prints; H (HDTV) for a wider view; and P (Panorama) for popular panoramic prints. While images are always recorded on the film in the full-frame H format, any of the three formats can be chosen for each shot. The choice is recorded on the film and then read and automatically printed by the photofinishing equipment.
Print Size
H&P
(30.2mm)
Frame Size
8.9cm (3-1/2in.) width 10.2cm (4in.) width C H
8.9 x 12.7 cm (3-1/2 x 5 in.) 8.9 x 15.8 cm (3-1/2 x 6-1/4 in.) 8.9 x 25.4 cm (3-1/2 x 10 in.) 10.2 x 15.2 cm (4 x 6 in.) 10.2 x 17.8 cm (4 x 7 in.) 10.2 x 25.4 cm (4 x 10 in.)
C
21mm
ID number and bar code
H&C
(16.7mm)
P
P
39mm
Film status indicator
Unexposed Fully exposed but not processed Processed inside cartridge
??
Data disc
Partially exposed
??
Smarter film for better photos The Advanced Photo System uses a new "smart" film: in addition to recording photographic images, it also has magnetic and optical data tracks. These record the user's choice of format for each shot, together with date, time, and comprehensive shooting information such as flash and lighting data. Through a process called Information Exchange (IX), this data is automatically read by photofinishing equipment and used for backprinting, optimizing image quality, and assuring reprints of consistent quality.
The index print: - photos at a glance With each processed film cartridge the customer receives an index print showing all the photos it contains. This makes it easy to order reprints and enlargements, without having to compare prints against negatives. Each index print includes: ?? Sequential, thumbnail views of all photos in the cartridge ?? Frame number of each shot ?? Format designation for each shot ?? Cartridge ID number and bar code
NOTE: Data encoded on the track may vary according to the type of camera used.
Photofinishing magnetic data
Manufacturer's optical leader data Camera optical data Camera magnetic data
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Manufacturer's optical frame data
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Lineup of APS Films
Film Name and Processing FUJICOLOR nexia A200 [DA] Process C-41/CN-16/ CN-16Q/CN-16FA/CN-16L/ CN-16S FUJICOLOR nexia 400 [DH] Daylight ISO 400/27° 25 and 40 Type and Speed Daylight ISO 200/24° Number of Exposures 25 and 40 Features and Uses ?? All-round, medium-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer, for use with Advanced Photo System (APS) cameras. ?? Suited to the same wide variety of photographic situations as standard film. ?? Provides great vividness and enhanced color realism across the entire spectrum, beautiful and natural skin tones, great sharpness, wide exposure latitude, extremely fine grain for high-quality enlargements, and accurate reproduction of difficult colors, such as certain violets and greens, even under fluorescent lighting*. ?? High-speed, daylight-type, fine-grain color negative film incorporating a 4th color layer, for use with Advanced Photo System (APS) cameras. ?? Suited to a very wide variety of shooting conditions and photographic applications including sports and other fast moving action shots, as well as work under low light and variable weather conditions. ?? Provides extremely vivid and highly realistic colors across the entire spectrum, beautifully textured natural-looking skin tones, great sharpness, wide exposure latitude, fine grain for big enlargements, and accurate reproduction of difficult colors, such as certain violets and greens, even under fluorescent lighting*. ?? Very-high-speed, daylight-type, fine-grain, highly durable, color negative film incorporating a 4th color layer, for use with Advanced Photo System (APS) cameras. ?? Suited to all types of shooting conditions, especially high-speed action situations such as field sports and racing, low-light scenes and weather-induced changes in light levels. ?? Provides great vividness and enhanced color realism, even under fluorescent lights*, across the entire spectrum including brilliant reds, bright blues and strong yellows, plus accurate rendition of hard-to-reproduce colors such as certain violets and greens thanks to Fujifilm’s 4th color layer technology, as well as natural-looking face tones and extremely sharp images for big enlargements.
Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/CN-16S FUJICOLOR nexia 800 [DZ] Daylight ISO 800/30° 25 and 40
Process C-41/CN-16/CN-16Q/ CN-16FA/CN-16L/ CN-16S
*When the proper color compensation filters are used.
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FUJICOLOR nexia A200 [DA] ISO 200/24°, Daylight Type
●
FUJICOLOR nexia 400 [DH] ISO 400/27°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES Blue Red Sensitive Green Sensitive Sensitive Layer Layer Layer
●
SPECTRAL DYE DENSITY CURVES 3.0
SPECTRAL SENSITIVITY CURVES Green Red Sensitive Sensitive Layer Layer Blue Sensitive Layer Cyan Sensitive Layer 500 600 Wavelength (nm)
●
SPECTRAL DYE DENSITY CURVES
3.0 Mid-scale Density 2.0
Relative Sensitivity* (log) 1.0
Relative Sensitivilty* (log) 1.0
Spectal Diffuse Density
Mid-scale Density 2.0
Spectal Diffuse Density
1.0 Minimum Density 0.0
1.0 Minimum Density 0.0 400 500 600 Wavelength (nm) 700
Cyan Sensitive Layer 400 500 600 Wavelength (nm)
700
400
500 600 Wavelength (nm)
700
400
700
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure 2 (J/cm ) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure (J/cm2) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5 Density 2.0 1.5 1.0 0.5 0.0 -4.0 -3.0 -2.0 -1.0 -0.0 Exposure [log H (lux-seconds)] 1.0
e Blu en Gre d Re
Exposure : Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5
Density
2.0 1.5 1.0 0.5 0.0 –4.0
e Blu en Gre ed R
Exposure : Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
–3.0 –2.0 –1.0 –0.0 Exposure [log H (lux-seconds)]
1.0
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
●
MTF CURVE 150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........4 Response (%)
DIFFUSE RMS GRANULARITY VALUE........4
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
RESOLVING POWER
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 160 lines/mm
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : C-41/CN-16
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Exposure: Daylight Process : C-41/CN-16
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FUJICOLOR nexia 800 [DZ] ISO 800/30°, Daylight Type
●
SPECTRAL SENSITIVITY CURVES Green Sensitive Layer Blue Sensitive Layer Red Cyan Sensitive Sensitive Layer Layer 500 600 700 Wavelength(nm)
●
SPECTRAL DYE DENSITY CURVES 3.0 Mid-scale Density 2.0
Relative Sensitivity* (log) 1.0
Spectal Diffuse Density
1.0 Minimum Density 0.0 400 500 600 Wavelength (nm) 700
400
Process : C-41/CN-16 Densitometry : Status M Density : 1.0 above minimum density *Sensitivity equals the reciprocal of the exposure (J/cm2) required to produce a specified density
●
Typical densities for a mid-scale neutral subject and for minimum density.
CHARACTERISTIC CURVES 4.0 3.5 3.0 2.5
Density
2.0 1.5 1.0 0.5 0.0 -4.0 -3.0
e Blu en Gre Red
Exposure
: Daylight, 1/125 sec. Process : C-41/CN-16 Densitometry : Status M
-2.0 -1.0 -0.0 Exposure [log H (lux-seconds)]
1.0
●
MTF CURVE
150 100 70 50 30 20 10 7 5
●
DIFFUSE RMS GRANULARITY VALUE........5
Response (%)
Micro-densitometer Measurement Aperture: 48??m in diameter Magnification: 12 × Sample Density:1.0 above minimum density
●
RESOLVING POWER
Chart Contrast 1.6:1 - 50 lines/mm Chart Contrast 1000:1 - 125 lines/mm
1
5 10 20 50 100 200 Spatial Frequency (cycles/mm)
Exposure: Daylight Process : C-41/CN-16
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6-3. IMAGE SIZES OF CAMERA-USE NEGATIVE/REVERSAL FILMS ?? Roll Film
Type 120 Width 61.5 mm Image Sizes 4.5 x 6 cm (Semi), 6 x 6 cm, 6 x 7 cm, 6 x 8 cm, 6 x 9 cm, 6 x 17 cm and various other panorama sizes. Same as above Number of Exposures 16 (or 15), 12, 10, 9, 8 and 4.
?? Sheet Film
Type Sheet Sheet Size 4" x 5" Image Size Generally same as sheet format, but other configurations are possible (e. g., multiple frames on a single sheet). Same as above Same as above Number of Exposures 1 (normal)
Sheet Sheet 32 (or 30), 24, 20, 18, 16 and 8. NOTE
8" x 10" 11" x 14"
1 (normal) 1 (normal)
220
61.5 mm
NOTE
Universally known sizes are given for the above films, but actual measurements may be slightly different according to equipment used (camera, roll holder, etc. ). In the past, roll film came in many different widths, ranging from less than 10 mm up to 254 mm (10-inch-wide film for the "Cirkut" camera), but now only the two sizes listed above are in general use. 127-size roll film is sometimes available in shops selling early cameras, along with 620-size roll film (120-size re-spooled). Other rare sizes are occasionally made by using standard-size film cut down to the required width and wound on old spools.
The above three sizes of sheet film are still stocked by suppliers, but 11"x14" sheet film is not normally stocked by photographic film suppliers. It is, however, available as a special order product.
?? Instant Film (Cassette Type)
Type 35 Width 35 mm Image Sizes 24 mm x 36 mm (normal) Number of Exposures 12
?? Cartridge/Cassette Type
Type 135 Width 35 mm Image Sizes Number of Exposures 17 x 24 mm (half-frame), Varies according to length of film 24 x 36 mm (full-frame), 23 (or 24) x 24 mm (stereo Robot), 13 x 36 mm (new Panorama) and full-width (24 mm) panorama of various lengths 16.7 x 20.2 mm (used in 3 types of print / slide formats.) 8 x 11 mm 13 x 17 mm 28 x 28 mm 15, 25 and 40 36 12
Instant Film (Pack Type)
Type Pack " Film Size 83 mm x 86 mm 4" x 5" Image Sizes 69 mm x 72 mm 89 mm x 118 mm Number of Exposures 10 8 / 10
APS Minox 110 126
24 mm 9.3 mm 16 mm 35 mm
Instant Film (Sheet Type)
Type Sheet " Film Size 4" x 5" 8" x 10" Image Sizes 89 mm x 114 mm 190 mm x 240 mm Number of Exposures 1 (normal) 1 (normal)
24
?? Disc System Film
Type Disc Dia. 65 mm Image Sizes 8 x 10 mm only (other sizes have been discontinued.) Number of Exposures 15
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6-4. PHOTOGRAPHIC TECHNIQUES
1. DETERMINING EXPOSURE SETTINGS
●High-contrast situations While the human eye can adjust to extreme differences in brightness, even when the ratio between the highest and lowest luminance levels is as much as 400:1, film is unable to cope with such extremes. Both shadow detail and bright highlights cannot be accurately reproduced at the same time. One or the other (or both) will have to be sacrificed, according to the way the photographer wants the scene to look. In such situations, it is best to take separate readings of the bright, midtone and dark areas, preferably with a spotmeter, in order to determine the best exposure to suit the purpose. ●Low-contrast situations When the setting is of low contrast, that is, free of extremes in brightness levels, an average overall incident or reflected light reading by an ordinary light meter will provide a reliable basis for exposure calculation. ●Controlled situations In controlled situations, such as in the studio, extreme contrast levels can be avoided through the use of balanced lighting. Here, a normal meter reading of a standard gray card, placed next to the subject, will show the correct exposure setting. A Iesser or greater exposure time may be desired and/or required according to the effect desired or the brightness of the subject in comparison to that of the gray card. Other factors, such as bellows extension and image enlargement (macrophotography), must be taken into consideration. ●Electronic flash situations To obtain a precise reading of electronic flash light output, use a flashmeter set to the ISO rating of the film being used. An incident light reading, taken from the subject's position, will show the correct f-stop to use. With certain older-type flash meters, the meter has to be readied and set near to the subject and the electronic flash triggered manually. More advanced versions are connected by sync cables to the electronic flash unit and triggering of the flash is done by pressing a button on the meter. Usually, this type of meter can be used to obtain accumulated readings of flash output in the case of repeated (multiple) flashes.
2. BASIC STUDIO LIGHTING TECHNIQUES
(1) Product Photography
Introduction: Soft, almost shadowless lighting is generally employed in present-day product photography. The following items are required for this type of lighting: ?? A Iarge softbox (light dome) in which a tungsten-type or electronic flash head is fitted. ?? A counterbalanced boom to support the softbox. ?? Diffusion screens (such as frames covered with double-thickness tracing paper). ?? Soft reflectors, photofloods. Whether the item to be photographed is small or large, the lighting procedure is essentially the same : (a) The object is placed on a prepared surface, either on a table or the studio floor. Usually this surface is curved up at the back to fill the image frame. The softbox is suspended directly over and as close as possible to it (usually just outside the image frame). This softbox can be either tilted or partly blocked off with black paper to create a gradated background. If the object being photographed is thin and flat, often this single light source will be all that is required. (b) If the front of the product is too dark, a reflector should be positioned just below camera level and to one side. This is then angled to reflect the overhead light onto the product. (c) Should more light be required, instead of the reflector, a diffusion screen with a photoflood (or electronic flash head) set behind it should be used. The intensity of this diffused fill-in light should be weaker than the main source. (d) A Iow-power reflector (such as a white card) may be required to supply additional fill-in light from the opposite side.
NOTE Soft lighting generally works well for color, regardless of background brightness, but for black &
white, backgrounds which are either brighter or darker than the product are required for separation.
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(2) Portrait and Full-figure Studio Lighting for Advertising Work
Introduction: As with product lighting, the current trend favors the softest lighting possible and lets color provide the necessary impact. The basic equipment needed for such lighting is as follows: ?? A powerful highly-diffused top light (sometimes called the area light). ?? A Iarge softbox with a high-power light source fitted inside. ?? Two or three hinged white reflector boards (approx.2.5 meters in height). ?? Various tungsten or electronic flash heads. A typical lighting setup would be as follows: (a) The top (or area) Iight is positioned high above, mainly to light the background. It is then tilted to provide the background with the degree of gradation required. (b) Then the large softbox, for lighting the model, is positioned above and to the side of the camera. (c) Reflector boards are set up as desired and lights are shone directly onto them. The light reflected from these screens is very soft and judicous placement of these reflectors and lights will result in almost shadowless lighting.
3. HAND-HELD EXPOSURE METERS
Introduction
The function of the hand-held exposure meter is to convert the response to light falling onto a light-sensitive cell into a reading or another form of visual indication that enables the correct shutter speed and / or lens aperture to be set. The following are the different types of hand-held exposure meters usually employed :
(1) Reflected-light Meter
This type of meter provides a general reading of the light being reflected from a scene. It can also be used to measure separate parts of the image, such as a subject's face or shadow areas, thus enabling more precise exposure settings to be determined.
(2) Incident-light Meter
This meter measures the overall light falling directly on a scene without being influenced by the brightness of the subject being photographed, and is thus the best type of meter for fast work. Like the reflected-light meter, it can also be used to measure various levels of light falling on separate parts of a scene for more precise calculation.
NOTE
Many light meters allow both reflected and incident light readings to be taken.
(3) General Portraiture Lighting
Introduction: Unlike the soft lighting used in advertising photography, traditional, highly dramatic lighting, as seen in old master paintings, is still popular for general portrait work. A basic set of equipment needed for portrait photography is as follows : ?? A strong main light (called the key-light), preferably with a focusing fresnel lens. ?? A more powerful fresnel or plain-lens light for use as a backlight. ?? One or two scoops, or other diffused lighting units, for use as fill-in lights. ?? One or two adjustible lights for lighting the background and various elements in the picture to add greater dimension. The following steps are for a typical studio portrait lighting set-up: (a) The key-light is positioned approximately 45 degrees above and to one side of the model. (b) Well out of the frame, a strong backlight is positioned above and behind the model to highlight hair and shoulders. Normally, this backlight is at least 1.5 times brighter than the key-light. (c) One or more lights are then used to light the background. With certain spotlights it is possible to project patterns onto the background. (d) A scoop(s) or other diffused light source(s) is used to soften facial and body shadows.
NOTE
With older male subjects, Iighting is generally kept quite dramatic, while with female models, children and young adults (of both sexes), the key-light should be slightly diffused and the fill light increased. Usually the lighting used for portraits is fine for both color and black & white work.
(3) Spotmeter
This special type of meter provides the most precise readings of all, as its narrow field of view allows light reflected from a 1-degree circle within the targeted subject to be accurately measured. Any number of areas can be read to create a set of values for a particular scene, which then enables the photographer to determine the most suitable exposure setting.
(4) Flashmeter
This meter measures the short-duration light discharged by electronic flash sources and displays the correct working aperture. This type of meter normally measures the incident light falling on a subject, but some meters are equipped to measure reflected light as well.
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4. COLOR TEMPERATURE METER
(1) General Description
A color temperature meter is a precision instrument which is used by photographers to measure the color quality of ambient light, the light from electronic flash, or a combination of both. It analyzes the color characteristics of light striking three photo cells contained in its light-receptor head, and then displays the required filtration, if any, as well as the photographic color temperature in degrees Kelvin. (See "Color Temperature" on page 105.) Most color temperature meters have the following three film settings; ?? 3200K-balanced, type-B tungsten light film (still / cine use) ?? 3400K-balanced, type-A tungsten light film (cine use only) ?? 5500K-balanced, daylight film (still / cine use)
NOTE FUJICHROME 64T TYPEII Professional [RTPII] is designed to produce the best results at 3100K.
sources by selecting a different shutter speed which is lower than the X-setting, the modified filtration will be shown when this information is entered into the meter.
(b) Measurement of Light from a Studio-type Flash
Measuring the color quality of the light emitted by studio electronic flash units is very simple. The meter should be positioned near the subject and pointed towards the light source(s). A sync cable is usually attached to the meter and then plugged into the main unit, making the triggering of the flash easy. When light-balancing filtration is indicated, it is preferable to use gelatin-type filters in front of the flash head(s) rather than a filter or filters on the lens. Keeping the optical path free of filtration avoids problems caused by dust, etc. on the filter(s). Another important abvantage of directly filtering the light source(s) is that filter factors need not be taken into account when reading the light level with a flash meter. However, as the range of gelatine filter sheets for lighting units is not as extensive as that of light-balancing and color compensating filters for lenses, it may not always be possible to obtain precise results by filtering the light unit(s).
(2) General Applications (a) Measurement of Ambient Light
Ambient light refers to a continuous source of light falling on the subject, such as daylight or light from photospots, photofloods and other lamps. If the ambient light originates from only one source such as the sun or a single lamp (or from lamps of the same color temperature), accurate measurements are easily made. However, if the ambient light is not all of the same color temperature or is combined with light from an electronic flash, color temperature measurements are more complicated. The following methods for determining color temperature and filtration should be used according to the respective lighting conditions. ?? If the ambient light consists of a single color temperature, the meter should generally be held facing the main light source, and in the case of artificial light, close to it if possible. If only bounce lighting is used, the meter should face either the surface which is reflecting the light, or towards the camera from the position of the subject. ?? When the ambient light comes from multiple light sources with different color temperatures, each light source should be measured and various gelatine filter sheets used to standardize the overall color temperature. If this method cannot be used under the given condition, then with the meter facing the camera, the overall light illuminating the subject should be measured and the recommended filter fitted on the camera lens. ?? When the ambient light and the light from an electronic flash are used together, the meter should be pointed at the flash. If any filtration is required for the combined lighting, it will be indicated. If the photographer changes the effective ratio between the two light
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(3) Special Applications / Conditions (a) Color Meter Readings
Most color meters give readings for both LB (light-balancing) filters and CC (color-compensating) filters (see pages 80 and 82). The majority of applications involve LB filters which decrease or increase the color temperature of the light illuminating the subject, but sometimes a color meter is also used to indicate the filter required for adjusting a specific color filter, such as red, blue or green. It does this by displaying the required density of the green (G) filter or magenta (M) filter, the two filter colors that are used to adjust the level of green. Other CC filters are not indicated because the level of red and blue in the light is controlled by LB filters.
(b) Special Light Sources
While a color meter will provide accurate reading for electronic flash and common ambient light sources, this may not be the case for difficult-to-analyze light from sodium vapor lamps, metal-halide lamps, mercury-vapor lamps, and the three-narrow-band fluorescent lamps. Color-bracketed test exposures are therefore recommended to verify that the indicated filtration is correct. Some color meters have a memory function which is very useful for storing data on complex light sources and for retrieving the data when an identical light source is later encountered.
NOTE
Under special light sources, the accurate reproduction of all colors may not be possible, regardless of the filter(s) used.
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6-5. GLOSSARY OF PHOTOGRAPHIC TERMS
●Contents
1) FUJICHROME FILM Push-/Pull-Processing 120 2) Color Temperature 3) Mired 4) Modulation Transfer Function (MTF) 5) Root Mean Square (RMS) Granularity 6) Resolving Power 7) Circle of Confusion / Depth of Field 8) Depth of Focus 121 122 123 126 128 129 130
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1) FUJICHROME FILM Push-/Pull-Processing
(Increasing or decreasing the effective speed of a film through push-/ pull-processing.) To get the most out of your Fujichrome film, you should set the exposure meter to the ISO rating marked on the box. However, there may be times when you need to set the film speed higher to suit certain photographic conditions. For example, you could use FUJICHROME PROVIA 400F Professional (RHPIII) at an exposure index (EI) of 800 and have it push-processed by the laboratory. Push-processing can also be used to compensate for accidental underexposures. If you have underexposed a roll of film because of an incorrect ISO setting or other reason, have your lab push-process it. As FUJICHROME films have been designed to the highest quality standards, they can be safely push- or pull- processed according to the table below.
2) Color Temperature
When a piece of metal (specifically a black body radiator) is subjected to a progressive rise in temperature, it goes from dull black, through orange and red, to a state what is called "white heat". The light quality emitted depends on the temperature of this specimen and is expressed in degrees Kelvin. In photography, this Kelvin scale is used to describe, in terms of color temperature, the quality of a light source. Almost every light source, be it direct or reflected, radiates in the visible region light which has its equivalent in the quality of light radiated by a "black body" heated to a specific temperature (i.e., degrees Kelvin). In the strictest sense, color temperature applies only to light sources which are full radiators, but in practice, it includes sources which are close to being full radiators, such as tungsten filament lamps. Exceptions are fluorescent lamps whose spectra and resulting photographic effects can differ greatly from those of full or near radiators. In color photography, the color temperature of the light source should match that for which the film is intended. The maximum permissible deviation from this would be about 100K for color photography using reversal film and more for negative material because prints can be adjusted for color balance. Mixed lighting of different color temperatures can pose problems. When daylight is the main source, however, electronic flash may be successfully used to cancel out light of the wrong color temperature falling on the subject by providing a properly balanced fill-in light. For precise control, a color temperature meter, which gives a direct reading of the light source’s color temperature, and the recommended color-correction filter(s) should be employed.
Film RVP (ISO 50) RVP100F (ISO 100) RDPIII (ISO 100) RAP100F (ISO 100) RHPIII (ISO 400) RTPII (ISO 64)
*1
Useable Exposure Indices (Effective working aperture increases*1 / exposure corrections*2 ) EI 35 to 100 (-1/2 to +1) EI 70 to 200 (-1/2 to +1) EI 70 to 400 (-1/2 to +2) EI 70 to 400 (-1/2 to +2) EI 280 to 4800 (-1/2 to +31/2) EI 45 to 125 (-1/2 to +1)
To effectively increase or decrease the speed of a film, manually set the ISO
rating to the new exposure index required and then expose the entire roll of the film to be used at that exposure index. After removing the exposed film, mark it clearly for push- or pull-processing.
*2
For exposure correction, the amount the film can be push-/pull-processed is
shown.
Precautions:
Because film exposed in this way requires special processing, ascertain that your film processors can provide this service.
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3) Mired
The term mired (micro-reciprocal-degree) applies to the reciprocal measurement of color temperature. The mired value is derived by dividing one million by the color temperature (degrees Kelvin) . Mired Value = 106 color temperature Any difference in a mired value has a corresponding difference in a visible change in color. Mired values, being reciprocal, grow smaller as the degrees Kelvin increase. They are very useful because of the nearly linear relationship between a light source's color temperature and the effect produced. In the case of color temperature (degrees Kelvin), however, the changes in the visual or photographic effects do not have a linear relationship with the light source. Mired values, being additive, are most applicable to the rating of light sources, filters and films. For example, a new mired value results when the mired values of a light source and a filter are added together. By using the mired values of filters, the change in color quality which will result can be easily determined regardless of the color temperature of the light source. The mired scale is most often applied when color-compensating filters are used to change the effective color of a light source to match the response of a color film. To illustrate this, let us use a case in which a daylight color film balanced for 5500K, is used with a tungsten light source of 3200K. For proper color balance, color correction is required. To determine the mired shift, the following equations are applied: Mired value of film =1/5500??106 =182 Mired value of source =1/3200??106 = 313 By subtracting the mired value of the light source from that of the film, we get minus 131. By using data sheets provided by filter makers, the appropriate filter can then be determined.
4) Modulation Transfer Function (MTF) Sharpness
The sharpness of a photograph refers to its ability to reproduce clear details between areas of different densities.
Definition of the Modulation Transfer Function
There are various response functions of photosensitive systems, such as the Optical Transfer Function (OTF) , the Contrast Transfer Function (CTF) and as explained below the Modulation Transfer Function (MTF) . The MTF, generally applied to lenses, is also used as a method for measuring the sharpness of photosensitive materials using physical means. MTF refers to the sharpness over an entire range of spatial frequencies, while resolution is limited to the maximum spatial frequency by which image sharpness is obtained.
Sine Wave Chart (Sine Pattern Co.)
Resolution Test Chart (ISO)
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How the MTF is Measured
Spatial frequency is an indication of the number of times a regular pattern repeats itself over a given distance, e.g., 100 cycles per mm. In determining the MTF, sinusoidal frequency patterns of varying density and contrast are used. A pattern of precisely divided blackand-white patterns representing various spatial frequency values are contact-printed onto the photosensitive material to be assessed. The material is processed under standard conditions to obtain the charts shown on the preceding page (sine wave chart with 60% variation). A micro-densitometer (visual filter) is then used to obtain density measurements, which are in turn used to calculate the modulation (M) value of each frequency. The M values are then used to calculate the MTF. ●Graph of calculation results
●Calculating Modulation Using the H(u)high and H(u)low values stated above, M(u) is derived for each spatial frequency using the following equation: M(u)=H(u)high-H(u)low H(u)high+H(u)low ●Deriving an MTF Curve An MTF curve is derived by dividing (normalizing) the modulation M(u) for each spatial frequency by the modulation M(o) for a spatial frequency of 0 cycle/mm. ●Graphing the MTF Responses (%) derived for the various spatial frequencies are then plotted on a graph.
Sine Wave Pattern
MTF Curve 130 100 70 50 30 20 10 7 5 3 2 Exposure ; Tungsten Process ; CR-56 1 5 10 20 50 100 200
Low
High
Spatial Frequency (Cycles/mm)
●Density measurement for each spatial frequency Density profiles are derived using a micro-densitometer. ●Variations in Effective Exposure on the Basis of Density
Response(%)
Spatial Frequency (cycles/mm)
Du high H(u)low (value read from log Hrel and converted to H) Du low H(u)high (value read from log Hrel and converted to H) logHre l
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Density DH
●Interpreting the Curve For any given frequency range, higher values indicate higher sharpness.
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5) Root Mean Square (RMS) Granularity Granularity
With large prints, the granular structure of the negatives used becomes noticable, a condition not obvious in prints of more normal size. This observable grainy quality is referred to as print graininess. While individual crystals of a photographic emulsion would require magnification of about 50 times to be seen by the naked eye, a grainy pattern is often detected at much lower magnifications due to what is called "clumping", a phenomenon caused by the way the grains are unevenly distributed in the emulsion. This produces, in the viewer’s consciousness, a sensation which is termed "graininess". Graininess is expressed as a statistical numerical value obtained a psycho-physical technique that determines the granular fluctuation among the micro-densities of an evenly exposed and processed area of photosensitive material. RMS granularity, Selwyn granularity, Q coefficient, and other means are used to assess granularity. Of these, RMS granularity is widely used because of its simplicity and good correspondence with visual graininess.
●Outline of the RMS Measurement Process
Distribution of silver halide grains or dye clouds within film Change and distribution on scan graph based on micro-densitometer measurements
(a)
(a)
Fine-grain distribution
(b) (b)
Medium-grain distribution
(c) (c)
Coarse-grain distribution
●Graphing of Measurement Results
Definition of RMS Granularity
Used as standard deviation in statistics, the RMS (Root Mean Square) expresses the disparity within a group of measured values as the square of the faction δ –. A lower RMS therefore indicates lower disparity (granularity) in density values, which is desirable.
How RMS Granularity is Measured
The photosensitive material to be measured is exposed evenly and processed. A sample (with a visual diffusion density of 1.0) is then scanned with an extremely small aperture opening (48 ?? φ), and the RMS is determined by calculating the standard deviation for the variations in the minute densities of silver halide grains or dye clouds. As an average value, the distribution of density values roughly corresponds with the normal distribution. The standard deviation for densities expressed as δ –(D) is the root mean square of the individual deviation values. The value thus obtained is then multiplied by 1,000 to obtain the diffusion RMS granularity value.
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●Calculation of RMS ... The RMS is calculated using the following equation:
{
clearly.
ined under a microscope to determine how many lines can be distinguished per millimeter. ?? The resolving power is indicated on the data sheet for two types of test charts : a low-contrast chart with a luminance ratio of 1.6:1 and a high-contrast chart with a luminance ratio of 100:1. ?? The higher the number of lines distinguished per millimeter, the higher the resolution.
n : Total number of measured densities D : Mean value ( = added density values ) n Dn : Individual density value
System Resolving Power
The resolving power of a system can never exceed the lowest resolving power among the components that comprise the system. In fact, the system value is actually lower. For example, if a lens with a resolving power of 200 lines/mm were used with a film with a resolving power of 50, the combined system resolving power would be 40. To accurately determine the resolving power of a system, use the following equation :
1/R = 1/r1+1/r2+1/r3 (where "R" is the resolving power of the system and each "r" represents that of each component)
*Results will differ depending on the aperture size, thus changing the evaluation criteria. The measurement conditions must therefore always be stated
6) Resolving Power
The ability of the various system components (film, camera lens, printing material, etc.)- individually or in combination - to show separation between closely spaced Iines and other elements is called "resolving power" and is measured in lines per millimeter. The resolving power of a film refers to its ability to distinguish fine details, and is thus an expression of a film's technical limitations.
Measuring Resolving Power of Films
In order to measure the resolving power of a certain film, a photographic image is first taken of a test chart (such as the one shown on the right) using a camera fitted with a lens which has a high resolving power. ?? A test chart typically consists of many groups of alternating black and white lines. The width of the lines is equal within the same group, but differs from group to group.
7) Circle of Confusion / Depth of Field
When a lens is focused exactly on a certain part of the subject (or object), the light rays reflecting from it, and everything else on the same plane, will be concentrated as points on the film, which represents perfectly sharp focus. On both sides of this plane, however, the light rays no longer form points but discs (circles), whose size is proportional to their distance from the plane. These discs are known as "circles of confusion". If these discs have a diameter of less than 0.25 mm, the parts of the image they comprise are still considered, for most purposes, to be in sharp focus. For detailed, big enlargements, however, much smaller discs are required.
Evaluating Resolving Power
The photograph (negative or transparency) of the test chart is exam-
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Depth of field is the distance between the points in front and in back of the subject between which the subject remains in sharp focus at one setting of the lens. Normally, two-thirds of the depth of field lies behind the subject and one-third in front. The depth of field can be increased by reducing the size of the lens aperture. Because depth of field is proportional to the focal length of a lens, wide angle lenses have great depth of field and telephoto lenses shallow depth.
8) Depth of Focus
Sometimes confused with depth of field, depth of focus is the distance on either side of true focus thet the film can be moved without having an appreciable effect on image focus, even with the lens (aperture) wide open. Most cameras are designed to maintain the film at the position of optimal focus, but with certain instant films and easy-to-use film holders, the film position may shift beyond the depth of focus when the lens (aperture) is opened wide.
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