Chapter Seven Color Transparency Film

1
Chapter Seven Color Transparency Film
2
Advantages of Color Transparency Film

• Transparencies, are also know as slides.
• With slides what you see is what you get.
• Slides go through fewer first generation images,
  prints are second generation images.
  
• The fewer generations a image goes through the
  better it is.
  
• Slides have more "readable" tonal range than
  prints.
  
• Slides can have a range of about 4001, prints
  can only have a range of 1001 to 851.
  
• Daylight scene has a brightness range of 1601 or
  higher.

3
Advantages of Color Transparency Film

• Slides have higher contrast and saturation than
  prints.
  
• Generally, slid film is exposed to produce
  acceptable detail in the key highlight areas of a
  scene. (Just the opposite of print film.)
  
• Color saturation and density increase
  proportionately with less exposure.
  
• Many photographers intentionally under expose by
  1/3 to 1/2 of a f-stop.
  
• To underexpose set your ISO to a higher number.
  (exp.. with ISO 100 film set the ISO to 120 for
  1/3 less exposure or 160 for 1/2 less exposure.

4
Advantages of Color Transparency Film

• Slide film can be processed at home without a
  great deal of equipment.
  
• Slides are less expensive than prints.
• Slides have been the choice for photographic
  reproduction, because printer could make color
  separations directly from them.
  
• More and more scanner operators prefer to
  separations form color negatives.

5
Disadvantagess of Color Transparency Film

• Slides must have a slide projector to be viewed.
• Each slide is an original, and must be
  protected.
  
• Slide film can only be slightly manipulated
  through development.
  
• There is no second chance to change the image's
  balance.
  
• Slide film has a much narrower exposure latitude
  than negative film.

6
How Transparency Film Works

• Transparency film makes a positive.
• The film uses the "tripack" structure.
• Slide film does not have a masking layer like
  negative film to correct inherent imperfections
  of the green-sensitive and red-sensitive layers.
  
• Advances in color negative films are being
  applied to slide material.

7
Processing Transparency Film

• Almost all slide film uses E-6 development.
• The first step in development is similar to
  black-and-white processing.
  
• A silver-grain negative image is developed in
  each of the layers.
  
• Next the film is "fogged" either through chemical
  action or exposure to light so that the silver
  grains can be formed throughout all the layers of
  the emulsion.
• During color development the subtractive primary
  dyes are produced in the emulsion layers.

8
Processing Transparency Film

• At this stage the film looks black because it has
  metallic silver in all the emulsion layers.
  
• To see the image the film has to be bleached.
• Pre-bleach enhances image stability and contains
  a trace amount of formaldehyde.
  
• The bleach changes all silver into silver halide
  crystals.
  
• Fixer removes all the silver halides from the
  film.
  
• The wash takes away the remaining fixer.

9
Temperature Control

• All color processes are extremely sensitive to
  time, temperature, and agitation.
  
• Newer films are even more process sensitive that
  old films.
  
• If you can't control the process have a
  professional lab develop the film.
  
• In E-6 processing the "First Developer" and the
  "Color Developer" are the most sensitive.
  
• First Developer must be accurate to -5 sec and
  -0.5F
  
• Color Developer must be accurate to -15 sec and
  -1.1F

10
Water Bath

• A water bath should be used to maintain the
  temperature.
  
• You place you chemicals and tank into a container
  of water slightly above the processing
  temperature.
  
• The water maintains the temperature.

11
Handling and Agitation

• Agitation is also important to color
  development.
  
• Too little or too much agitation causes uneven or
  unusual color balance.
  
• Tanks should be agitated by inverting the tanks.
• If you only have one real in a multi-reel tank
  you should fill the tank up with unused reels.
  
• Stainless steel tanks and reels are recommended.
• Almost all transparency color films can be
  developed in E-6

12
Troubleshooting E-6

• Processing Adjustments for ISO
• Most E-6 films can be push or pulled processed.
• When slide film is pushed or pulled color shifts,
  changes in contrast and a decrease in exposure
  latitude can result.
  
• Special Processing
• Kodachrome uses the K-14 and must be processed by
  Kodak.

13
Brands

• Slide film is available in many brands and in
  different speed ranges.
  
• Each manufacture uses their own color balance.
• Lenses coating on older lens can also change the
  color balance.
  
• The best way to see if a film is right for you is
  to try it.

14
Film Speed

• Films can be divided into four basic categories
  based on their speed
  
• Slow films ISO
• General-use 100 to 200,
• Fast 200 to 400,
• Ultrafast 400.
• The slower the film the greater the color
  saturation. smaller the grain and better
  contrast.
  
• Faster films have more exposure latitude.
• Developer inhibitor releasing (DIR) couplers help
  prevent grain buildup and over development.
  
• Use film that fits the situation, don't try to
  make the film fit.

15
Amateur and Professional Films Compared

• Amateur professional film have similar
  quality.
  
• The difference is in the color balance of the
  films.
  
• As color film ages the color balance changes.
• Amateur film is expected to be stored at
  uncontrolled temperatures before it is used.
  
• Film color balance shifts towards yellow as it
  ages, the color balance of the emulsion is made
  in the complementary direction, blue, to
  compensate.
• Professional films are manufactured at their
  optimum point for accurate color balance and
  consistent speed.
  
• Professional films must be refrigerated!!

16
Lighting Conditions Using Daylight, Tungsten,
and Type A Films

• Color film must match the lighting conditions to
  render normal color.
  
• Color films are color balanced either for
  daylight or tungsten light.
  
• Daylight film exposed under tungsten light comes
  out an orange-yellow-red.
  
• You can adjust daylight film for tungsten light
  by using an 80A filter.
  
• Tungsten balance film shot under daylight comes
  out bluish.
  
• You can adjust tungsten film for daylight light
  by using a 85B

17
Lighting Conditions Using Daylight, Tungsten,
and Type A Films

• Photographs taken in deep shade or on a overcast
  day, may show a cool, bluish cast.
  
• A 81A warming filter may help with deep shade's
  blush nature.
  
• (FL-W) -- FL-D/FL-B Filter Provide pleasing
  skintones and correct color under fluorescent
  lighting. Use FL-D with daylight-corrected films,
  and the FL-B with tungsten-corrected films.

18
Transparency Duplication

• Once slide film has been exposed and process the
  major way to make corrections is through slide
  duplications (dupes).
  
• Slide dupes show a increase in contrast and loss
  of detail.
  
• Making your own color accurate dupes can be
  difficult.
  
• Unless you make dupes frequently it is better to
  have them made commercially.
  
• Commercial labs use special film to reduce the
  increase of contrast.

19
Viewing Transparencies

• To make critical judgment on the quality of a
  color slide it is necessary to view them with
  5,000 K light.
  
• For general viewing the color temperature can
  vary from 3,800 K to 5,000 K.
  
• Slides should be loaded in the projector upside
  down with the emulsion towards the screen.

20
Storing and Handling Color Films

• All color film should be stored in a cool, dry
  place in original packing.
  
• They should be stored away from chemical fumes
  especially formaldehyde.
  
• All color films should be exposed before the
  expiration date.

21
Storing and Handling Color Films

• X-ray equipment, used at airport security
  systems, can fog film.
  
• Ask for a hand inspection of you camera equipment
  and film.
  
• Film should be stored in a refrigerator at less
  than 55F.
  
• Film should be allowed to warm up before using.
• Film should be processed as soon as possible
  after exposure.

22
Chapter Eight Color Negative Film and Prints

• Color Negative Film Characteristics
• Color negative film is the first part of a
  two-stage process for making prints on paper.
  
• The method is similar to that used for slides.
• Color negative film possesses an orange integral
  mask to correct for deficiencies in the green-
  and red-sensitive layers of the film.

23
Advantages of Color Negative Film

• Color negative film is easier and quicker to
  process than slide film.
  
• Unlimited prints can be made from negative film.
• Prints are easy to store, send and display.
• Negative films offer greater exposure latitude
  than slide films.
  
• With color negative film color saturation and
  density increase with more exposure.

24
Advantages of Color Negative Film

• Color negative film should be exposed to produce
  acceptable detail in the key shadow areas.
  
• When in doubt about the proper exposure it is
  usually best to slightly overexpose the film.
  
• To overexpose you film set the ISO to a lower
  number than the manufacture suggests.
  
• Overexposure can also produce a tighter grain
  pattern.
  
• Negative film tends to work better in contrasty
  and mixed-light conditions.

25
Disadvantages of Color Negative Film

• The biggest disadvantage of color negative film
  is that more time and equipment are required to
  get the final image.
  
• The quality of the obtainable color is not as
  high as slide film.
  
• Because prints are viewed by reflected light the
  paper absorbs some of the light, this absorption
  is called double density effect.
  
• If a color positive print is required
  negative/positive process offers the most
  accurate color rendition.
  
• Negative film contains an integral mask that
  corrects for defects in the green- and
  red-sensitive layers of the film.

26
Construction of Negative Film

• All color film is made of layers.
• All the layers are placed on the base.
• There are at least 3 layers of silver halide
  emulsions that are each sensitive to one of the
  additive primary colors. (RGB)
  
• Each emulsion layer is coupled to a complementary
  dye layer. (CMY)
  
• When film is exposed a latent image is created in
  each emulsion layer.

27
Chromogenic Development of Negative Film

• During chromogenic development both the
  full-black silver image and the color dye image
  are formed simultaneously in the tripack.
  
• When the film is bleached the unwanted black
  silver image is removed.
  
• After bleaching what is left is the three layers
  of dye (CMY).
  
• The film is fixed to during which the unexposed
  areas of the emulsions are made permanent.
  
• Washing removes all the remaining chemicals.

28
Chromogenic Development of Negative Film

• The last step is stabilization for maximum dye
  life.
  
• The final color negative has a overall orange
  mask.
  
• The mask is to improve color reproduction by
  reducing contrast and maintaining accurate color
  during the printing.
  
• Most current negative films can be developed in
  the C-41 process.
  
• Many of the latest films are extremely process
  sensitive and require very accurate controls.
  
• Formaldehyde is being removed from all color
  processes.

29
Troubleshooting C-41

• See table 8.2.

30
How the Chromogenic Print Process Works

• A chromogenic color print is made when light is
  projected through a color negative onto color
  printing paper.
  
• The light is filtered before it reaches the
  paper.
  
• The paper like the film has a three-layered
  tripack emulsion.
  
• When the print is made, the colors from the
  negative are reversed.

31
How the Chromogenic Print Process Works

• A red ball would be recorded in the cyan layer of
  the negative. When light passes through the
  negative, only green and blue light are
  transmitted. This exposes only the layers in the
  paper emulsion that are sensitive to green and
  blue light, releasing the complementary magenta
  and yellow dyes in the paper.
• Where there is clear film in the emulsion layers,
  white light produces a latent image in each of
  the layers of the print emulsion.

32
Developing the Print

• When the print is developed, each of the three
  layers of the exposed emulsion develops into a
  positive black-and-white silver image.
  
• Dyes are formed wherever the silver is
  deposited.
  
• The print is bleached to change the silver to
  silver halides, which the fix then removes.
  
• Usually the bleach and fix are combined.
• The colors in the resulting image are those that
  are reflect back to the eye.

33
What Is This Type of Print Called?

• Prints made from negatives in the C-41 process
  use chromogenic development.
  
• Rudolph Fisher coined the term chromogenic in
  1912.
  
• Prints commonly called chromogenic color prints.
• The opposite method for making color prints it
  the dye-destruction process.
  
• Color prints may also be referred to by the
  specific paper they were made on.
  
• Many people and organizations still call all
  modern color prints Type C.
  
• Type C was actually a specific product from
  Kodak.
  
• In 1958 Kodak introduced Ektacolor Paper, Type
  1384 to replace Type C in photofinishing
  applications.

34
Brands, Grain, and Speed

• Grain
• The more enlargement, the more grain is visible.
• The smaller the negative's format the more
  enlargement.
  
• Slower films have less grain.
• Even though color film does not have any silver
  when finished it still shows grain.
  
• As the color dyes are created, dye clouds form
  around the silver particles and remain even after
  the silver is removed.
  
• The dye clouds appear as grain in the print.
• Kodak's print grain index is a way to
  subjectivity evaluate perceived graininess.
  
• Overexposure can reduce the appearance of grain,
  by creating larger dye clouds in each layer.
  
• When large dye clouds expand they overlap and
  fill in from layer to layer.

35
Type S and Type L Films

• Kodak's "Professional" color negative films come
  in two versions.
  
• Type S. is for short exposures. Type S is
  balanced for daylight and designed for an
  exposure time of 1/10 to 1/10,000 of a second.
  
• Type L is for long exposures. Type L is balanced
  for tungsten light and for exposure times of 1/50
  to 60 seconds.
  
• Three film color balance types are currently
  available daylight, tungsten for 3200K
  photofloods, and Type A for 3400K photofloods.

36
Prints and Slides from the Same Film

• There are motion-picture film stocks such as
  Kodak 5292 that can be processed to give both
  slides and prints form the same roll of film.
  
• It is generally fine for snapshoot shooting.
• Motion-picture stock is designed to be exposed at
  1/50 of a second.
  
• They lack an anti-scratch coating.
• These films most be processed in ECN-2.
• Seattle FilmWorks gives you film (5247) if you
  have them processes.

37
Chromogenic Black-and-White Film

• Ilford XP2 is an ISO 400 film wish develops in
  C-41.
  
• XP2 makes use of new chromogenic technology.
• Special developer inhibitor releasing couples
  yield ultrafine grain.
  
• XP2 has a extremely wide exposure latitude (ISO
  50 to 800).
  
• If when printed on color paper the print shows a
  color cast use an unexposed strip of processed
  color film to provide the orange mask to correct.