Fact-checked by Grok 2 weeks ago

Sensitometry

Sensitometry is the science of measuring the sensitivity of photographic materials, such as film emulsions, to light or radiation exposure and the effects of chemical development on the resulting image density.^[1]^[2] The field originated in the late 19th century through the work of Ferdinand Hurter and Vero Charles Driffield, who investigated how photographic films respond to varying exposures and processing conditions, laying the foundation for quantitative analysis of image formation.^[1]^[2] Their efforts introduced the concept of plotting density against the logarithm of exposure, known as the H&D curve or characteristic curve, which remains central to sensitometric evaluation.^[2]^[3] At its core, sensitometry employs standardized tools like the sensitometer, which exposes film to a series of known light intensities using a step tablet to create graduated densities, and the densitometer, which measures the optical density of the developed film.^[1] The characteristic curve derived from these measurements consists of three main regions: the toe, representing low exposures and shadow detail; the straight-line portion, indicating midtone contrast; and the shoulder, corresponding to high exposures and highlight rendering.^[1]^[2] Key metrics include film speed, which quantifies the exposure required to achieve a specific density, and contrast index, which assesses the slope of the curve's straight-line section.^[1]^[2] Sensitometry finds applications across imaging disciplines, including traditional photography for optimizing exposure and development, radiography for ensuring consistent film response to X-rays and maintaining quality control in nondestructive testing, and aerial photography for calibrating color films under varying conditions.^[2]^[4] In medical and industrial settings, it is used to test processor performance and adjust techniques when switching film types, as different emulsions exhibit unique characteristic curves requiring exposure adjustments by factors such as 2 to 3 times for equivalent density.^[2] Though digital imaging has reduced its prevalence, sensitometry principles continue to inform hybrid workflows and the evaluation of light-sensitive media.^[5]

Principles

Basic Concepts

Sensitometry is the quantitative study of the response of light-sensitive materials, particularly photographic emulsions containing silver halide crystals such as silver bromide, to exposure by light or other radiation, which produces measurable changes in optical density following chemical processing.^[3]^[6] These materials, typically suspended in a gelatin binder, form the basis of traditional photographic films, where exposure activates a latent image within the silver halide grains.^[3] The process begins with light striking the emulsion, initiating photochemical changes that are invisible until development converts the exposed grains into metallic silver deposits, thereby creating visible density variations.^[6] The primary purpose of sensitometry is to evaluate key performance characteristics of these materials, including sensitivity (often termed speed), which indicates the minimum exposure required to produce a detectable image; contrast (gamma), which measures the steepness of the density response; and latitude, representing the range of exposures that yield acceptable image quality.^[3]^[6] These metrics facilitate quality control in manufacturing, standardization of processing conditions, and accurate prediction of how scenes will be reproduced in final images, ensuring consistent tone rendition across light and shadow.^[3] Central to sensitometry are foundational terms and equations that describe the interaction between light and material. Exposure E is defined as the product of illuminance (light intensity I) and exposure time t, expressed as E = I \times t.^[3]^[6] Optical density D, a measure of the blackness or opacity of the developed image, is calculated as D = -\log_{10}(T), where T is the transmittance (the fraction of incident light passing through the material).^[3] Development plays a crucial role by amplifying the latent image into measurable density, with the extent of reduction depending on processing variables like time and chemistry.^[3] Given the vast dynamic range of photographic responses—spanning several orders of magnitude—exposures are typically analyzed on a logarithmic scale to accommodate this breadth effectively.^[3] Although sensitometry originated with and remains primarily focused on analog film systems, its principles extend to emerging digital contexts, where analogous measurements characterize sensor response curves to light intensity.^[7] These core concepts underpin graphical representations like the characteristic curve, which plots density against logarithmic exposure to illustrate material behavior.^[3]

The Characteristic Curve

The characteristic curve, also known as the Hurter-Driffield (H&D) curve, is a graphical representation central to sensitometry that plots the optical density D of a photographic emulsion against the base-10 logarithm of exposure, \log_{10} E. This semilogarithmic plot captures the nonlinear response of the material to light or radiation, enabling quantitative analysis of its sensitivity and contrast characteristics. The curve is constructed by exposing a uniform sample to a graduated series of exposures, processing it under controlled conditions, and measuring densities at corresponding points.^[1]^[3] The anatomy of the H&D curve reveals distinct regions reflecting the emulsion's behavior across exposure ranges. In the toe region, corresponding to underexposure, the slope is low, resulting in minimal density buildup and compressed tonal rendition in shadow details. This transitions to the straight-line portion, where density increases linearly with \log_{10} E, providing the primary dynamic range for midtones with optimal contrast. The shoulder follows, where overexposure causes the curve to flatten as density approaches saturation, limiting highlight detail. At extreme exposures, solarization may occur, manifesting as a reversal where density decreases due to excessive silver halide disruption during development.^[2]^[8] A critical parameter derived from the curve is gamma \gamma, defined as the slope of the straight-line portion and calculated as \gamma = \frac{\Delta D}{\Delta \log_{10} E}, quantifying the material's contrast. Typical values range from 0.5 to 1.0 for negative films, indicating moderate contrast suitable for capturing scene luminance ranges, while photographic papers exhibit higher gammas of 2 to 4 to achieve the necessary density modulation in prints. In the straight-line region, the relationship follows the equation D = \gamma \log_{10} E + C, where C is a constant often equal to the minimum density D_{\min} (base plus fog level) at the intercept. Film speed, such as ISO rating, is determined from a specified point on the curve, for instance, the exposure yielding a density 0.10 above fog level for black-and-white negative films, ensuring standardized sensitivity assessment.^[1]^[9]^[10] The shape and position of the characteristic curve are influenced by several factors, including emulsion composition, which dictates inherent contrast and latitude; development parameters like time and temperature, which can shift the curve laterally (affecting speed) or alter the slope (modifying gamma); and wavelength sensitivity, particularly in color materials where spectral response varies across emulsion layers. These variables underscore the need for consistent processing to obtain reproducible curves for quality control and performance evaluation.^[1]^[8]^[3]

Historical Development

Early Pioneers

Sensitometry originated in the late 19th century through the pioneering efforts of Ferdinand Hurter and Vero Charles Driffield, who conducted systematic experiments on the response of black-and-white silver halide emulsions beginning around 1876. Their work addressed the challenges posed by the introduction of gelatino-bromide dry plates after 1871, which exhibited wide variability in speed compared to the more uniform wet collodion plates, leading to significant difficulties in achieving accurate exposures. This inconsistency, with speeds fluctuating across batches and even within single packets, motivated their quest to replace empirical rule-of-thumb practices with scientific methods for reproducible results in commercial photography.^[11] In their seminal 1890 paper, "Photo-chemical Investigations and a New Method of Determination of the Sensitiveness of Photographic Plates," Hurter and Driffield introduced a quantitative approach to measuring emulsion sensitivity, including the development of the characteristic curve as a key tool to plot density against logarithmic exposure. They defined concepts such as "inertia" (the minimum exposure to produce a detectable image) and the "period of correct representation," where density growth is proportional to the logarithm of exposure, enabling precise assessment of plate performance under controlled conditions. Their experiments involved exposing plates to graduated light intensities using a candle as a standard source and measuring densities with a custom photometer, establishing foundational techniques for evaluating silver halide emulsions. By the early 1900s, their framework facilitated the establishment of fractional grading systems for contrast, based on the slope (gamma) of the characteristic curve, allowing photographers to quantify and adjust development for desired tonal reproduction.^[11] Early 20th-century advancements built on this foundation, with Raymond Davis Jr. formalizing sensitometric methods in his 1922 publication, "Sensitometry of Photographic Emulsions and a Survey of the Characteristics of Plates and Films of American Manufacture." Davis's work, conducted under the U.S. Bureau of Standards, surveyed over 90 American-made plates and films to standardize testing protocols for speed, contrast, and spectral sensitivity, emphasizing reproducible measurement amid ongoing emulsion inconsistencies. This comprehensive study integrated Hurter and Driffield's principles into practical guidelines, promoting uniformity in commercial photographic materials and processes.^[3]

Evolution of Standards

In the early 20th century, following the foundational sensitometric studies of Hurter and Driffield that introduced the characteristic curve in 1890, efforts to standardize measurements gained momentum through institutional involvement. The U.S. Bureau of Standards initiated comprehensive testing in the 1920s to address variability in photographic materials, surveying 90 brands of U.S.-made plates and films to define consistent methods for speed and contrast evaluation. Gamma, defined as the tangent of the angle of the straight-line portion of the density-exposure curve, was established as a key metric for contrast, while speed was quantified as 10/inertia, with inertia representing the exposure where the curve intersects the exposure axis. These efforts laid the groundwork for broader adoption, influencing precursors to international standards.^[3]^[1] By the 1930s and 1940s, organizations like the Society of Motion Picture Engineers (SMPTE, now SMPTE) and the American Standards Association (ASA) advanced these protocols, particularly for motion picture and still films. The adoption of logarithmic exposure scales became a key milestone, enabling precise representation of the density-log exposure relationship in characteristic curves, which facilitated gamma measurement and speed ratings for consistent reproduction. SMPTE contributed to defining gamma for film printing and processing, while ASA formalized speed standards in Z38.2.1-1943, establishing an arithmetic scale for film sensitivity that addressed inconsistencies in earlier systems like the Weston Universal System introduced in 1931. These developments emphasized standardized development times and light sources to ensure reproducible results across materials.^[12]^[13]^[14] In the mid-20th century, sensitometry extended to color materials with C.E.K. Mees's influential 1954 edition of The Theory of the Photographic Process, which detailed methods for evaluating multi-layer color films, including spectral sensitivity and interlayer effects. This work supported adaptations for complex emulsions, influencing subsequent standards. The ISO film speed system emerged in 1974 by merging ASA's arithmetic scale with the DIN logarithmic system, formalized in ISO 6:1974 for black-and-white films and extended to color negatives via ISO 5800:1979, which specified speed determination from integrated densitometry of processed negatives. Updates in the 2010s, such as ISO 5800:1987 (with corrigendum 2001), confirmed in 2021, refined these for modern emulsions while maintaining core metrics.^[15]^[16] Late 20th-century refinements focused on color and reversal materials, with SMPTE publications adapting black-and-white procedures—such as log exposure plotting—to multilayer color systems and positive-working reversals, ensuring accurate tone reproduction. Densitometry saw enhancements, including status filters for color analysis, as referenced in 1969 works on refined measurement techniques. The 1980s marked a push toward automated systems, with developments like tungsten-source sensitometers enabling precise, repeatable exposures and density readings, aligning with ISO protocols for efficiency in laboratory workflows.^[12]^[17] Into the 21st century, standards incorporated digital metrics, exemplified by ISO 12232 first published in 1998 and revised through 2019, which defines ISO speed ratings, standard output sensitivity, and recommended exposure index for digital still cameras using sensitometric principles adapted from film, such as signal-to-noise ratios at specified exposures. This extension supports hybrid analog-digital workflows, where traditional densitometry integrates with pixel-based sensitivity evaluations for sensors in scanners and hybrid imaging systems.^[7]

Experimental Methods

Exposure Techniques

In sensitometry, exposure techniques involve the use of specialized devices to apply a series of controlled light exposures to photographic emulsions or sensors, enabling the assessment of material response under standardized conditions. The primary tool is the sensitometer, which delivers a graduated series of light intensities to the sample, typically producing 21 discrete steps via neutral density filters or a step wedge to create logarithmic increments in exposure.^[1] This setup ensures that each step differs by a factor corresponding to 0.15 log exposure units, spanning a range from approximately 0.05 to 3.05 log exposure for comprehensive coverage of the material's dynamic range.^[1]^[18] Contact sensitometers represent the most common type, where the film or emulsion is placed in direct contact with a step tablet—a precisely calibrated gray scale filter array—during exposure to achieve uniform illumination across the sample.^[1] The procedure entails positioning the sample in the sensitometer's holder, illuminating it through the step tablet with a calibrated light source for a fixed duration, typically 0.1 to 1 second to minimize reciprocity effects, and ensuring the exposure follows the relation E = I × t, where E is exposure, I is illuminance, and t is time.^[1]^[19] For motion picture films, camera sensitometers are employed to simulate in-camera conditions, attaching to the film magazine or camera mechanism to expose control strips with stepped densities while accounting for transport speed and framing.^[18] Key variables in these techniques include the spectral composition of the light source, which is standardized to either tungsten (for color negative films) or daylight-balanced illumination (approximately 5500 K, simulating ISO 2239 spectral distribution) to match the emulsion's sensitivity.^[1]^[19] Reciprocity failure, which deviates from the linear E = I × t relationship at extreme low or high exposures, is controlled by selecting intermediate exposure times and applying manufacturer-provided correction factors for any deviations in sensitivity.^[20] Uniformity is maintained through diffusers or integrating spheres in the sensitometer to avoid hotspots, with illuminance calibrated to standards like 100,000 millilux.^[1] In modern applications, digital sensitometers have emerged for testing image sensors, simulating stepped exposures via programmable LED arrays or software-controlled light modulators to replicate analog conditions without physical film.^[21] These variants allow precise control over spectral bands and intensity profiles, facilitating rapid iteration in sensor design while adhering to logarithmic exposure increments similar to traditional step wedges.^[21]

Density Measurement

Density measurement in sensitometry involves quantifying the optical density of exposed and processed photographic materials to assess their light-modulating properties. Optical density, denoted as D, is defined as D = -\log_{10} T, where T is the transmittance for transparent materials like film or the reflectance for opaque surfaces like photographic paper.^[22] Transmission densitometers are primarily used for films, measuring the fraction of incident light passing through the sample, while reflection densitometers apply to prints by evaluating light bounced back from the surface.^[22] Densitometers vary in design and sophistication. Early visual methods relied on wedge comparison, where the density of a sample is matched against a calibrated neutral density wedge under controlled illumination to estimate D values.^[23] Photoelectric densitometers, such as the Macbeth series (e.g., TD-904 or TR-924 models), employ photodetectors to automatically compute density by comparing transmitted or reflected light intensities against a reference beam.^[24] Automated scanning densitometers, like the Tobias SD4, further enhance efficiency by traversing sensitometric step wedges to record multiple density points in sequence.^[25] The standard procedure begins after exposure with controlled processing of the film or material at fixed development time and temperature to ensure reproducibility. Densities are then measured at discrete steps along the sensitometric strip using the appropriate densitometer; the net density for each step is obtained by subtracting the minimum density (D_{\min}, representing fog or base-plus-fog level) from the gross density.^[2] For color materials, particularly motion picture films, Status M densitometry per ISO 5-3:2009 provides standardized spectral conditions, incorporating responsivities centered at approximately 450 nm (blue channel for printing density), 540 nm (green), and 640 nm (red) to account for dye absorption characteristics. Accuracy in density measurement requires rigorous calibration against certified standards, such as neutral density filters or step tablets traceable to national metrology institutes, to maintain traceability. Stray light must be minimized through enclosure design and black baffling to prevent erroneous transmittance overestimation, while the choice between diffuse (using an integrating sphere for scattered light) and specular (direct beam reflection) geometries depends on the sample's surface properties, as specified in ANSI/ISO standards like PH2.19 for transmission.^[22] In contemporary practice, digital integration allows software-based analysis of scanned images from flatbed scanners or DSLR setups, where pixel intensity values are converted to densities via calibrated lookup tables in tools like VueScan or ImageJ plugins, offering a cost-effective alternative to hardware densitometers when properly validated against physical standards.^[26]

Applications and Uses

Traditional Photography and Film

In traditional still photography, sensitometry is essential for determining film speed ratings such as ASA and ISO, which quantify the film's sensitivity to light through controlled exposure and density measurements. These ratings are established by exposing the film to a graduated series of light intensities, developing it under standardized conditions, and analyzing the resulting characteristic curve to identify the exposure required to achieve a specific density above the base plus fog level, typically 0.1 above fog for the speed point.^[1] Sensitometry also guides the selection of photographic paper contrast grades, where higher grades (e.g., grade 4 or 5) exhibit gamma values greater than 2 to produce high-contrast prints from low-contrast negatives, ensuring optimal tonal rendition in darkroom workflows. This process allows photographers to match film and paper characteristics for balanced exposure latitude and contrast control. In motion picture applications, sensitometry facilitates precise exposure control at standard frame rates of 24, 25, or 30 frames per second, accounting for the shutter angle to maintain consistent motion blur and image density across shots. Negative films are typically developed to a gamma of approximately 0.6, providing low contrast that complements high-gamma print stocks (around 2.5) for balanced reproduction.^[20]^[27] Instead of ISO speeds, motion picture films use Exposure Index (EI) ratings derived from sensitometric tests, which inform camera settings and lighting adjustments to optimize latitude in varying production conditions.^[28] Contrast management in traditional analog workflows relies on the end-to-end gamma, calculated as the product of the camera negative gamma (γ_camera) and print gamma (γ_print), ideally approaching 1 for linear tone reproduction from scene to final image. For example, in television film transfers, the contrast ratio can be quantified as 10^(D_max - D_min), where D_max and D_min are the maximum and minimum densities on the print, establishing the effective dynamic range for broadcast viewing.^[3] Sensitometry ensures quality control through batch testing of emulsions, verifying consistency in sensitivity (speed) and latitude, defined by the width of the toe and shoulder regions on the characteristic curve, to prevent variations in highlight and shadow detail across film stocks. Manufacturers routinely perform these tests to confirm emulsion uniformity, with deviations in speed or latitude triggering recalibration of processing parameters.^[1] This rigorous approach maintained reliability in both still and motion picture production until the late 20th century.

Modern and Specialized Fields

In digital photography, sensitometry has evolved from analog film analysis to evaluating sensor performance through tone response curves, which quantify how digital cameras convert light exposure into digital values. This approach, standardized in ISO 12232, determines the photographic sensitivity (ISO speed rating) by measuring the signal-to-output relationship under controlled conditions, replacing traditional density measurements with pixel value histograms. The standard, first published in 1998 and revised in 2019, emphasizes dynamic range assessment in stops, typically ranging from 8 to 14 stops for modern sensors, to characterize latitude and noise performance. Medical radiography represents a key specialized application where sensitometry ensures optimal image quality and radiation dose control. In traditional film-screen systems, the characteristic curve's gamma, typically between 2 and 3, governs contrast for diagnostic visibility of anatomical structures. The shift to digital radiography, including computed radiography (CR) and direct radiography (DR), has adapted sensitometry to focus on signal-to-noise ratios (SNR) rather than optical density, with metrics like detective quantum efficiency (DQE) evaluating system linearity and noise equivalence. These adaptations, guided by standards such as IEC 62220-1, enable precise calibration for low-dose imaging in clinical settings. Industrial applications of sensitometry are prominent in non-destructive evaluation (NDE), particularly radiographic testing for defect detection in aerospace components. Here, sensitometry verifies film sensitivity to X-rays, ensuring the characteristic curve's toe and shoulder regions capture subtle flaws like cracks or voids in materials such as turbine blades. Standards like ASTM E1815 specify penetrameter-based exposure indices to maintain consistent image contrast, with gamma values optimized around 2.5 for high-resolution weld inspections. This ensures reliable quality control in high-stakes environments, reducing false positives in safety-critical assessments. Beyond these core areas, sensitometry informs diverse fields including lithography for printing, where photoresist sensitivity curves determine exposure thresholds for microfabrication patterns. In astronomical imaging, calibration of charge-coupled device (CCD) sensors uses sensitometric techniques to map exposure to flux, enabling accurate photometry of celestial objects over wide dynamic ranges. Forensic applications leverage it for reproducing evidence images, standardizing tone curves to preserve evidential integrity in digital captures from crime scenes.

References

[1]
[PDF] Basic Photographic Sensitometry Workbook | Kodak
Driffield, two English gentlemen who created sensitometry. Hurter and Driffield were curious about how different films responded to different exposures and to.
[2]
Film Characteristic Curves - NDE-Ed.org
"Sensitometry" is the science of measuring the response of photographic emulsions to light or radiation. Different films will yield different characteristic ...
[3]
[PDF] sensitometry of photographic emulsions and
This definitionis "Density is equal to the common logarithm of the opacity." Opacity is defined as the reciprocal of the trans- mission; and transmission, in ...
[4]
[PDF] Sensitometry In Color Aerial Photography - ASPRS
T HE SCIENCE OF photographic sensi to- metry is very helpful in color aerial photography. In a broad sense, this science is concerned with the measurement ...
[5]
[PDF] IAC 6/17/20 Public Health[641] Ch 41, p.1 CHAPTER 41 SAFETY ...
“Sensitometry” means a quantitative measurement of the response of film to exposure and development. Sensitometry is used to test the processor setup and ...
[6]
Objectives and Methods of Density Measurement in Sensitometry of ...
The purpose of sensitometric testing is to determine relationships between photographic images and the factors which affect their formation. If the established ...
[7]
[PDF] Basic Photography. - DTIC
posed silver halide in an emulsion is changed into metallic silver during ... determining sensitivity of emulsions are based on four principles as.
[8]
ISO 12232:2019 - Photography — Digital still cameras
This document specifies the method for assigning and reporting ISO speed ratings, ISO speed latitude ratings, standard output sensitivity values, and ...Missing: camera | Show results with:camera
[9]
https://cdn.standards.iteh.ai/samples/3580/192a0f97667044f3ba51276b0ded056a/ISO-6-1993.pdf
[10]
[PDF] ISO 6:1993 - iTeh Standards
Feb 1, 1993 · The method for determining Speed is illustrated in figure 1. Point m is located on the curve at a density of 0,lO above base plus fog density.
[11]
Contrast and Tonality Part 3: Characteristic Curves for Film and Paper
Feb 7, 2022 · To calculate gamma, simply identify a 1 log unit exposure on the straight-line portion of the curve, and measure the corresponding density ...
[12]
memorialvolumeco00hurtiala.pdf
FERDINAND HURTER AND VERO C. DRIFFIELD. Page 8. Page 9. Page 10. FERDINAND HURTER. Born i5th March, 1844. Died 5th March, 1898. Page 11. Royal Photographic ...
[13]
Journal of the Society of Motion Picture Engineers
... adaptations of procedures orig- inally successful in the sensitometry of black-and-white materials. This adaptation of theprocedures of the sensitometry of.
[14]
Film Speed - Everything You Need To Know - NFI
The American Standards Association (ASA) was founded in 1943. According to a linear scale, 400 ASA is twice as quick as 200 ASA, while 100 ASA is half as quick ...
[15]
The Theory of the Photographic Process - Google Books
Editor, Charles Edward Kenneth Mees ; Edition, 2, revised ; Publisher, Macmillan, 1954 ; Original from, the University of Michigan ; Digitized, May 3, 2007.Missing: CEK | Show results with:CEK
[16]
ISO 5800:1987 - Colour negative films for still photography
In stock 2–5 day deliveryGeneral information · Status. : Published. Publication date. : 1987-11. Stage. : International Standard confirmed [90.93] · Edition. : 2. Number of pages. : 4.
[17]
Film speed - Wikipedia
Film speed is the measure of a photographic film's sensitivity to light, determined by sensitometry and measured on various numerical scales, the most recent ...
[18]
[PDF] An automated tungsten source sensitometer - SciSpace
May 13, 1985 · Hurter and. Vero. C. Driffield. The Royal Society of. Great. Britian, p 6. 2. J.M. ,. Eder, History of. Photography,. Columbia. University.Missing: inconsistent | Show results with:inconsistent
[19]
[PDF] Processing KODAK Motion Picture Films, Module 1
This evaluation serves to fine-tune the film/process combination and to achieve the desired sensitometric level of the process. A known standard film is the ...
[20]
[PDF] INTERNATIONAL STANDARD
Feb 15, 1974 · This International Standard represents an extensive revision of ISO/R 6, Method for determining photographic speed and exposure index. The ...
[21]
[PDF] BASIC SENSITOMETRY AND CHARACTERISTICS OF FILM - Kodak
Grains of silver halide are randomly distributed in the emulsion when it is made. This photomicrograph of a raw emulsion shows silver halide crystals.Missing: principles | Show results with:principles
[22]
digital sensitometry (part I) - Galerie-Photo
I unveil here a few tests I made recently in order to better understand the sensitometric response of a silicon photographic image sensor. This is not a ...
[23]
[PDF] Understanding Graphic Arts Densitometry - X-Rite Photo
Black and white transmission densitometers are used for film inspection, as well as scanner and imagesetter calibration and linearization. The basic ...
[24]
The Spectral Characteristics of Optical Wedges
It has been demonstrated that a simple photoelectric densitometer which reads contact printing density directly can readily be constructed. The instrument gives ...
[25]
Personal measuring sensitivity of black and white films
Dec 12, 2014 · Various amounts of gray or black the film be measured using a device called a densitometer. This device works by using a photoelectric cell.
[26]
SD4 - Scanning Densitometer - Tobias Associates
The SD4 can scan gray bars used for quality control in many newspapers in less than 8 seconds and the gray bars can be as narrow as 1/16" (1.6mm).
[27]
Thread: Measuring Film Density - Large Format Photography
Dec 6, 2006 · But some scanning software allows you to read the the actual densities. I use Vuescan which has such an option, and I check densities regularly.
[28]
[PDF] EASTMAN KODAK - Pacific Rim Camera
Feb 24, 2024 · This book is designed to help you understand the characteristics of motion picture films and some as- pects of film handling.
[29]
[PDF] THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS - Kodak
... films use exposure index (EI) to indicate speed. Although similar, EI is not the same as the ASA or ISO speed used for still films. EI denotes a somewhat.
[30]
shooting film at 24fps, PAL telecine question | Student Filmmakers ...
The PAL system just seems to be so superior, because a film shot at 25 fps can be edited 25 fps and displayed on a TV at 25 fps. With NTSC, we are shooting ...