Kodak ISBN 0-87985-749-8 manual Daylight

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Approximate Correlated Color Temperature for Various Light Sources

Source

Degrees Kelvin

 

 

Artificial Light

Match Flame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1700

Candle Flame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1850

40-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . . . . 2650

75-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . . . 2820

100-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . . 2865

500-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . . . 2960

200-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . . . 2980

1000-Watt Incandescent Tungsten Lamp . . . . . . . . . . . . . . . . . . . 2990

3200-Degree Kelvin Tungsten Lamp . . . . . . . . . . . . . . . . . . . . . . . 3200

Molarc “Brute” with Yellow Flame Carbons &

YF-101 Filter (approx.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3350

“C.P.” (Color Photography) Studio Tungsten Lamp . . . . . . . . . . . . 3350

Photoflood and Reflector Flood Lamp . . . . . . . . . . . . . . . . . . . . . . 3400

Daylight Blue Photoflood Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . 4800

White Flame Carbon Arc Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5000

High-Intensity Sun Arc Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5500

Xenon Arc Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6420

Daylight

Sunlight: Sunrise or Sunset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2000

Sunlight: One Hour After Sunrise . . . . . . . . . . . . . . . . . . . . . . . . . . 3500

Sunlight: Early Morning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4300

Sunlight: Late Afternoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4300 Average Summer Sunlight at Noon (Washington, D.C.) . . . . . . . . . 5400 Direct Mid-Summer Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5800 Overcast Sky. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6000 Average Summer Sunlight (plus blue skylight). . . . . . . . . . . . . . . . 6500 Light Summer Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7100 Average Summer Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8000 Summer Skylight Will Vary from . . . . . . . . . . . . . . . . . . . . . . 9500 to 30,000

NOTE: Sunlight is the light of the sun only. Daylight is a combination of sunlight plus skylight. The values given are approximate because many factors affect color temperature. OUTDOORS: the sun angle, and the conditions of the sky– clouds, haze, dust particles –raise or lower the color temperature. INDOORS: lamp age (and blackening), voltage, type of reflectors and diffusers affect tungsten bulbs –all of these can influence the actual color temperature of the light. Usually a change of 1 volt equals 10 degrees Kelvin. But this is true only within a limited voltage range and does not always apply to “booster voltage” operation, since certain bulbs will not exceed a certain color temperature regardless of the increase in voltage.

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Contents Cinematographer’s Field Guide Cinematographer’s Field Guide Seventh Edition, November Contents Introduction Need Another H-2? Page Kodak Motion Picture Camera Films Color Temperature Page Kodak Motion Picture Camera Films MPF-5 50D 5245/7245 100T Process ECN-2 5248/7248Vision 200T 5274/7274 200T 5293/7293 SFX 200T SFX Vision 250D Illumination Incident Light Table for Daylight 5246/7246Vision 320T Handling Total darkness 5277/7277Vision 500T 5279/7279 500T 5298 Vision 800T 5289/7289 Ektachrome 100D 5285 7240 16 mm, Super 8 Eastman Ektachrome Film Tungsten EI 125 7240 7239 35 mm/16 mm Eastman Ektachrome Film Daylight EI 160 7239 MPF-32 9/98 7250 MPF-34 9/98 7251 5231/7231 35 mm/16 mm Eastman PLUS-X Negative Film 5231/7231 Daylight- 250 25 Tungsten- 200 5222/7222 35 mm/16 mm Eastman DOUBLE-X Negative Film5222/7222 7276 16 mm, Super 8 Eastman PLUS-X Reversal Film 7276 Daylight- 200* 24 Tungsten- 160 7278 16 mm, super 8 Eastman TRI-X Reversal Film7278 Daylight Incident-Light Illumination in footcandlesIntroduction Types of FiltersFilters for Black-and-White Films PLUS-X DOUBLE-X TRI-X Color Compensating Filters Conversion Filters for Color Films Exposure To Obtain Kodak Light Balancing FiltersKodak Wratten Neutral Density Filters No Neutral Density FiltersDaylight Page Aspect Ratios Tips and Techniques10 9/00 Protection from Physical Damage Ambient-Background Radiation effects on raw stockProcessed Film Storage Unprocessed Film Before and After ExposureShooting for Television Ditty Bag Getting ReadyTools Camera AccessoriesCamera Operator’s Meter Case Flashing Camera Films to Lower Contrast Exposed Film -What Now?Final Thought About Laboratories Page Winding Designations Perforation TypesMm and 65 mm End Use Mm End Use Quantities -Standard PackagesOrdering RAW Stock Product and Technical Information United States of America Argentina InternationalAustralia AustriaColombia ChileCzech Republic DenmarkFrance FinlandGermany GreeceIreland IranIsrael ItalyMalaysia LuxemborgMexico NetherlandsPhilippines PeruPoland PortugalSweden SpainSwitzerland TaiwanUnited States UruguayVenezuela CAT 141

ISBN 0-87985-749-8 specifications

Kodak, a name synonymous with photography, has undergone a tremendous evolution over its long history. The company is not just a pioneer in film and printing technologies but has also embraced the digital age with significant innovations.

One of the prominent features of Kodak’s evolution is its dedication to imaging science, which has remained at the core of its business strategy. Kodak has developed a wide range of film types, including color negative film, color positive film, and black-and-white film, which cater to different photography needs. Each film type comes with unique characteristics designed to optimize image quality, color reproduction, and contrast.

Kodak’s commitment to innovation is evident in its development of digital technologies. The company was an early adopter of digital imaging techniques, launching its first digital camera in the early 1990s. This transition to digital photography focused on making the process more accessible for consumers while maintaining the quality and detail that Kodak is known for. The use of image sensors, such as CCD and CMOS, has allowed Kodak to capture high-resolution images that are rich in detail and color fidelity.

One of the standout technologies associated with Kodak is its printing technology, particularly the dye-sublimation printers. This technique produces high-quality prints by transferring dye onto materials like paper or plastic. Kodak’s printers are known for their rapid print speeds and excellent color reproduction, making them popular for both personal and professional use.

Additionally, Kodak has also made significant strides in the realm of image editing software and applications, which complement its hardware offerings. Programs like Kodak EasyShare and Kodak Gallery have allowed users to edit, organize, and share their photos seamlessly, further enhancing the user experience.

Another important characteristic of Kodak is its steadfast commitment to sustainability. The company has initiated various programs aimed at reducing environmental impact by promoting recycling and energy-efficient practices in its manufacturing processes.

In summary, Kodak’s legacy is a blend of heritage and innovation. From traditional film to cutting-edge digital imaging and sustainable practices, Kodak continues to hold a prominent place in the world of photography. Its technologies and products are a testament to its ability to adapt to changing times while remaining grounded in its core values of quality and consumer accessibility.
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