FujiFilm 100F User Manual

AF3-036E

1. FEATURES AND USES

2. SPEEDS

3. FILM SIZES, EMULSION NUMBER, BASE MATERIAL AND THICKNESS

4. EXPOSURE GUIDE AND EXPOSURE UNDER VARIOUS LIGHT CONDITIONS

COLOR REVERSAL FILMS

FUJICHROME PROVIA 100F Professional [RDP

FUJICHROME PROVIA 100F Professional [RDP ultra-high-quality, daylight-type ISO 100-color reversal film. With the finest grain (an RMS granularity value of 8) among ISO 100 color reversal films and an extremely high sharpness, it captures details with unprecedented clarity, while providing rich gradation, vivid and faithful color reproduction, and well-controlled gradation balance. These characteristics make it an ideal choice for a wide range of subject matter, from product and outdoor photography to fashion work and portraiture.

Features Results

 Super-fine Grain

 Finely detailed image forma-

tion for large-size enlargements and other work requiring high-magnification as a result of the finest grain among ISO 100 color reversal film.

 Vivid and Faithful

Color Reproduction

 Extremely satisfying color

depiction, providing the most brilliant primaries without sacrificing the delicate pastels, for wide-ranging application.

 Rich Tone

Reproduction

 Smooth gradation reproduc-

tion with superb depth, thanks to bias-free, brilliant highlights and excellent highlight-to-shadow gradation linearity.

 Improved

Reciprocity Characteristics

 Increased resistance to loss

in film speed and color balance during long exposures, as well as consistently accurate multiple-exposure performance.

 Excellent Push/

pull-processing

 Outstanding tolerance to ex-

posure and density compensation during processing, within 1/2 stop to +2 stops, resulting in minimal variations color balance and gradation.

 E-6/CR-56*/C6R**

Processing

 As with other FUJICHROME

film, world-wide processing available using E-6/CR-56/ C6R chemicals.

CR-56 is Fujifilm processing system equivalent to E-6 processing.

C6R is Fuji/ Hunt processing system equivalent to E-6 processing.

III

] is an

Light Source

Daylight

Tungsten Lamps

(3200K)

* Indicates the effective speed resulting from designated filter

use.

** Kodak Filter

*** Fuji Light Balancing Filter (not available in certain markets.)

Speed

ISO 100/21°

ISO 32/16°*

No.80A**

(LBB-12***)

 Speed and color compensating filter values are in-

cluded in each of the sheet film boxes. Use these values in exposure determination.

Sizes

135 ... 36-exp.

... 36-exp.

Rolls*

Sheets*

* Some sizes are not available in certain markets.

35mm × 30.5m (100ft) 120 ... 12-exp.

...12-exp. (5-roll packs) 220 ...24-exp. (5-roll packs) 4 × 5 in (10.2 × 12.7 cm)

8 × 10 in (20.3 × 25.4 cm)

11 × 14 in (27.9 × 35.6 cm)

QuickLoad 4 × 5 in. ........... 20 sheets

(5-roll and 20-roll packs)

..... 10 sheets and 50 sheets

..............................10 sheets

Base Material ......... Cellulose Triacetate

Base Thickness ..... Rolls 135 : 127µm

120 : 98µm 220 : 98µm

Sheets : 205µm

Use a meter for exposure determination. If a meter is not available refer to the following table.

Light Conditions

Lens Aperture

Seashore or

Snow Scenes

Under Bright

Sun

f/ 16 f/ 11 f/ 8 f/ 5.6 f/ 4

Bright

Sunlight

Hazy

Sunlight

(Exposure Time 1/250th Sec.)

Cloudy

Filter

None

Bright

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Emulsion Number

#001 

Cloudy

Day or

Open

Shade

]

FUJIFILM DATA SHEET  FUJICHROME PROVIA 100F Professional[RDP

5. LONG AND MULTIPLE EXPOSURE COMPENSATION

]

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NOTES

 The foregoing settings are for 2 hours after sunrise and 2

hours before sunset.

 Provide lens opening 1/2 stop smaller during the summer

and 1/2 stop larger during the winter.

 Excessively bright (or dark) or backlit subjects may require

plus or minus 1 stop lens opening adjustments.

Daylight

Under daylight conditions, color balancing filters are not necessary, but the following exposure conditions may require the indicated filters.

Subject Conditions Filter

Fair weather open shade and shaded landscapes.

Bright distant scenes, snow landscapes, seaside scenes, aerial scenes and open landscapes.

Close-ups of plants and subjects having bright colors.

UV Filter

No.2C* (SC-39 or SC-40)**

Exposure

Correction

None

Excessively high or low subject color temperatures may require the following filter additions and exposure corrections.

Subject Conditions Filter

High Color Temperature :

Cloudy weather landscapes or portraits under clear weather open shade.

Low Color Temperature :

Morning and evening twilight scenes and portraits.

* Kodak Filters

** Fuji Sharp-cut Filter

*** Fuji Light Balancing Filter (not available in certain markets.)

****+= Lens opening

No.81A*

(LBA-2)***

No.82A* or

No.82C*

(LBB-2 or

LBB-4)***

Exposure

Correction

+1/3

stop****

+1/3 to

+2/3

stop****

Electronic Flash

 Electronic flash produces light similar to daylight, so

filters are not needed. However, the possibility of undesirable effects on color balance, due to various factors (differences in equipment, amount of use, etc.) should be taken into consideration and test exposure made.

 The use of a flash meter is advisable, but the follow-

ing formula can also be used to obtain satisfactory lens opening.

Lens Aperture (f-number)

ISO 100 Electronic Flash Guide Number

Electronic Flash-to-Subject Distance

(meters or feet)

 Set the film speed at ISO 100. Since the amount of

light reflected onto the subject from surrounding surfaces will differ with the conditions, refer to flash unit instructions.

Daylight Photoflood / Photo-Reflector Lamps

 Daylight-type photoflood or photo-reflector lamp

output tends to be lower than that indicated by an exposure meter, so it is advisable to compensate for this by increasing exposure time or the lens opening. Whenever possible, test exposures are recommended.

 Other factors requiring consideration when deter-

mining the exposure time, are lamp configuration, use duration and line voltage, as they may affect lamp output and color balance.

Fluorescent Lamps

 The use of the following combinations of color com-

pensating filters is advisable when photographing under fluorescent lighting.

 For exacting work, however, test exposures are rec-

ommended because lamp make and age may affect light output and color balance.

(Exposure Time : 1/4 second)

Fluorescent Lamp Type

Color Compensating Filters*

Exposure Corrections**

* Kodak Color Compensating Filters (or Fuji CC Filters) recom-

mended.

** Exposure correction values include filter exposure factors.

These values are added to unfiltered exposure meter readings. + followed by number = required increase in lens opening.

White

25M+20B

+1 stop

(W)

Daylight

(D)

30R+10M

+1 stop

Cool White

(CW)

35M

+1 stop

Warm White

(WW)

No.80B

+15M+10R

/3 stops

NOTES

 Use 1/30 or slower shutter speeds.  For shutter speeds longer than 128 seconds, exposure ad-

justments will be necessary to compensate for reciprocity failure.

Tungsten Lamps

 A Kodak Filter No.80A (or Fuji Light Balancing Filter

LBB-12) is recommended along with a 1

/3 lens

stop increase, when using 3200K tungsten lighting.

 If household tungsten lighting (room lamps, etc.)

constitutes the main source of illumination, in addition to the above filter a Kodak filter No.82A (or Fuji Light Balancing Filter LBB-2) is required, plus an aperture increase of 1/3 stop (total 2 stops).

Mixed Light Lamps

Under mixed light conditions, derive the basic filter configuration to suit the main light source.

No exposure correction or color balance compensation is required for exposures within a 1/4000 to 128 seconds shutter speed range. However, for exposures of 128 seconds or longer, reciprocity-failure related color balance and exposure compensations are required.

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