AgfaPhoto Vista 100, 135-36 611360 Manuel D’Utilisation
Codes de produits
611360
2
General comments
Vista and APS star
A film's colour rendition is governed by a number of factors. The
emulsions' spectral sensitivity or sensitisation is particularly
important, when it comes to reproducing true-to-nature colours
with the maximum accuracy. By means of the EYE VISION
technology incorporated in all Vista and APS star films, it is
now possible to match, to a large extent, the films' sensitisation
to the colour perception of the human eye. The effect is shown
schematically in the following diagrams. The EYE VISION techno-
logy achieves more accurate colour fidelity, and largely elimi-
nates the colour falsifications present in films with conventional
sensitisation such as:
emulsions' spectral sensitivity or sensitisation is particularly
important, when it comes to reproducing true-to-nature colours
with the maximum accuracy. By means of the EYE VISION
technology incorporated in all Vista and APS star films, it is
now possible to match, to a large extent, the films' sensitisation
to the colour perception of the human eye. The effect is shown
schematically in the following diagrams. The EYE VISION techno-
logy achieves more accurate colour fidelity, and largely elimi-
nates the colour falsifications present in films with conventional
sensitisation such as:
• an unpleasant green cast with fluorescent light (e.g. neon tubes),
• a shift towards red in certain blue-coloured flowers (hortensia,
clematis, delphinium etc.),
• the brown rendition of particular green fabric colours,
• the absence of texture in certain red colours (e.g. roses).
• the absence of texture in certain red colours (e.g. roses).
Directions for use
Film speed
Today‘s ISO values are a combination of the former ASA and
DIN values. The following table illustrates this point.
DIN values. The following table illustrates this point.
In principle, all these speeds are for all photographic situations
that might occur under normal circumstances (e.g. people, por-
traits, landscapes, groups, buildings, holidays, animals, plants,
flowers, documentation etc.). Nevertheless, it is still worth-
while observing a number of simple rules in the choice of the
film speed.
that might occur under normal circumstances (e.g. people, por-
traits, landscapes, groups, buildings, holidays, animals, plants,
flowers, documentation etc.). Nevertheless, it is still worth-
while observing a number of simple rules in the choice of the
film speed.
Camera setting
Modern cameras adjust themselves automatically to the film
speed (by reading the DX code). Cameras without automatic
lighting control must be set manually to the film speed stated
on the pack.
speed (by reading the DX code). Cameras without automatic
lighting control must be set manually to the film speed stated
on the pack.
Exposure latitude
Most cameras have automatic exposure control, which sets the
most favourable ratio of exposure time and aperture. Neverthe-
less, many photographs are not correctly exposed, because the
automatic control of some cameras cannot cope with unusual
or critical lighting conditions. Backlit shots are a typical exam-
ple. Without lighting adjustment, the negative or slide may well
end up being under-exposed by one or two f-stops. Depending
on the film type, AgfaPhoto films tolerate exposure errors
up to 5 f-stops (under-exposure up to 2, over-exposure up to
3 f-stops) without noticeable reductions in quality.
most favourable ratio of exposure time and aperture. Neverthe-
less, many photographs are not correctly exposed, because the
automatic control of some cameras cannot cope with unusual
or critical lighting conditions. Backlit shots are a typical exam-
ple. Without lighting adjustment, the negative or slide may well
end up being under-exposed by one or two f-stops. Depending
on the film type, AgfaPhoto films tolerate exposure errors
up to 5 f-stops (under-exposure up to 2, over-exposure up to
3 f-stops) without noticeable reductions in quality.
Exposure notes
When in doubt, it is good to err on the generous side in the
exposure of colour negatives (i.e. stop up = lower f-number),
but to be more cautious with slide films (i.e. stop down slightly
= higher f-number). In this way you are always on the safe side:
over-exposing a negative film and slightly under-exposing a
slide film produces an increase in colour saturation.
exposure of colour negatives (i.e. stop up = lower f-number),
but to be more cautious with slide films (i.e. stop down slightly
= higher f-number). In this way you are always on the safe side:
over-exposing a negative film and slightly under-exposing a
slide film produces an increase in colour saturation.
450
550
600
650
500
400
nm
450
550
600
650
500
400
nm
previously
Spectral sensitivity of the film emulsions
blue
green
red
blue
green
red
Spectral sensitivity of the eye
ISO
ASA
DIN
In comparison to ISO 100/21°
100/21°
100
21°
200/24°
200
24°
twice as fast
400/27°
400
27°
four times as fast
ISO
ISO
ISO
100/21°
200/24°
400/27°
Lightning
– Bright, e. g. cloudless
– Bright, e. g. cloudless
x
x
x
– Medium, e. g. overcast
x
x
– Weak, e. g. dawn
x
Moving subject*
– Almost motionless
– Almost motionless
x
x
x
– Medium-fast
x
x
– Fast
x
Lens*
– High speed
– High speed
x
x
x
– Low Speed
x
x
Flash (medium light output)
– small rooms
– small rooms
x
x
x
– Large rooms
x
* Depending on the lighting
Agfa Photo Broschüre_14-6 engl 11.01.2008 18:38 Uhr Seite 2