What Was The First 35mm Camera
135 film. The film is 35 mm (1.four in) broad. Each prototype is 24×36 mm in the well-nigh common "small film" format (sometimes called "double-frame" for its relationship to the "single-frame" 35 mm movie format or full frame later the introduction of 135 sized digital sensors. Confusingly, full frame was also used to describe the Total gate of the movie format half the size).
Leica I, 1927, the first camera worldwide with 135 film
135 film, more popularly referred to as 35 mm movie or 35 mm, is a format of photographic picture used for all the same photography. It is a movie with a moving picture gauge of 35 mm (1.iv in) loaded into a standardized type of magazine – as well referred to as a cassette or cartridge – for use in 135 picture show cameras. The technology standard for this motion-picture show is controlled by ISO 1007 titled '135-size picture show and magazine'.[1]
The term 135 was introduced by Kodak in 1934[two] equally a designation for 35 mm picture show specifically for nonetheless photography, perforated with Kodak Standard perforations. Information technology apace grew in popularity, surpassing 120 film by the late 1960s to become the most popular photographic movie size. Despite competition from formats such as 828, 126, 110, and APS, it remains the most popular movie size today.
The size of the 135 motion picture frame with its aspect ratio of 1:ane.50 has been adopted by many high-terminate digital unmarried-lens reflex and digital mirrorless cameras, commonly referred to as "full frame". Even though the format is much smaller than historical medium format and big format motion-picture show, beingness historically referred to as miniature format [iii] or small format,[4] it is much larger than image sensors in well-nigh compact cameras and smart phone cameras.
Characteristics [edit]
Cassette [edit]
A roll of Kodak 135 pic for cameras
Individual rolls of 135 picture are enclosed in single-spool, light-tight, metallic cassettes to allow cameras to be loaded in daylight. The film is clipped or taped to a spool and exits via a slot lined with flocking. The end of the motion-picture show is cut on i side to course a leader. Information technology has the same dimensions and perforation pitch as 35 mm movie print picture (as well called "long pitch", KS-1870, whereas 35 mm professional motion picture camera films are ever "short pitch", BH-1866).
Nearly cameras require the moving-picture show to be rewound before the camera is opened. Some motorized cameras unwind the film fully upon loading and and then expose the images in reverse lodge, returning the film to the cassette; this protects all images except the last ane or two, should the camera back be accidentally opened. Disposable cameras use the same technique so that the user does not have to rewind.
Since the 1980s, picture cassettes take been marked with a DX encoding half dozen-digit barcode pattern, which identifies the manufacturer and film type (and thus processing method), and the number of exposures, for the use of photofinishing laboratories. The cassettes are also manufactured with a Camera Machine Sensing code constructed every bit two rows of six rectangular areas on the metallic cassette surface which are either conductive or insulating, representing 32 possible motion picture speeds, eight possible film lengths, and four possible values of exposure tolerance or latitude. Conforming cameras detect at to the lowest degree some of these areas; only three contacts are needed to set a low-cal meter for the four well-nigh popular film speeds.
Film type and speed [edit]
The 135 moving-picture show has been made in several emulsion types and sensitivities (film speeds) described by ISO standards. Since the introduction of digital cameras the most usual films accept colour emulsions of ISO 100/21° to ISO 800/xxx°. Films of lower sensitivity (and better picture quality) and college sensitivity (for low light) are for more specialist purposes. There are color and monochrome films, negative and positive. Monochrome film is normally panchromatic; orthochromatic has fallen out of use. Film designed to be sensitive to infrared radiation can be obtained, both monochrome and with faux-colour (or pseudocolour) rendition. More exotic emulsions have been bachelor in 135 than other gyre-film sizes.
Image format [edit]
135 frame and perforations
The term 135 format usually refers to a 24×36 mm film format, commonly known as 35 mm format. The 24×36 mm format is common to digital prototype sensors, where it is typically referred to as full frame format.
On 135 motion-picture show, the longer dimension of the 24×36 mm frame runs parallel to the length of the film. The perforation size and pitch are according to the standard specification KS-1870. For each frame, the motion picture advances 8 perforations. This is specified as 38.00 mm. This allows for 2 mm gaps between frames. Camera models typically accept unlike locations for the sprocket which advances the film. Therefore, each camera model's frame may vary in position relative to the perforations. The flick is approximately 0.14 mm thick.
Other image formats have been applied to 135 flick, such as the half-frame format of 18×24 mm which earned some popularity in the 1960s, and the 24×24 mm of the Robot cameras. The successful range of Olympus Pen F cameras utilized the smaller one-half-frame size, allowing the design of a very compact SLR camera. Unusual formats include the 24×32 mm and 24×34 mm on the early Nikon rangefinders, and 24×23 mm for employ with some stereo cameras. In 1967, the Soviet KMZ factory introduced a 24×58 mm panoramic format with its Horizont camera (descendants of which are called, in the Roman alphabet, Horizon). In 1998, Hasselblad and Fuji introduced a 24×65 mm panoramic format with their XPan/TX-ane camera. In that location is likewise a 21×xiv mm format used by Tessina subminiature camera.
Half-frame negatives (left and right) with standard 35 mm (centre)
Length [edit]
The film is available in lengths for varying numbers of exposures. The standard total-length roll has e'er been 36 exposures (assuming a standard 24×36 frame size). Through almost 1980, 20 exposure rolls were the only shorter length with widespread availability. Since then, xx exposure rolls have been largely discontinued in favour of 24 and 12 exposure rolls. The length of motion picture provided includes the length required for the indicated number of exposures plus sufficient additional length for the film spoiled by being exposed to ambient light when it is fatigued out of the canister, across the back of the photographic camera, and securely engaged with a film advancing spool, to load the film in the camera earlier the camera back is closed. A photographic camera that uses less than the maximum altitude between the spools may be able to brand one additional exposure. Self-loading cameras that load the film after being closed don't spoil the boosted length provided for conventional loading and can make that additional length available for two or iii additional exposures. The same length can be available for exposures in any camera if it is loaded without exposing the film to low-cal, e.thou. in a darkroom or a nighttime bag. A 27-exposure dispensable cameras use a standard 24-exposure cassette loaded in the dark.
Other, mostly shorter lengths have been manufactured. There have been some half dozen, 8, 10, and 15 exposure rolls given abroad as samples, sometimes in disposable cameras, or used by insurance adjusters to certificate impairment claims. Twelve-exposure rolls have been used widely in the daily press. Photographers who load their own cassettes tin use whatsoever length of movie – with thinner pic base up to 45 exposures will fit.
Ilford at i time made HP5 black-and-white moving-picture show on a thin polyester base, which allowed 72 exposures in a unmarried cassette.[5] They produced special reels and tanks to allow this to be candy.
History [edit]
35 mm notwithstanding cameras [edit]
Soviet photographic camera Smena 6 with 35 mm films.
The 135 picture size is derived from earlier nonetheless cameras using lengths of 35 mm cine film, the same size as, just with different perforations than, 135 film. The 35 mm film standard for movement moving-picture show film was established in Thomas Edison's lab by William Kennedy Laurie Dickson. Dickson took 70 mm picture show stock supplied by George Eastman's Eastman Kodak Visitor. The 70 mm film was cut lengthwise into 2 equal width (35 mm) strips, spliced together end to cease, and then perforated along both edges. The original picture size was 18×24 mm (half the full frame size after used in still photography). There were four perforations on each side of a motion picture frame.
While the Leica camera popularized the format, several 35 mm still cameras used perforated movie movie before the Leica was introduced in the 1920s. The start patent for one was issued to Leo, Audobard and Baradat in England in 1908. The commencement total-calibration product photographic camera was the Homeos, a stereo photographic camera, produced past Jules Richard in 1913, and was sold until 1920. Information technology took 18x24 mm stereo pairs, using two Tessar lenses.
In 1909, the French Étienne Mollier designed a device for small-format photography, the "Cent-Vues", which used the 35 mm perforated film to take sequent hundred views in 18×24 mm. He manufactured, won the gold medal in the Concours Lépine, and in 1910 sold at a pocket-sized calibration and without much success.
The first big-selling 35 mm still camera was the American Tourist Multiple, which also appeared in 1913, at a cost of $175 (at today'south prices, the same cost equally a modern $3000 Leica.) The first photographic camera to have full-frame 24×36 mm exposures seems to be the Simplex, introduced in the U.S. in 1914. It took either 800 one-half-frame or 400 full-frame shots on fifty ft (15.2 m) rolls.
The Minigraph, past Levy-Roth of Berlin, some other one-half-frame small camera was sold in Germany in 1915. The patent for the Debrie Sept camera, a combination 35 mm nonetheless and movie camera was issued in 1918; the photographic camera sold from 1922.
The Furet camera fabricated and sold in France in 1923 took total-frame 24x36 mm negatives, and was the first cheap minor 35 mm photographic camera of like appearance to more than mod models.
Leica [edit]
Replica of a Leica prototype, 1913
The Leica camera designed by Oskar Barnack used 35 mm motion picture, and proved that a format as small as 24 mm × 36 mm was suitable for professional photography.
Although Barnack designed his epitome photographic camera around 1913, the first experimental product run of ur-Leicas (Serial No. 100 to 130) did non take place until 1923. Total-scale production of the Leica did not begin until 1925. While past that fourth dimension there were at least a dozen other 35 mm cameras available, the Leica was a success, and came to be associated with the format. Generally because of this 35 mm popularity, as well as the entire visitor legacy, early Leica cameras are considered as highly collectible items. The original Leica prototype holds the record as being the world'due south about expensive camera,[6] selling for €2.16 million in 2012.
Pre-loaded cassettes and Kodak Retina cameras [edit]
In the earliest days, the photographer had to load the film into reusable cassettes and, at least for some cameras, cut the film leader. In 1934, Kodak introduced a 135 daylight-loading single-use cassette. This cassette was engineered then that it could be used in both Leica and Zeiss Ikon Contax cameras along with the photographic camera for which information technology was invented, namely the Kodak Retina camera. The Retina camera and this daylight loading cassette were the invention of Dr. August Nagel of the Kodak AG Dr. Nagel Werk in Stuttgart. Kodak bought Dr. August Nagel's company in December, 1931, and began marketing the Kodak Retina in the summertime of 1934. The first Kodak Retina photographic camera was a Typ 117. The 35 mm Kodak Retina camera line remained in production until 1969. Kodak also introduced a line of American made cameras that were simpler and more economical than the Retina. Argus, too, made a long-lived range of 35 mm cameras; notably the Argus C3. Kodak launched 135-format Kodachrome color flick in 1936. AGFA followed with the introduction of Agfacolor Neu later in the aforementioned year.
The designations 235 and 435 refer to 35 mm film in daylight-loading spools, that could be loaded into Contax or Leica style reusable cassettes, respectively,[7] without need of a darkroom. The 335 was a daylight loading spool for the 24 × 23 mm stereo format.
The reflex photographic camera [edit]
Nikon F chrome with eyelevel prism and NIKKOR-S Auto 1:one,iv f=5,8cm lens (1959) – an early SLR system photographic camera.
Reflex viewfinders, both twin-and single-lens, had been used with before cameras using plates and rollfilm.
The first 35 mm single-lens reflex (SLR) was the Kine Exakta, introduced in 1936. Globe War II interrupted development of the blazon. Later on the war, Exakta resumed evolution and the Contax Southward model with the now familiar pentaprism viewing feature was introduced in 1949. In the 1950s, the SLR also began to be produced in Japan by such companies as Asahi and Miranda. Asahi's Pentax introduced the instant-render mirror, important for the popularity of SLRs; until and then, the viewfinder on an SLR photographic camera blanked as the mirror sprang out of the optical path simply before taking the picture, returning when the film was wound on. Nikon's F model, introduced in March 1959, was a system camera that greatly improved the quality and utility of 35 mm format cameras, encouraging professionals (specially photojournalists) to switch from larger format cameras to the versatile, rugged, and fast SLR design. Numerous other film formats waxed and waned in popularity, but by the 1970s, interchangeable-lens SLR cameras and smaller rangefinders, from expensive Leicas to "point-and-shoot" pocket cameras, were all using 35 mm moving-picture show, and manufacturers had proliferated.
Colour films improved, both for print negatives and reversal slides, while black-and-white films offered smoother grain and faster speeds than previously bachelor. Since 35 mm was preferred by both amateur and professional photographers, makers of film stock have long offered the widest range of different film speeds and types in the format. The DX motion picture-speed encoding system was introduced in the 1980s, as were single-utilize cameras pre-loaded with 35 mm film and using plastic lenses of reasonable plenty quality to produce acceptable snapshots. Automated all-in-one processing and press machines made 35 mm developing easier and less expensive, so that quality color prints became available not but from photographic specialty stores, merely also from supermarkets, drugstores, and large box retailers, often in less than an hour.
From 1996 [edit]
| | This department needs to be updated. (December 2019) |
In 1996, a smaller format called Advanced Photo Organization (APS) was introduced by a consortium of photographic companies in an try to supersede 135 pic. Due in part to its pocket-sized negative size, APS was not taken seriously as a professional format, despite the production of APS SLRs. In the point-and-shoot markets at which the format was primarily aimed, it enjoyed moderate initial success, but yet never rivalled the market place penetration of 135. Inside five years of its launch, cheap digital compact cameras started becoming widely bachelor, and APS sales plummeted.
Nikon F6 – The last Nikon F series 35mm SLR introduced in 2004, which remained in production until Oct 2020.
While they have shifted the vast bulk of their product lines to digital, major camera manufacturers such as Canon and Nikon continue to make expensive professional person-grade 35 mm film SLRs (such as the Catechism EOS-1v and the Nikon F6). Introductory 35 mm SLRs, meaty film point-and-shoot cameras, and single-utilise cameras continue to be built and sold by a number of makers. Leica finally introduced the digital Leica M8 rangefinder in 2007, but continues to brand its M serial rangefinder film cameras and lenses. A digital photographic camera back for the Leica R9 SLR camera was discontinued in 2007. On March 25, 2009, Leica discontinued the R9 SLR and R-series lenses.[eight]
Use in digital cameras [edit]
A 35 mm format "full frame" digital paradigm sensor (left, in green) is revealed inside the mirror box of a Canon DSLR camera.
Digital sensors are available in various sizes. Professional DSLR cameras usually utilize digital image sensors which approximate the dimensions of the 35 mm format, sometimes differing by fractions of a millimeter on ane or both dimensions. Since 2007, Nikon has referred to their 35 mm format by the trade mark FX. Other makers of 35 mm format digital cameras, including Leica, Sony, and Canon, refer to their 35 mm sensors simply equally full frame.
Most consumer DSLR cameras apply smaller sensors, with the most popular size being APS-C which measures effectually 23mm x 15mm (giving information technology a crop factor of i.six). Compact cameras take smaller sensors with a crop cistron of around iii to six.
Lenses [edit]
A true normal lens for 35 mm format would have a focal length of 43 mm, the diagonal measurement of the format. However, lenses of 43 mm to 60 mm are commonly considered normal lenses for the format, in mass production and popular apply. Common focal lengths of lenses made for the format include 24, 28, 35, l, 85, 105, and 135 mm. About commonly, a fifty mm lens is the one considered normal; whatsoever lens shorter than this is considered a wide angle lens and anything higher up is considered a telephoto lens. Fifty-fifty then, wide angles shorter than 24 mm is chosen an extreme broad angle. Lenses above 50 mm but up to about 100 mm are chosen short telephoto or sometimes, every bit portrait telephotos, from 100 mm to nigh 200 mm are called medium telephotos, and above 300 mm are called long telephotos.
With many smaller formats now common (such equally APS-C), lenses are oft advertised or marked with their "35 mm equivalent" or "full-frame equivalent" focal length as a mnemonic, due to the celebrated prevalence of the 35 mm forma. This 'equivalent' is computed past multiplying (a) the truthful focal length of the lens by (b) the ratio of the diagonal measurement of the native format to that of the 35 mm format.
As a result, a lens for an APS-C (18×24 mm) format camera body with a focal length of 40 mm, might exist described equally "60 mm (35 mm equivalent)." Although its true focal length remains twoscore mm, its angle of view is equivalent to that of a lx mm lens on a 35 mm format (24×36 mm) camera. Some other example is the lens of the 2/3 inch format Fujifilm X10, which is marked with its truthful zoom range "7.i–28.4 mm" but has a 35 mm-equivalent zoom range of "28-112 mm".
Run across likewise [edit]
- List of color movie systems
References [edit]
- ^ "BS ISO 1007:2000 - Photography. 135-size film and magazine. Specifications". store.bsigroup.com . Retrieved March fifteen, 2018.
- ^ "The History of Kodak Coil Films". Archived from the original on Feb 22, 2009. Retrieved February eight, 2009.
- ^ Suess, Bernhard J. (October ane, 2003). Mastering black and white photography. Allworth Printing. p. 11.
- ^ Warren, Bruce (2003). Photography: A Concise Guide. Cengage Learning. p. 41.
- ^ "Popular Photography". Popular Photography : World's Largest Imaging Magazine: 68. February 1981. ISSN 1542-0337.
- ^ "Elevation 100 maximum valued cameras". Archived from the original on July 16, 2013. Retrieved July 2, 2013.
- ^ "A Brief History of Kodak Whorl Film Numbers". www.luk.staff.ugm.ac.id . Retrieved September 19, 2021.
- ^ "Leica end production of R9 and R lenses". Leica Camera AG. March 25, 2009. Archived from the original on August 29, 2009. Retrieved July 9, 2015.
External links [edit]
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Media related to 135 motion picture at Wikimedia Eatables
Source: https://en.wikipedia.org/wiki/135_film
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