Free Wedding Photo Search! Enter Your Topic Below:

11. Color-2D and 3D

TODAY color, the stereo candid, is vying for popularity with black and white. In many instances, the bridal couple decide to have 3D color as well as an album. By being able to shoot both, the photographer can add substan­tially to his income.

Much that you know about black-and-white can be applied to color. But, unlike black-and-white, there is no remedy for faulty composition or any prac­tical remedy for incorrect exposures. You will get exactly what you shoot. Even if you do your own processing, any liberties taken with development will af­fect the general color balance and specifically the fleshtones. Good fleshtones are an important consideration with a 3D candid. The best results can be ob­tained by following the rules laid down by the manufacturer.

Film

From the standpoint of economy, it does not pay, either in time or mate­rial, to process only one or two weddings in color a week. Eastman Kodak (the most popular film company with wedding photographers) offers four 35mm color films that can be used for 3D candids. Kodachrome Type F and Ektachrome Type F (both balanced for clear, M Type, No. 5 and 25 bulbs), Kodachrome Daylight and Ektachrome Daylight. Kodak also provides stereo-mounting and a 20-exposure (15 stereo pair) magazine, or a 36-exposure (28 stereo pair) magazine—in Kodachrome only. Kodachrome Professional Film, Type A, is color-balanced for photo-flood use and requires an 81C filter for M-Type flash. With the filter it is one-half an f/stop slower than Kodachrome, Type F. It offers no advantage for flash use.

Ansco offers 35 mm Anscochrome Flash (balanced for clear, M Type No. 5 and 25 bulbs) and Anscochrome (daylight). Ansco also maintains a stereo mounting service. At present the 20 exposure roll is the only length packaged by Ansco. Anscochrome has the same speed (film speed: 32) as Ektachrome Daylight. Anscochrome Flash and Ektachrome Type F have just about the same guide numbers. The new super-speed Anscochrome is rated at 100 and may be exposed at somewhat higher speeds. However, none approaches the grainlessness that is possible with Kodachrome.

There are four reasons that influence the candid wedding photographer to favor Kodachrome. First, most candid wedding customers seem to prefer the color quality of Kodachrome. Second, Ansco offers no counterpart to the ultrafme-grain Kodachrome. Third, the Kodachrome 36-cxposure roll minimizes film changes. (With two magazines you can cover a wedding.) Fourth, with a No. 5 or 25 bulb, Kodachrome, Type F is fast enough to cover any indoor shot in a 3D candid wedding. The first two are the important reasons for my preference of Kodachrome film for stereo use; the more important of these two is Kodachrome's quality.

Ektachrome is not processed by Kodak, but by independent laboratories, or by yourself. Anscochrome can be processed by yourself, by independent laboratories, or mailed directly to Ansco. Kodachrome is processed both by Kodak and independent laboratories.

Straight Flash with Bulbs

One guide number is adequate for all black-and-white exposures with a particular film-flashbulb-shutter speed combination. Contrast can be controlled during film development or through paper grade. But color photographs, normally processed, depend wholly on exposure. So for good flash results, we need three color guide numbers for each film. All listed are for taking either 35mm or 3D color pictures. Remember that 1/25 second is the highest flash­bulb synchronization speed for most stereo cameras.

3D, 35mm Slides, and Kodacolob

(For use with No.  5 or 25 bulbs  at  1/25  sec;  or with  FP6  or 26 focal-plane  bulbs  at  1/50  sec) °

Ekta-
Kopa-             chhome     Ansco-        Kodacolor          
chrome        Type F or    chrome    No. 5 or 25       No. 6 or 26
Group                                     Type F    Kodacolor   Flash at 1/50 at 1/100   at 1/50

1. Small  room 115        150       160   140       115        150
   (about 8x11)
   
   
2. Average room            105       135   140      125       105        135
   (about 14x18)
   
   
3. Church,     recep-      95          120   125      110        95       120
   tion hall, or any

large,     high-ceil-inged room.*10

◦ With 4-5 inch polished reflector; with satin finish, open ½stop.

◦◦ For exposures in Group 3 that are 12 feet or closer, use Group 2 guide numbers.

57. This view of the couple concentrates attention on them as they enter the reception hall. (Compare with picture 59, page 99). If you include a large bridal party as it enters, focus on the couple—they judge the sharpness of the photo by their own faces—but aim your flashgun and set your f/stop for a point half-way between the first and last couples. (Rolleiflex; Tri-X; 135 w/s unit, 1/250, f/11; Microdol.) 58. A shot such as this (left) of the couple being serenaded is romantic and intimate and is a priceless addition to bridal album. Jf your flash unit is strong enough, use partial bounce. (Busch Press-mann; Tri-X; 60 w/s unit, 1/200, f/8; developed in DK-50.)

The photographer using a between-the-lens or behind-the-lens fully syn­chronized shutter and a No. 5 or 25 bulb, might prefer to work with a faster shutter speed. With Ektachrorne Type F or Anscochrome Flash, use the guide numbers under 1/100 in the Kodacolor section of the chart. For Kodachrome Type F, reduce the guide number by 20%.

If you don't have this chart handy when you shoot, look at the instruction sheet which comes with your film and modify the manufacturer's recommenda­tions as follows: In large rooms, use the guide number recommended by the manufacturer for average subjects; in average size rooms, close down ¼ stop more, and in small rooms, ½ stop more than for average subjects.

This rule, or the table of guide numbers, will serve as a springboard to good color. In time, you will find yourself further refining or making compro­mise exposures, as in the case of overexposing a light-skinned bride slightly, to improve the rendition of the skin color of a sun-tanned groom.

Color and Electronic Flash

Since the light from many electronic flash tubes is slightly bluer than the light for which Daylight Type color films are balanced, you may need to use a correction filter. With Anscochrome Daylight Film Ansco recommends an 81A filter. For Kodak daylight color films consult the manufacturer of your electronic flash unit. Now, some background information: the color of the light produced by your electronic flash, and the color of the light for which a spe­cific color film is balanced, are both measured in degrees Kelvin (k). The higher the number, the bluer the light. The degrees Kelvin (or color tempera­ture) of the light emitted by your electronic flash unit should be almost the same as the degrees Kelvin for which daylight color film is balanced. It's when the two color temperatures are slightly different that you need a correction filter which changes the color temperature of your flash before it reaches the film. No filter is needed when electronic flash is used for synchro-sunlight.

With that clarified, how powerful must your unit be for color, and what can you expect of some of the units already discussed for black-and-white use? Ektachrome or Anscochrome Daylight Type, with a film speed rating of 32, can be used with the more powerful electronic flash units. First of all, none of the units we've used for black-and-white is strong enough. A comfortable work­ing guide number for the candid wedding photographer is somewhere between 85 and 100. Over 100 would be better, and the same unit could be used for black and white if it had three position power control for half power and quarter (or a third) power. But I'll let you in on a secret: you'll be loaded with some 12-pounds.

But back to the color guide numbers for some of the units which I use successfully in black-and-white work (see Chapter 4). There's no use even talking about a 60-watt-second unit for color film and candid wedding pho­tography. Even an 80-watt-second electronic flash will only give you a color guide number of 50 at most. The Ultra blitz Matador I with 135-watt-second input is tremendous for black and white, but it only dents my color film. To re­cord good flesh tones in a room of average size and height, (with white ceiling) I could only use a color guide number of 60-65.

59. Occasionally you will encounter an unusual entrance of the bridal couple to the reception hall. This will become a novelty which you can introduce into future weddings. (Rolleiflex; Tri-X; 80 w/s electronic -flash,  1/250, f/lQ; Microdol.)

So, if you have the strength of a pack horse, and are willing to call porta­ble equipment with the weight of a studio unit, try working in color with a unit that has at least a 200-watt-second input. If not, do as I do, use flashbulbs for all 3D and 2D color work. Everytime I fill my pockets with flashbulbs I add a silent blessing to that little bulb of glass which gives me a comfortable guide number and fine color results.

While we've been talking about color and electronic flash, there has been a weak but persistent voice from the peanut gallery. "What about Super Anscochrome?" OK, what about it? Super Anscochrome with electronic flash? Have I tried it? Yes! Let's take a look at the facts, magnified. In color char­acteristics Super Anscochrome can be compared with regular Anscochrome. Exposing for the flesh tones and in the average-sized room, my tests established a guide number of 150 with my "Matador I" (135 w/s) unit at fullpower. The recommended 81A filter was used. An 80 w/s unit should give a guide number of about 90. This is potent stuff, but not for us.

In a hand viewer, 3D slides show obvious grain; with 35mm slides projected, the grain is still there but not so apparent. With 2¼x2¼ or Super-Slides (38x38mm) you mightget away with it—but not if the bridal couple have seen Kodachrome. To sum it up, forget it. Super Anscochrome is a most welcome addition to the family of color films but not for candid weddings.

Color and Synchro-Sunlight

For synchro-sunlight with color film, both the first rule and the second rule apply just as they do in black-and-white photography. (See Chapter 5 on Synchro-Sunlight for complete details). Only two things will be different than for black-and-white: the basic sunlight exposure of your color film which can be determined as described in the next paragraph, and your color guide num­ber. The chart following gives guide numbers for synchro-sunlight with color film and flashbulb. If you're using an electronic flash unit, find your guide number by running the test described in Chapter 4, Flash and Electronic Flash.

No meter is needed to determine the basic sunlight exposure, for a sub­ject facing the sun. With all color films place the number "1" over the exposure index (film speed), to find the shutter speed to use at f/16. Sunlight exposures at 1/25 are:

Kodachrome Type F (film speed: 10 with 85C filter); f/10.

Kodachrome Daylight (film speed: 10) f/10.

Ektachrome Type F (film speed: 20 with 85C filter) f/14.

Ektachrome Daylight (film speed: 32) f/19.

Anscochrome (film speed: 32) f/19.

Anscochrome Flash Type (film speed: 25 with 85C filter) f/16.

All recommended settings are basic exposures (average), intended to en­compass the extremes of black-and-white clothing. In the case of a fair-skinned bride or groom, one-half stop smaller lens opening will improve both flesh-tones, and detail in a light-colored gown. With open shade, open up three f/stops more than for the basic sunlight exposure. For other conditions, use an exposure meter.

Conversion Filters

Some candid wedding photographers find it easier to rely on one color film for both indoor and outdoor flashbulb shots—hence they need only one color camera. Of course it's safer to take two. They use a Type F film, as is, for indoor flashbulb shots. Outdoors they add the appropriate conversion filter. The 85C filter will convert Type F film (Kodachrome, Ektachrome or Anseo-chrome Flash) to outdoor use. With Kodachrome Type F it will produce the pleasantly warm quality that is similar to the results obtained with Kodachrome Daylight film and Skylight (1A) filter, or that is "normal" for Ektachrome film without a filter. Kodachrome Type F converted to daylight is rated at 10—the same as Kodachrome Daylight. Ektachrome Type F converted has a daylight rating of 20; Anscochrome Flash Type, 25.

The only dubious advantage which Anscochrome Flash Type or Ekta-chrome Type F offers over Kodachrome Type F in flash candids is a little more than half an f/'stop in speed. But, a fast shutter speed can not be used, as most of today's stereo cameras are synchronized only up to 1/25 second for Class M flashbulbs.

In the colder months, the S5C conversion filter can be used with Type F films for the five or six outdoor shots- In the milder months, this conversion will yield excellent results until about five o'clock Daylight Saving Time. If the outdoor shots arc to be taken after five, it would pay to load the second camera with a twenty exposure (15 stereo pair) Daylight roll. The results will be warm, but not so warm-toned as with converted Type F film.

Trying to correct the late afternoon, golden fieshtones by filter is not feasible. Any filter used to make warm fieshtones colder will also make bluer the shadow areas that are illuminated, not by the sun but by reflected blue skylight. The bridal couple seldom objects to the warm fieshtones when the reason is explained. If you want to play it safe, shoot the bridal formals indoors as well as outdoors.

General Shooting Tips

Blue flashbulbs with daylight film offer no advantage for indoor shooting. If you are going to use flashbulbs, Kodachrome or Ektachrome Type F, or Anscochrome Flash with No. 5 or No. 25 (cheaper than blue bulbs) are by far, better combinations. They provide a higher guide number and produce superior color.

Bounce-light in unfamiliar surroundings is not to be trusted with color. Even white may not be white, but contain colors the eye does not perceive. The light will transmit the hue of the walls and ceiling, and may distort the coloring of the subjects, most noticeably in the fleshtones.

Use of sunlight with the bridal party, or as a general rule with full-length pictures of the couple, should be kept simple—front or at most, three-quarter. Even with frontlighting the height of the sun will provide enough modeling. Pictures of the bride alone need no restriction. Side and backlighting produce dramatic results, but unless silhouette or semi-silhouettes are intended, the fill-in, (especially with backlight) has to be accurate. Backlighting with bride and groom, particularly on closer informal poses can be as dramatic as those of the bride alone. As a blow-up is not possible with the usual 3D viewer, take one or two backlighted shots from as close as five feet. With the sun facing your lens, be sure to use a lens-shade.

Soft and beautiful effects can be attained on clear sunny days by shoot­ing in the open shade (unobstructed sky over subject). The color reaching your subject is reflection from the blue sky and a Skylight filter (1A) is needed for Kodachrome and Ektachrome Daylight or Anscochrome to warm this excess of blue. The Skylight filter requires no change in exposure. Type F film con­verted to daylight needs no added filter as the 85C has the ultra-violet ab­sorption properties of the Skylight filter. The same holds true on clear days when the sun is obscured by an occasional cloud. For open shade, open the lens diaphragm three f/stops from the basic sunlight exposure.

60. There is no set time for dancing at the reception. It may start right away or not until later. It is best to shoot the dancing couple at a distance of about 15 feet. If possible, keep them close to the bandstand so that the musicians may be seen, and also try to include other dancing couples. In a small hall, set the f/stop for your flash exposure for the distance to the couple; in a larger hall over-expose them one-half stop in order to get more detail in the background. Normally, only one person's face will show while a couple dances, so ask them both to look in one direction. Other possible pictures include the bride dancing with her father or father-in-law and the groom with his mother or mother-in-law. If you are restricted, however, to 50 or 60 shots, there is a limit to how many dancing shots you can make. In the picture above, I took advantage of the balcony to show the size of the hall and the number of guests. The flash reflector was aimed at the people farthest away. When the print was made, the Varigam paper was first exposed through a No. 8 filter to bring out detail in the most distant areas, then the couple was given addi­tional exposure with no filter. (Minolta Autocord; Tri-X; GO w/s electronic flash unit, 1/200, f/3.5; developed in Microdol.)

On overcast but bright days, the Skylight filter is again necessary with daylight film. With Type F, the 85C is all you need. If the sun should come out and you're using Kodachrome daylight film, leave the Skylight filter, on. The results will be warmer but pleasant. Ektachrome and Anscochrome day­light films are inherently warmer so it is best to take the Skylight filter off.

For any other than a sunny day or open shade situation where exposures are constant, the use of an accurate light meter is essential; especially if a flash fill-in is used. With a reflected-light meter, take the reading off the palm of your hand; with an incident-light meter, take it from subject position and aim the meter's light gathering cell at your camera.

About what film to use, it all breaks down to this:

1. If you are familiar with Kodachrome and do not need the speed of Ektachrome or Anscochrome   (and you  do  not,  other than with electronic flash)—stick to Kodachrome. Its color quality is by far the best.
   
   
2. If you feel the need for additional depth of field for your 3D color flash shots   (one-half stop), or would like to eliminate the waiting period for processing, use Ektachrome or Anscochrome and process it yourself.
   
   
3. If your electronic flash unit can produce a guide number of 85 or better with Anscochrome or Ektachrome Daylight you can shoot a candid wed­ding with these films. The benefits are many: home or commercial processing; a substantial  savings  on flashbulbs;   action-stopping flash;   no  need for con­version filter; added film speed for in-the-shade or cloudy-day exposures.

The temptations are enough to try the faith of Type F Kodachrome clear-bulb converts. Many will hang that 12-pound or more electronic flash unit from their shoulders. But in the end, it's results that count. What they will find with electronic flash is:

a.          Anscochrome has a reddish overcast, and despite the use of the recom­mended filter, there is a general color distortion, highlights become purplish, faces take on a reddish hue.

b.         Ektachrome is superior to Anscochrome in color fidelity, noticed mostin the fleshtones. But all color film has a relatively narrow latitude in exposure.

c.          At the end of experiments many will conclude that compared to Type F Kodachrome and clear-bulb, electronic flash with Anscochrome can be rated, at best, acceptable, and Ektachrome, quite good.

Once again, many of our experimenters will come back into the fold-filling their pockets with No. 5's, and their cameras with the unmatchable Kodachrome Type F.

Kodachrome Type F, Kodachrome Daylight, Ektachrome Type F, Ekta­chrome Daylight, Anscochrome and Anscochrome Flash—all are superb tools with which to work. For candids, the choice of one film over another boils down to a matter of personal preference. For the average bridal couple color transparencies professionally exposed are wonderful. Wonderful in Koda­chrome! Wonderful in Ektachrome! Wonderful in Anscochrome! The 36 ex­posure (28 stereo pair) roll will take you through the house and church. Two magazines normally are enough for the whole wedding.

61. Here is a dancing picture which is off the beaten track and will be ap­preciated by clients who like "something different." Exposure on Tri-X was 1/8 second at f/4 with light from 60 w/s electronic flash bounced from the ceiling. (Rolleiflex camera.)

Which Camera for 3D?

The Revere Stereo and the Stereo Realist are the cameras used by almost all professionals. They are well-designed, well-finished, devoid of mechanical bugs, and have coupled rangefinders. I prefer the Revere. With this camera, the shutter is automatically cocked as the film is advanced. With the Realist the shutter is cocked manually. The Revere is equipped with an f/3.5 lens and a 1/2 to 1/200 sec, T&B shutter. There is also the Wollensak Stereo "10" (Wollensak is a subsidiary of Revere). It is identical with the Revere in design and operation, but has a top speed of 1/300, and f/2.7lenses. The Realist has two models, the ST-41 with f/3.5 lenses and a 1 sec. to 1/150 T&B shutter and the ST-42 with f/2.8 lenses and 1 sec. to 1/200 shutter. The f/3.5 is fast enough with flashbulbs; the f/2.8 should be the choice with electronic flash. The rangefinder is as essential for establishing the number of feet from camera to subject so that the guide number can be used accurately as it is forattaining picture sharpness. The TDC Stereo Vivid camera has a desirable feature. After an adjustment is made for a particular flashbulb, the f/stop is automatically set with each change of focus.

Special Problems

"Pink Eye" occurs in color when the flashgun is close to, or on the camera. The light travels through the eye pupil and then is reflected by the reddish retina (back wall of eye) onto the eyeball. The incidence of "pink eye" can be minimized by moving the gun 8 or more inches to one side or above the camera. Having the gun above the camera will help hide the subject's shadow.

There is just one limitation to color—a bad skin condition. In these cases suggest a black and white album. Panchromatic film will do most of the trick aided by photo-retouching.

It might be mentioned that 3D photographs should be quite sharp from foreground to background. Most of our focusing is beyond 10 feet, and the depth of field of the usual 35mm lens of a 3D camera is tremendous. With a combination like this, how can we miss.

In the first paragraph I mentioned that the bridal couple often decide on both black and white and 3D color. It has been common practice to mount the stereo camera on the press camera with a Candid Stereo Bracket—or with a homemade version—and by means of this accessory expose black and white and color simultaneously with the same flashbulb. This practice is dishonest unless the couple have been told that both films will be identical in action and expression. If the bride and groom are paying for two jobs they are en­titled to a conscientious effort on the part of the photographer to avoid exact duplication. Sooner or later, they will see other couples' pictures in which the black and white and color differ and they will feel they have been cheated. In the long run, it is the photographer who is cheated. Recommendations can not be expected from a disgruntled bride and groom. The candid wedding photographer's step ladder to success is satisfied couples.

If you do not feel capable of shooting both stereo and black and white by yourself, hire a photographer to assist you with either of the jobs. The cost incurred, in shooting 3D separately, will be more than overcome. By eliminat­ing duplication you give the couple more pictures from which to select and give yourself a larger order.

The Sad Case of 2D Color

Before we leave color, I'd like to remark on the role (or lack of it) which 2D, 35mm color occupies in candid wedding photography. The rave is all 3D color and there is almost no call for 35mrn color slides. Perhaps this is because 35mm photographers have not exploited this "natural" in wedding photog­raphy.

For those of you who want to explore the 2D possibilities, we contrast stereo viewing equipment with that available for 2D color. We also give sug­gested 2D prices. Both points should provide selling arguments. With stereo candids, unfortunately the bride and groom's viewing in 3D is generally lim­ited by price to an AC, or battery-operated, eye viewer. For the couple whose interest in 3D does not usually extend beyond the photos of their wedding, stereo projectors are prohibitively expensive. They range from $75 to $200. However, 3D slides can be viewed (though in 2D) with 35mm projectors. Some units are designed to accommodate the slide and show a single frame of the stereo pair; for others you need a special attachment.

With 35mm, 2D color slides the situation is different, and the advantages are:

1. Hand viewers can be had for as little as $2, and with small inex­pensive table viewers, viewing is possible by more than one person at the same time. A good projector is available for only $35 to $60.
   
   
2. The bride and groom can add other color slides with a 35mm camera that also can be used for black-and-white snapshots.
   
   
3. Little or no grain for all normal purposes.
   

Pricing for 2D, 35mm color can be at the rate of three dollars per slide plus your charge for the viewer selected. I would suggest twenty slides as a minimum order. As with 3D assignments, also take black-and-white shots of the bride, bride and groom, bridal party, and parents with the couple. A rea­sonable charge is three dollars for an 8x10 with folder.

Remember, the exposure data for 3D color can be applied in its entirety to 35mm 2D color slides.

Color Prints

Color transparencies for projection, and 3D color with its true-to-life qualities, have done much to satisfy some of the demand for pictures in "natu­ral color." A candid wedding in color transparencies is within the public's financial reach.

Kodak's Kodacolor Film Universal Type (for daylight and flash) and Kodak Color Print Material Type C, is the successful combination that opened the door to color prints of fine quality. A wedding album of "natural Color" photographs has become a reality.

Kodacolor roll film is most versatile in that both daylight and clear flash­bulb exposures can be made on the same roll without the need for filters. The advantages of such a simplification are obvious. Shooting a candid wedding with Kodacolor is as convenient as shooting with black and white: one film for both indoor and outdoor. And though Kodacolor's latitude approximates that of the transparency materials, it has an important difference: The result of Kodacolor is a color negative and correction of color balance is possible during the printing on color paper.

62. The Smorgasbord is often a work of art. It pays to include it in the album. This one was shot with Rolleiflex, Tri-X, f/8, 4 seconds with camera on tripod. 63, 64 (upper right, lower left). When space permits, include the whole table as the party toasts the couple. If you must shoot from one end of the table, even out the light by focusing and setting the f/stop for the couple but aim the reflector at the farthest part of the table. The examples show both a formal and an informal arrangement of the party. (63: Busch Pressman; Tri-X; No. 5 flashbulb, 1/50, f/11; DK-50. 64: Busch Pressman; Tri-X; 60 w/s electronic flash, 1/250, f/8; DK-50.) 65 (lower right). The picture of the couple toasting each other should be taken from about 10 feet. You may include the best man and maid of honor if you choose. (Rolleiflex; Verichrome Pan; 80 w/s unit, 1/250 second, f/11; developed in D-76.)

Kodacolor daylight film speed (index 32) is the same as for 35mm Ekta-chrome Daylight; clear flashbulb guide numbers are the same as for Ekta-chrome Type F, Other than the fact that one film takes care of all your shooting, Kodacolor can be handled the same as Ektachrome. Processing lab­oratories have one suggestion: Try to avoid mixing daylight and tungsten light sources in the same shot. For instance, use a blue flashbulb for synchro-sun­light fill-in. A clear bulb fill-in would result in a color negative that might confuse the laboratory technician at the time of making a color print. Koda­color can be processed by the photographer, by independent laboratories, or by Kodak. Ektacolor is not processed by Kodak.

Kodak Color Print Material Type C is a paper capable of making high-quality color enlargements from color negative material such as Kodacolor and Ektacolor negative film. In quality a Type C print may be likened to a Dye Transfer print. Though not so flexible as the Dye Transfer material, Type C paper permits considerable control of color contrast and of manipulation through dodging and burning-in. As with Kodacolor, Type C prints can be made by the photographer, a commercial laboratory, or by Kodak.

Owners of press-type cameras should use Kodak Ektacolor, Type S (for exposures of 1/25 second or faster) when they intend to make color prints or have them made. For best results and color negatives with reasonably uniform color balance Kodak advises exposing without a filter for clear flash shots; with Kodak Wratten Filter No. 85C for daylight; and with No. 85 for electronic flash. The Exposure Index for this film used in daylight with an 85C filter, is 25. Flashbulb guide numbers are the same as for roll film Kodacolor.

Are You Ready To Move Onto The Next Lesson? Click Here….