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58-583: Film scanners can accept either strips of 35 mm or 120 film , or individual slides . Low-end scanners typically only take 35mm film strips, while medium- and high-end film scanners often have interchangeable film loaders. This allows the one scanning platform to be used for different sizes and packaging. For example, some allow microscope slides to be loaded for scanning, while mechanised slide loaders allow many individual slides to be batch scanned unattended. Some software used to process images scanned by film scanners allows for automatic color correction based on

116-626: A DX encoding six-digit barcode pattern, which uses a DX number to identify 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 Auto Sensing code constructed as two rows of six rectangular areas on the metal cassette surface which are either conductive or insulating, representing 32 possible film speeds, eight possible film lengths, and four possible values of exposure tolerance or latitude. Conforming cameras detect at least some of these areas; only three contacts are needed to set

174-519: A darkroom . The 335 was a daylight loading spool for the 24 × 23 mm stereo format. Reflex viewfinders, both twin-and single-lens , had been used with earlier cameras using plates and rollfilm. The first 35 mm single-lens reflex (SLR) was the Kine Exakta , introduced in 1936. World War II interrupted development of the type. After the war, Exakta resumed development and the Contax S model with

232-414: A film gauge of 35 mm (1.4 in) loaded into a standardized type of magazine (also referred to as a cassette or cartridge) for use in 135 film cameras . The term 135 was introduced by Kodak in 1934 as a designation for 35 mm film specifically for still photography, perforated with Kodak Standard perforations. It quickly grew in popularity, surpassing 120 film by the late 1960s to become

290-515: A 24×65 mm panoramic format with their XPan/TX-1 camera. There is also a 21×14 mm format used by Tessina subminiature camera. The film is available in lengths for varying numbers of exposures. The standard full-length roll has always been 36 exposures (assuming a standard 24×36 frame size). Through about 1980, 20 exposure rolls were the only shorter length with widespread availability. Since then, 20 exposure rolls have been largely discontinued in favour of 24- and 12-exposure rolls. The length of

348-465: A chemical process. For example Fuji Velvia film gave the photo a characteristic of saturated colours under daylight, high contrast, and exceptional sharpness. 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 use. Common focal lengths of lenses made for

406-450: A default aspect ratio of 4:3 (crop factor of 1.33). Mimicking 35mm film in a smartphone requires cropping to a 3:2 aspect ratio (crop factor of 1.5-1.6). For an authentic homage, one can apply creative digital filters like the ones commonly used in Instagram that map the colour profile to a characteristic look. Different brands of 35mm film would achieve the creative colour profile through

464-492: A light meter for the four most popular film speeds. The 135 film 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 have colour emulsions of ISO 100/21° to ISO 800/30°. Films of lower sensitivity (and better picture quality) and higher sensitivity (for low light) are for more specialist purposes. There are colour and monochrome films, negative and positive. Monochrome film

522-486: A mnemonic, due to the historic prevalence of the 35 mm format. This 'equivalent' is computed by multiplying (a) the true 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 be described as "60 mm (35 mm equivalent)". Although its true focal length remains 40 mm, its angle of view

580-566: A regular flatbed scanner; typically at least 2000 samples per inch (spi), up to 4000 spi or more. At these resolutions dust and scratches take on gigantic proportions. Even small specks of dust, invisible to the naked eye, can obscure a cluster of several pixels. For this reason, techniques have been developed to remove their appearance from a scan, see film restoration . The simplest is the median filter , often called despeckle in many graphic manipulation programs, e.g. in Adobe Photoshop and

638-405: A result, an unmodified 120 spool will not fit a camera designed for 105 film, such as a No. 1 Folding Pocket Kodak, as the overall length between the outside of the flanges is too long to fit the width of the film chamber. The 620 format was introduced by Kodak in 1931 as an intended alternative to 120. Although mostly used by Kodak cameras, it became very popular. The 620 format is essentially

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696-411: A smaller format called Advanced Photo System (APS) was introduced by a consortium of photographic companies in an attempt to supersede 135 film. Due in part to its small 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 still never rivalled

754-443: A thin polyester base, allowed 72 exposures in a single cassette. They produced special reels and tanks to allow this to be processed. Digital sensors are available in various sizes. Professional DSLR cameras usually use digital image sensors which approximate the dimensions of the 35 mm format, sometimes differing by fractions of a millimetre on one or both dimensions. Since 2007, Nikon has referred to their 35 mm format by

812-402: Is clipped or taped to a spool and exits via a slot lined with flocking . The end of the film is cut on one side to form a leader. It has the same dimensions and perforation pitch as 35 mm movie print film (also called "long pitch", KS-1870 , whereas 35 mm professional motion picture camera films are always "short pitch", BH-1866 ). Most cameras require the film to be rewound before

870-524: Is common to higher-end digital image sensors , where it is typically referred to as full-frame format. On 135 film, the typical cameras produce a frame where 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 film advances 8 perforations. This is specified as 38.00 mm. This allows for 2 mm gaps between frames. Camera models typically have different locations for

928-416: Is equivalent to that of a 60 mm lens on a 35 mm format (24×36 mm) camera. Another example is the lens of the 2/3 inch format Fujifilm X10, which is marked with its true zoom range "7.1–28.4 mm" but has a 35 mm-equivalent zoom range of "28–112 mm". 120 film 120 is a film format for still photography introduced by Kodak for their Brownie No. 2 in 1901. It

986-465: Is held in an open spool originally made of wood with metal flanges, later with all-metal, and finally with all-plastic. The length of the film is nominally between 820 millimetres (32 in) and 850 millimetres (33 in), according to the ISO 732:2000 standard. However, some films may be as short as 760 millimetres (30 in). The film is attached to a piece of backing paper longer and slightly wider than

1044-429: Is licensed by Epson , Konica Minolta , Microtek , Minolta , Nikon , and some others. Canon developed its own FARE (Film Automatic Retouching and Enhancement) system. LaserSoft Imaging developed the iSRD dust and scratch removal, on which among others Plustek is relying. 35mm format 135 film , more popularly referred to as 35 mm film or 35 mm , is a format of photographic film with

1102-638: Is much larger than image sensors in most compact cameras and smartphone cameras. The engineering standard for this film is controlled by ISO 1007 titled '135-size film and magazine'. The 135 film size is derived from earlier still cameras using lengths of 35 mm movie film , which had the same size but with different perforations. The 35 mm film standard for motion picture film was established in Thomas Edison 's lab by William Kennedy Laurie Dickson . Dickson took 70 mm film stock supplied by George Eastman 's Eastman Kodak Company. The 70 mm film

1160-518: Is thinner than a film with a backing paper, a special pressure plate may be required to achieve optimal focus if the film is registered against its back side. Some cameras capable of using both 120 and 220 film will have a two position adjustment of the pressure plate (e.g. the Pentax 6x7 , Mamiya C220 or Mamiya C330 ) while others will require different film backs e.g. the Pentax 645 or Kowa Six . The specifications for 120 and 220 film are defined in

1218-416: Is usually panchromatic ; orthochromatic has fallen out of use. Film designed to be sensitive to infrared radiation can be obtained, both monochrome and with false-colour (or pseudocolour) rendition. More exotic emulsions have been available in 135 than other roll-film sizes. The term 135 format usually refers to a 24×36 mm film format , commonly known as 35 mm format. The 24×36 mm format

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1276-483: The GIMP . It works by examining a pixel in relation to the pixels surrounding it; if it is too different from the surrounding pixels then it is replaced with one set to their median value. This and other methods can be quite effective but have the disadvantage that the filter cannot know what actually is dust or noise. It will also degrade fine detail in the scan. Infrared cleaning works by collecting an infrared channel from

1334-466: The ISO 732 standard. Earlier editions of ISO 732 also provided international standards for the 127 and 620 film formats. 120 film allows several frame sizes. (cm) User selectable on newer cameras, if a roll is only partially used then a "kink" may appear in the film where the roll touches rollers in a film back magazine and this may end up on a frame; this is not a problem when 15 exposures are used as

1392-539: The Nikon F6 (discontinued in 2020). Introductory 35 mm SLRs, compact film point-and-shoot cameras, and single-use cameras continue to be built and sold by a number of makers. Leica introduced the digital Leica M8 rangefinder in 2007, but continues to make its M series rangefinder film cameras and lenses. A digital camera back for the Leica R9 SLR camera was discontinued in 2007. On March 25, 2009, Leica discontinued

1450-445: The trade mark FX. Other makers of 35 mm format digital cameras, including Leica , Sony , and Canon , refer to their 35 mm sensors simply as full frame. Most consumer DSLR cameras use smaller sensors, with the most popular size being APS-C which measures around 23×15 mm (giving it a crop factor of 1.5–1.6). Compact cameras have smaller sensors with a crop factor of around 3 to 6. Most smartphones (as of 2024) have

1508-612: The " Cent-Vues  [ fr ] ", which used the 35 mm perforated film to take consecutive hundred views in 18×24 mm. He manufactured it, won the gold medal in the Concours Lépine , and in 1910 sold at a small scale 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 (~5,600 2024 US Dollars) The first camera to take full-frame 24×36 mm exposures seems to be

1566-505: The Leica did not begin until 1925. While by that time, there were at least a dozen other 35 mm cameras available, the Leica was a success. It came to be associated with the format, mostly because of this 35 mm popularity, as well as the entire company legacy. Early Leica cameras are considered highly collectable items. The original Leica prototype holds the record as being the world's most expensive camera, selling for €2.16 million in 2012. In

1624-566: The Leica was introduced in the 1920s. The first patent for one was issued to Leo, Audobard, and Baradat in England in 1908. The first full-scale production camera was the Homéos, a stereo camera produced by Jules Richard in 1913 and sold until 1920. It took 18x24 mm stereo pairs and used two Tessar lenses. In 1909, the French Étienne Mollier  [ fr ] designed a device for small-format photography,

1682-453: The No.1 Brownie, 6×6 cm format. These formats used the same width film as 120 film, but with slightly different spools. The 105 spool has a much wider flange, similar to the 116 spool, while the 117 spool's flange is slightly narrower than the 120. The 105 and 620 spools also have much thinner flanges than the 117 and 120 spools (0.635 mm (0.0250 in) vs. 1.524 mm (0.0600 in)); as

1740-580: The R9 SLR and R-series lenses. By the early 2020s, film photography, particularly 35 mm photography, was experiencing a resurgence in popularity. In a 2021 PetaPixel survey, 75% of respondents expressed interest in newly manufactured analog cameras. Kodak reported in 2022 that it was having trouble keeping up with demand for 35 mm film. In 2024, the Pentax 17 and the Aflie TYCH+ 35 mm cameras were released, both using

1798-523: The Retina. Argus , too, made a long-lived range of 35 mm cameras; notably the Argus C3 . Kodak launched 135-format Kodachrome colour film in 1936. AGFA followed with the introduction of Agfacolor Neu later in the same 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, without need of

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1856-663: The Simplex, introduced in the U.S. in 1914. It took either 800 half-frame or 400 full-frame shots on 50 ft (15.2 m) rolls. The Minigraph, by Levy-Roth of Berlin, another half-frame small camera was sold in Germany in 1915. The patent for the Debrie Sept camera, a combination 35 mm still and movie camera was issued in 1918; the camera sold from 1922. The Furet camera made and sold in France in 1923 took full-frame 24x36 mm negatives, and

1914-505: The appearance of dust and scratches in the visible channels and replace them with something similar to their surroundings. A major limitation of this technique is that it can only be used on dye-based (color and chromogenic black-and-white) films; the image-forming silver particles in most black-and-white film stocks are opaque to infrared radiation. Scanner manufacturers usually have their own name attached to this technique. Kodak developed Digital ICE at their Austin development centre, and

1972-450: The camera is opened. Some motorized cameras unwind the film fully upon loading and then expose the images in reverse order, returning the film to the cassette; this protects all exposed frames (except the last one or two), should the camera back be accidentally opened; unexposed film gets spoiled, however. Disposable cameras use the same technique so that the user does not have to rewind. Since 1983, most film cassettes have been marked with

2030-470: The dark. Other, mostly shorter, lengths have been manufactured. There have been some 6-, 8-, 10-, and 15-exposure rolls given away as samples, sometimes in disposable cameras, or used by insurance adjusters to document damage claims. Twelve-exposure rolls have been used widely in the daily press. Photographers who load their own cassettes can use any length of film – with a thinner film base, up to 45 exposures will fit. The Ilford HP black-and-white film, on

2088-502: 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 so that it could be used in both Leica and Zeiss Ikon Contax cameras along with the camera for which it was invented, namely the Kodak Retina camera. The Retina camera and this daylight loading cassette were

2146-406: The film after being closed don't spoil the additional length provided for conventional loading and can make that additional length available for two or three additional exposures. The same length can be available for exposure in any camera if it is loaded without exposing the film to light, e.g. in a dark room or a dark bag. A 27-exposure disposable camera uses a standard 24-exposure cassette loaded in

2204-426: The film manufacturer and type. In many cases the source film may not be marked with this information in human-readable form, but might be marked at the bottom edge with a DX film edge barcode following a standard maintained by ANSI and I3A . Dust and scratches on the film can be a big problem for scanning. Because of their reduced size (compared to prints), the scanners are capable of resolutions much higher than

2262-472: The film 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 drawn out of the canister, across the back of the camera, and securely engaged with the film advancing spool before the camera back is closed. A camera that uses less than the maximum distance between the spools may be able to make one additional exposure. Self-loading cameras that load

2320-802: 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 (especially 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 film, 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 available. Since 35 mm

2378-442: The film. The backing paper protects the film while it is wound on the spool, with enough extra length to allow loading and unloading the roll in daylight without exposing any of the film. Frame number markings for three standard image formats (6×4.5, 6×6, and 6×9 [4:3, 1:1, and 2:3 aspect ratios]; see below) are printed on the backing paper. The 220 format was introduced in 1965 and is the same width as 120 film, but with about double

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2436-737: The format include 24, 28, 35, 50, 85, 105, and 135 mm. Most commonly, a 50 mm lens is the one considered normal ; any lens shorter than this is considered a wide angle lens and anything above is considered a telephoto lens. Even then, wide angles shorter than 24 mm is called an extreme wide angle . Lenses above 50 mm but up to about 100 mm are called short telephoto or sometimes, as portrait telephotos , from 100 mm to about 200 mm are called medium telephotos, and above 300 mm are called long telephotos. With many smaller formats now common (such as APS-C ), lenses are often advertised or marked with their "35 mm equivalent" or "full-frame equivalent" focal length as

2494-611: The gaps between exposed frames is larger, nor if the camera is not used intermittently. The 6×9 frame has the same aspect ratio as the standard 24×36 mm frame of 135 film . The 6×7 frame enlarges almost exactly to 8×10 inch paper, for which reason its proponents call it "ideal format". 6×4.5 is the smallest and least expensive roll-film frame size. The wide 6×12, 6×17, and 6×24 cm frames are produced by special-purpose panoramic cameras. Most of these cameras use lenses intended for large format cameras for simplicity of construction. Cameras using 120 film will often combine

2552-635: The half-frame format to conserve film. Retrospekt and Mattel put out the Malibu Barbie FC-11 35 mm camera. In September 2024, MiNT Camera took pre-orders for the Rollei 35AF, an update of the Rollei 35. Kodak offered six 35 mm film cameras for sale as of October 2024, including the Ektar H35N, another half-frame camera. Individual rolls of 135 film are enclosed in single-spool, light-tight, metal cassettes to allow cameras to be loaded in daylight. The film

2610-574: 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 summer of 1934. The first Kodak Retina 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

2668-409: The length of film and thus twice the number of possible exposures per roll. Unlike 120 film, however, there is no backing paper behind the film itself, just a leader and a trailer. This results in a longer film on the same spool, but there are no printed frame numbers. Because of this, 220 film cannot be used in cameras that rely on reading frame numbers through a red window. Also, since the film alone

2726-486: The market penetration of 135. Within five years of its launch, cheap digital compact cameras started becoming widely available, and APS sales plummeted. While they have shifted the vast majority of their product lines to digital, major camera manufacturers such as Canon and Nikon continued to make expensive professional-grade 35 mm film SLRs until relatively recently (such as the Canon EOS-1V (discontinued in 2018) and

2784-542: The most popular photographic film size. Despite competition from formats such as 828 , 126 , 110 , and APS , it remains the most popular film size today. The size of the 135 film frame with its frame's aspect ratio of 1:1.50 has been adopted by many high-end digital single-lens reflex and digital mirrorless cameras, commonly referred to as " full frame ". Even though the format is much smaller than historical medium format and large format film, being historically referred to as miniature format or small format , it

2842-501: 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-return mirror , important for the popularity of SLRs; until then, the viewfinder on an SLR camera blanked as the mirror sprang out of the optical path just before taking the picture, returning when

2900-448: The numbers of the frame size in the name e.g. Pentax 6×7 (6×7), Fuji 617 (6×17), and many 645 s (6×4.5). The number '6' in general, and the word 'six' are also commonly used in naming cameras e.g. Kiev 60 and Pentacon Six . The 105 format was introduced by Kodak in 1898 for their first folding camera and was the original 6×9 cm format roll film. The 117 format was introduced by Kodak in 1900 for their first Brownie camera,

2958-443: The same film on a thinner and narrower all-metal spool (the 120 spool core was made of wood at that time): Hence the 620 is sometimes referred to as "small hole" 6×6 or 6×9 as opposed to 120 "large hole". The 620 format was discontinued by Kodak in 1995, but it is possible to rewind 120 film onto a 620 spool in the darkroom for use in 620 cameras. According to Kodak, the narrower metal spool allowed building smaller cameras. Nonetheless

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3016-496: The scan at the same time as the visible colour channels (red, green, and blue). This is done by using a light source that also produces infrared radiation , and having a fourth row of sensors on the linear CCD sensor. Photographic film is mostly transparent to infrared radiation (no matter what the visible image contains) but dust and scratches aren't, so they show up in the IR channel. This information can then be used to automatically remove

3074-546: The smaller 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 use 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

3132-466: The sprocket which advances the film. Therefore, each camera model's frame may vary in position relative to the perforations. The film is approximately 0.14 mm thick. Other image formats have been applied to 135 film, 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

3190-466: Was cut lengthwise into two equal width (35 mm) strips, spliced together end to end, and then perforated along both edges. The original picture size was 18×24 mm (half the full frame size later 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 film before

3248-418: Was originally intended for amateur photography but was later superseded in this role by 135 film . 120 film survives to this day as the only medium format film that is readily available to both professionals and amateur enthusiasts. The 120 film format is a roll film which is nominally between 60.7 mm and 61.7 mm wide. Most modern films made today are roughly 61 mm (2.4 inches) wide. The film

3306-682: 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 film-speed encoding system was introduced in the 1980s, as were single-use cameras pre-loaded with 35 mm film and using plastic lenses of reasonable enough quality to produce acceptable snapshots. Automated all-in-one processing and printing machines made 35 mm developing easier and less expensive, so that quality colour prints became available not only from photographic specialty stores, but also from supermarkets, drugstores, and big box retailers, often in less than an hour. In 1996,

3364-451: Was the first cheap small 35 mm camera of similar appearance to more modern models. The Leica Camera designed by Oskar Barnack used 35 mm film, and proved that a format as small as 24 mm × 36 mm was suitable for professional photography. Although Barnack designed his prototype camera around 1913, the first experimental production run of ur-Leicas (Serial No. 100 to 130) did not occur until 1923. Full-scale production of

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