Photography Glossary

Acid used to make stop bath, typically diluted to 1-2%. Immediately halts development by neutralising alkaline developer. Household vinegar contains about 5% acetic acid.

Materials with neutral or slightly alkaline pH that won't degrade photographs over time. Essential for print storage — sleeves, boxes, mounting boards should all be acid-free.

A measure of edge sharpness in an image based on how abruptly density changes at boundaries. High acutance developers enhance edge contrast through adjacency effects, making images appear sharper.

The process of moving film or developer during processing to ensure fresh chemistry reaches the emulsion. Methods include inversions, rotations, or continuous agitation.

The extent of a scene captured by a lens, measured in degrees. Wide-angle lenses have large angles and telephoto lenses narrow ones. A 50mm lens on 35mm film covers about 47° diagonally.

A light-absorbing coating on the back of film that prevents light from reflecting back through the emulsion. Removed during processing.

The opening in a lens that controls how much light reaches the film. Measured in f-stops (f/2, f/8, f/16). Smaller f-numbers mean larger openings and more light.

Semi-automatic exposure mode where the photographer sets the aperture and the camera selects the shutter speed. Often marked 'A' or 'Av' on the mode dial.

Materials and processes designed for long-term preservation. Archival processing removes residual chemicals; archival storage uses acid-free materials and stable conditions.

American Standards Association film speed rating, now superseded by ISO. ASA 400 is equivalent to ISO 400.

Vitamin C, used as a developing agent in some modern and alternative formulas. Key ingredient in Xtol and caffenol. Environmentally friendlier than hydroquinone.

The proportional relationship between image width and height. 35mm is 3:2 (36x24mm), 6x6 is 1:1 (square), 6x7 is close to 5:4 (about 56x70mm).

Camera system that automatically sets aperture, shutter speed, or both based on the meter reading. Includes program, aperture priority, and shutter priority modes.

Motor-driven film advance mechanism that automatically winds to the next frame after each shot. Slower than a motor drive but smaller and quieter.

Black and white. Refers to monochrome film or photography without colour.

When a lens focuses behind the intended subject. Can be a lens calibration issue or user error. The opposite of front focus.

Lens aberration where straight lines bow outward from the centre. Common in wide-angle lenses. Opposite of pincushion distortion.

Barium sulfate coating applied to fibre-based papers before the emulsion. Creates a smooth, bright white base. 'Baryta paper' often refers to traditional fibre-based silver gelatin paper.

Minimum density of processed film: the density of the base material plus any fog from age, storage or development. Measured in an unexposed area. A healthy negative shows little; high base fog points to a problem.

Scanning multiple frames or strips in sequence, often with automated film holders. Improves efficiency for high-volume scanning workflows.

Lens attachment system using tabs that lock with a quarter-turn. Faster than screw mounts. Examples: Nikon F, Canon EF, Pentax K.

Flexible, accordion-like connection between lens and camera body, found on large format cameras and some macro setups. Allows focus by changing lens-to-film distance.

Exposure compensation required when using bellows extension for close-up photography. As the lens moves further from the film, less light reaches it.

The number of bits used to represent colour/tone in digital scans. 8-bit = 256 tones, 16-bit = 65,536 tones. Higher bit depth allows more editing headroom.

Chemical bath in colour processing that converts developed silver back to silver halide, which is then removed by fixer. Essential for colour film processing.

Combined bleach and fixer solution. Standard in RA-4 colour paper processing and used in many home C-41 and E-6 kits; standard lab C-41 and E-6 use separate bleach and fix baths. Simplifies the process but may be less archival than separate solutions.

Overexposed bright areas that have lost all detail, appearing as pure white. Cannot be recovered in scanning or printing.

Optical effect where bright light sources spread beyond their boundaries, creating a soft glow. Can be caused by lens flare or scanner sensor overload.

The aesthetic quality of out-of-focus areas in an image. Derived from Japanese. Lenses are described as having smooth, creamy, or busy bokeh depending on how they render blur.

The manufacturer's rated ISO speed printed on the film box. Often used as a starting point before personal testing to find your effective index (EI).

Taking multiple exposures of the same scene at different settings (typically +1 and -1 stop from metered exposure) to ensure at least one is correctly exposed.

Change in field of view as focus distance changes, so the image appears to zoom slightly when focus is racked. Cinema lenses are designed to minimise it; it matters little for still photography. Also called focus breathing.

Illuminated frame lines in a rangefinder viewfinder showing the boundaries of the image that will be captured. Different frames appear for different focal lengths, and they shift to compensate for parallax at close range. Also called frame lines.

Shutter setting (marked 'B') where the shutter stays open as long as the release is held. Used for long exposures beyond the camera's timed settings.

Device for loading 35mm cassettes from bulk film rolls, cutting the cost per roll on high-volume shooting. Requires complete darkness to load the bulk film into the device initially.

Standard colour negative film development process. Temperature-critical (typically 38°C/100°F). Most colour print films use this process.

Flexible cable that triggers the shutter without touching the camera, reducing vibration during long exposures. Modern versions may be electronic.

Alternative developer made from instant coffee, washing soda (sodium carbonate), and vitamin C. Works surprisingly well for black and white film. DIY-friendly.

Light-tight metal or plastic container holding 35mm film. Also called a cartridge. The film leader protrudes for camera loading.

Tool for opening 35mm film cassettes to retrieve film for development. Some prefer to pull the leader; others open the cassette to avoid scratching.

Charge-Coupled Device. Type of image sensor traditionally used in film scanners and flatbeds.

Metering pattern that emphasises the centre of the frame while still considering the edges. The proportion given to the centre varies by camera. Common on older cameras.

Light-tight fabric bag with arm holes for loading film into developing tanks without a darkroom. Essential portable equipment.

Graph showing the relationship between exposure and density for a given film and developer. Also called the H&D curve or D-log E curve. Shows speed, contrast, and latitude.

Lens defect where different wavelengths of light focus at different points, causing colour fringing at high-contrast edges. Can be lateral or longitudinal.

Film where the final image is formed by dyes rather than silver. Silver is still used to create the image, but is then bleached away leaving only dye. Nearly all colour films are chromogenic (instant films are an exception). Some B&W films (like Ilford XP2) are also chromogenic.

Aesthetic quality resembling motion picture film. In stills, often means wide aspect ratio, colour grading reminiscent of movies, or use of cinema film stocks like CineStill.

Brand selling motion picture film stocks adapted for still photography with remjet pre-removed for C-41 processing. Known for distinctive halation around bright lights.

The largest blur spot that still appears sharp to the eye. Used in depth of field calculations. Common values for 35mm: 0.025-0.033mm depending on standard used.

Loss of detail at the extremes of the tonal range. Shadow clipping loses dark detail; highlight clipping loses bright detail. Visible as flat black or white areas.

Buildup of emulsion or debris in a camera's film gate or scanner holder. Can cause scratches or image quality issues. Requires regular cleaning.

Screw-on lens attachment that allows closer focusing. Measured in diopters (+1, +2, etc.). Simple and affordable way to do macro photography.

Complementary Metal-Oxide Semiconductor. Type of image sensor used in digital cameras (and so in DSLR scanning setups) and in some scanners.

Thin layers applied to lens elements to reduce reflections and flare. Multi-coating uses multiple layers for better performance. Older uncoated lenses are more prone to flare.

Kodak ColorPlus 200 — budget colour negative film. Similar to Gold in character, with a slightly different colour rendition.

An unwanted overall tint in an image. Can be caused by lighting conditions, film characteristics, or processing variations. Correctable in scanning or printing.

Individual red, green, or blue component of a colour image. Adjusting channels separately allows precise colour control in scanning and editing.

Adjusting colours in post-processing to achieve a desired look or mood. Common in hybrid workflows where film provides the base and digital tools refine the result.

The process of turning a scanned colour negative into a positive image with correct colours. Involves inverting tones, removing the orange mask, and colour balancing. Software like Negative Lab Pro automates this process. Also called negative conversion.

Film that produces a negative image with inverted colours (orange mask). Printed or scanned to produce positive images. Processed in C-41.

Film that produces a positive (slide) image directly. Also called slide film or transparency film. Processed in E-6.

Change in colour rendition, either intentional (cross-processing, filtering) or unintentional (expired film, wrong colour temperature). Can be corrected or embraced.

A measure of the colour of light, expressed in Kelvin. Daylight is approximately 5500K. Lower values are warmer (orange), higher values are cooler (blue).

Lens aberration where points of light at the edges of the frame appear as comet-shaped blurs. Most visible in fast lenses at wide apertures.

Small camera with non-interchangeable lens. In film photography, often refers to premium 35mm compacts like Contax T2, Olympus MJU-II, or Ricoh GR1.

Developer that reduces highlight contrast while maintaining shadow detail, effectively compressing the tonal range. Useful for high-contrast scenes.

Enlarger using condenser lenses to direct light through the negative. Produces higher contrast and more visible grain than diffusion enlargers.

Print made by placing negatives directly on photographic paper and exposing to light. Results in prints the same size as the negatives.

Image with smooth gradations between tones, as opposed to halftone printing. Film and photographic prints are continuous tone media.

The range between the lightest and darkest tones in an image. High contrast means stark differences; low contrast means subtle gradations.

Coloured filter used in B&W photography to alter how colours render as grey tones. Orange/red filters darken skies; green filters lighten foliage.

Paper hardness rating from 0 (soft) to 5 (hard) that determines print contrast. Multigrade papers allow contrast control with filters.

Rangefinder mechanism mechanically linked to the lens focusing ring. Focusing the rangefinder automatically focuses the lens.

The size of the image circle a lens projects. Must cover the film format being used. Large format lenses often provide extra coverage for movements.

Colour Rendering Index — measure of how accurately a light source renders colours compared to natural light. High CRI (90+) important for colour-critical work and scanning.

Selecting a portion of an image for the final print, excluding the edges. Can be done during printing/scanning or in post-processing.

Deliberately processing film in the wrong chemistry (e.g., slide film in C-41). Creates unusual colour shifts and contrast effects.

Shadow areas that have lost all detail, appearing as solid black. Can be intentional for dramatic effect or unintentional from underexposure.

Tendency of film to curve, especially after drying. Can cause scanning difficulties. Film holders and weights help flatten curled negatives.

Adjustment tool that maps input tones to output tones. More powerful than levels for contrast and colour control. Essential for scanning workflow.

Individual sheets of film, typically 4x5 inches or larger, used in large format cameras. Loaded into film holders for exposure.

Kodak D-76 — the industry-standard black and white developer since 1927. Powder formula, fine grain, full film speed. The benchmark other developers are compared against.

Light-tight room for handling and processing light-sensitive materials. Used for film development and printing.

Removable light-tight cover for large format film holders and some medium format backs. Must be removed before exposure and replaced after.

Natural light, typically rated at 5500K colour temperature. Daylight-balanced films are designed for this light without filtration.

Light-tight developing tank that allows processing in normal room light after film loading. Uses a light trap design for chemistry changes.

Ilford DDX — liquid concentrate developer optimised for Delta and T-Max films. Excellent shadow detail and fine grain with modern tabular-grain emulsions.

Ilford's tabular-grain B&W film technology (Ilford calls it Core-Shell). Delta films (100, 400, 3200) offer finer grain than traditional cubic-grain films at the same speed.

Overexposed or overdeveloped negative with high density. Appears very dark and needs longer printing times. May have blocked highlights but usually prints well with appropriate adjustments.

Instrument for measuring the optical density of film or prints. Used in quality control and sensitometry.

A measure of how much light a negative or print blocks. Higher density = darker/more opaque. Expressed as a logarithm.

The zone of acceptable sharpness in front of and behind the focus point. Controlled by aperture, focal length, and subject distance.

Camera feature that stops down the lens to the taking aperture, showing actual depth of field in the viewfinder. Darkens the view.

Chemical solution that converts exposed silver halide crystals to metallic silver, making the latent image visible. Different developers produce different characteristics.

The active chemical in developer that reduces exposed silver halide to silver. Common agents include Metol, Hydroquinone, Phenidone, and Ascorbic acid.

Duration the film spends in developer solution. Affects contrast, grain, and effective film speed. Varies by film, developer, dilution, and temperature.

Bending of light at the aperture edges that reduces sharpness at very small apertures (typically beyond f/16 on 35mm). Stopping down further stops improving depth of field and starts to soften the image.

Enlarger using scattered/diffused light rather than condensed light. Produces lower contrast and hides dust/scratches better than condenser enlargers.

Digital sensor unit that replaces the film back on medium and large format cameras. Allows using classic cameras with digital capture. High-end professional option.

The ratio of developer concentrate to water. 1+1 means one part concentrate plus one part water; 1:50 strictly means one part concentrate in 50 parts total (1+49), though some makers write 1+50 for one part plus 50 parts water, so check which notation the datasheet uses.

Deutsche Industrie Norm film speed rating, used in Europe. Logarithmic scale where each increase of 3 equals one stop. DIN 21 = ISO 100.

Unit measuring optical power. In photography: 1) Viewfinder adjustment for eyeglass wearers. 2) Strength rating for close-up filters.

Maximum density. The darkest black a film or print can produce. Important specification for scanners and papers.

Minimum density. The lightest area in processed film (base + fog). Important for determining true film speed and development quality.

Darkroom technique of blocking light from parts of a print during exposure to lighten those areas. The opposite of burning in, which adds exposure to darken areas.

Dots per inch. Measure of print resolution. Also loosely used for scanner resolution (technically PPI for input devices).

High-end scanner type where film is mounted on a rotating drum. Uses PMT sensors for high dynamic range and resolution. Regarded as the benchmark for professional film scanning.

The phenomenon where prints appear slightly darker after drying than when wet in the fixer. Experienced printers compensate during exposure.

Enclosed cabinet with filtered air circulation for dust-free film drying. Professional solution for high-volume processing where dust is a concern.

Water spots or streaks on film from uneven drying. Prevented by using wetting agent and proper drying technique.

Using a digital camera with macro lens to photograph film instead of a traditional scanner. Can be much faster than a scanner; quality depends on the lens, light source and film holder.

Specks on prints or scans caused by dust on negatives, lens, or scanner. Require spotting (print) or retouching (digital).

Chemicals in colour film that react with oxidised developer to form dyes. Each colour layer contains different couplers: cyan, magenta, and yellow. The silver is later bleached away.

The range of brightness a film can capture, from deepest shadow to brightest highlight. Measured in stops. Negative film generally records a wider range than slide film.

Standard colour reversal (slide) film development process. More complex than C-41, with more steps, and just as temperature-critical.

Darkroom tool that holds photographic paper flat and creates borders during enlargement. Adjustable blades allow different print sizes and border widths.

Standard motion picture colour negative development process. Similar in principle to C-41 but uses a different colour developing agent (CD-3) at a higher temperature (41°C), a different bleach, and requires remjet removal. Used for cinema film stocks.

Local contrast enhancement at boundaries between light and dark areas, caused by uneven developer exhaustion and diffusion of development by-products at the boundary. Desirable in some developers like Rodinal.

The actual light-gathering ability of a lens at a given focus distance. Decreases with extension for close-up work, requiring exposure compensation.

Exposure Index. Personal film speed rating based on testing, which may differ from the manufacturer's ISO. Written as EI 400 to distinguish from rated ISO.

Kodak Ektachrome E100 — slide film revived by Kodak in 2018. Fine grain, accurate colours, and good exposure latitude for a reversal film.

Kodak Ektar 100 — a fine-grain colour negative film known for high saturation, excellent sharpness, and vivid colours. Popular for landscapes and product photography.

Flash unit using a xenon-filled tube that produces a brief, bright burst of light. More powerful and consistent than flashbulbs.

The light-sensitive layer of film or paper, consisting of silver halide crystals suspended in gelatin.

The matte, light-sensitive side of film where the image is formed. Should face the lens during printing, and usually faces the glass on a flatbed scanner.

A print larger than the negative, made by projecting the negative through an enlarger onto photographic paper.

Device that projects a negative onto photographic paper to make enlarged prints. Essential darkroom equipment.

Lens designed specifically for projection rather than camera use. Optimised for flat field and close working distances.

Different combinations of aperture and shutter speed that result in the same amount of light reaching the film. f/8 at 1/125 = f/5.6 at 1/250.

Exposure Value. A single number representing a combination of aperture and shutter speed. EV 0 = f/1 at 1 second (at ISO 100). Each increase of 1 EV halves the exposure.

Sophisticated metering mode that analyses multiple zones and makes exposure decisions based on patterns. Called Matrix (Nikon) or Evaluative (Canon).

The gradual loss of developer activity through use or oxidation. One-shot developers are discarded after use; replenished developers can be maintained.

Film past its manufacturer's use-by date. May show fog, colour shifts, or reduced sensitivity. Often shot at lower ISO to compensate.

The amount of light reaching the film, determined by aperture, shutter speed, and scene brightness. Also refers to a single frame on a roll.

Intentionally over- or underexposing from the meter reading. Measured in stops (+1, -2, etc.).

The range of exposures that produce acceptable results. Negative film has wide latitude (several stops each way); slide film has narrow latitude.

Camera feature that holds an exposure reading while recomposing. Useful for off-centre subjects or tricky lighting.

The relationship between aperture, shutter speed, and ISO. Changing one requires adjusting another to maintain equivalent exposure.

Hollow tube placed between lens and camera body to allow closer focusing. Unlike bellows, they're fixed lengths. No optical elements.

Unit of aperture measurement. The f-number is the ratio of focal length to aperture diameter. Standard stops: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22.

Film with high sensitivity (ISO 400+). Allows shooting in low light or with faster shutter speeds, but typically shows more grain.

Lens with a wide maximum aperture (typically f/2.8 or wider). Allows more light for low-light shooting and provides shallower depth of field.

Technique for drying glossy fibre-based prints by pressing emulsion-side against a polished metal plate. Creates extremely high gloss. Labour-intensive but distinctive.

Traditional photographic paper with a paper base. More archival than RC paper, but requires longer washing and drying times. Preferred for exhibition prints.

Portable large format camera that folds flat for transport. Lighter and more compact than monorail cameras but with fewer movements.

Using flash to supplement ambient light, typically to reduce contrast in outdoor portraits. The flash fills in shadows without overpowering the scene.

Mechanism that moves film to the next frame after exposure. Can be manual (lever) or motorised (winder/motor drive).

The transparent support material that carries the emulsion; often just called the base. Most roll films use cellulose triacetate, while sheet films and some newer roll films use polyester (PET). Early film used cellulose nitrate.

The rebate area outside the image frame, including sprocket holes on 35mm and frame numbers on medium format. Often included in scans for authentic 'film look'.

Weighted clips used to hang film for drying. Weight prevents curling. Usually used in pairs — one at top to hang, one at bottom for weight.

The opening in a camera behind the lens where each frame is positioned during exposure. Determines the exact image area.

Light-tight container for sheet film used in large format photography. Typically holds two sheets (one per side).

The flat surface where the film is positioned during exposure. The lens focuses the image onto this plane.

A measure of film's sensitivity to light. Higher numbers (ISO 800) are more sensitive than lower numbers (ISO 100).

Glass or resin placed in front of or behind the lens to modify light. Types include colour, polarising, neutral density, and special effects.

The exposure increase needed when using a filter. A 2x filter factor requires one stop more exposure.

In E-6 and other reversal processes, the initial developer that creates a negative silver image before reversal.

Extreme wide-angle lens with 180° or greater angle of view. Available as circular (shows entire circular image) or full-frame (fills the frame).

Non-interchangeable lens permanently attached to a camera body. Common on rangefinders and compact cameras.

Chemical solution that removes unexposed silver halide from film or paper, making the image permanent and light-stable. Also called hypo.

Test solution, usually potassium iodide, that forms a yellowish-white cloudy precipitate when a few drops are added to a sample of exhausted fixer. A clip test, timing how long a film leader takes to clear, is an alternative.

The distance from the lens mount to the film plane. Different for each camera system. Critical for adapting lenses between systems.

Non-image-forming light in a photograph, causing reduced contrast or artifacts. Caused by bright light hitting the lens directly or reflections within the lens.

The fastest shutter speed at which the entire frame is exposed at once, allowing flash use. Set by the camera: typically a fixed speed for focal plane shutters, while leaf shutters sync at all speeds.

Image or negative with low contrast, lacking strong blacks or bright whites. Can result from underexposure, underdevelopment, or flat lighting.

Scanner with a flat glass surface for scanning documents and film. More versatile but generally lower quality than dedicated film scanners.

The distance from the lens's optical centre to the film plane when focused at infinity. Determines angle of view and magnification. Measured in millimetres.

Factor describing the angle of view difference between a smaller format and 35mm. APS-C has a multiplier of about 1.5-1.6x. Also called crop factor.

The plane where the image formed by the lens is in sharp focus. In a camera, this is where the film sits.

Shutter located near the film plane, using curtains that travel across the frame. Found in most SLRs. Allows lens changes without light exposure.

Visual or audible signal indicating the camera has achieved focus. LED indicators in viewfinder or electronic beep.

Distance markings on a lens barrel showing the distance at which the lens is focused. Used for zone focusing and hyperfocal distance.

Combining multiple images focused at different distances to achieve greater depth of field than possible in a single exposure. Requires precise technique and post-processing.

Ground glass or plastic surface in an SLR viewfinder where the image is formed for viewing and focusing. Often includes focusing aids.

Unwanted density on film from light leaks, age, heat, or chemical contamination. Reduces contrast and shadow detail.

Czech black and white film brand offering budget-friendly options. Fomapan 100, 200, and 400 have a classic, slightly vintage rendering popular with enthusiasts.

The size of the film or image area. Common formats: 35mm (full frame), medium format (120/220), large format (4x5, 8x10).

Ilford FP4 Plus — medium-speed (ISO 125) black and white film with fine grain and excellent tonal range. A classic choice for landscapes and studio work.

A single image on a roll of film. Also the borders visible in a viewfinder.

Dial or display showing the number of exposures made. Resets when film is loaded. May count up or down.

Holding a detached lens in front of the camera body to create tilt effects, light leaks, and selective focus. Low-tech alternative to tilt-shift lenses with unpredictable results.

When a lens focuses in front of the intended subject. Can be a lens calibration issue or user error. Opposite of back focus.

The complete 24x36mm image area of 35mm film. Also refers to digital sensors matching this size.

A measure of contrast in film development. Technically, the slope of the straight-line portion of the characteristic curve.

Animal protein used to suspend silver halide crystals in photographic emulsions. Also used in some filters.

Kodak Gold 200 — consumer colour negative film with warm tones and good latitude. Affordable and widely available. A popular choice for everyday shooting.

Filter that transitions from clear to coloured or dark. Used to balance exposure between bright skies and darker landscapes.

The visible texture in a photographic image caused by clumps of silver crystals (B&W) or dye clouds (colour). Larger in higher ISO films.

Darkroom tool that magnifies the projected negative image, allowing precise focus by viewing the grain structure.

The subjective perception of grain, which depends on viewing distance, print size, and image content. Not the same as measured grain.

Objective measurement of grain using a densitometer. Expressed as RMS (root mean square) values. Lower = finer grain.

Card with an 18% reflectance grey surface used as a mid-tone metering reference. Reflected-light meters are calibrated to a slightly darker tone (around 12–14% reflectance), so a reading from the card may need a small exposure adjustment.

Frosted glass surface for viewing and focusing in large format and some medium format cameras. Shows an inverted image.

Rating of flash power. GN = distance × f-number for correct exposure at ISO 100 (in metres or feet, so check which). Higher GN means more powerful flash.

A glow around bright light sources caused by light passing through the emulsion, reflecting off the film base, and re-exposing the emulsion from behind. Prevented by anti-halation backing.

Camera that exposes half a standard 35mm frame (18x24mm), doubling the number of exposures per roll (48 on a 24-exposure roll, 72 on a 36). Images are usually oriented vertically. Popular in the 1960s; the Olympus Pen is the classic example. Also called half-frame format.

Printing technique that reproduces continuous tones using dots of varying sizes. Used in newspapers and magazines.

External light meter separate from the camera. Can measure incident or reflected light; incident readings are not fooled by the tone of the subject, unlike most built-in meters.

Chemical that toughens the gelatin emulsion, reducing susceptibility to scratches. Sometimes included in fixer or as a separate bath.

Atmospheric particles that reduce contrast and add a bluish cast to distant objects. UV/haze filters can help reduce this effect.

Kodak HC-110 — versatile liquid concentrate developer with exceptional shelf life. Multiple dilutions possible (B, H, etc.). Sharp results with moderate grain.

High Dynamic Range — technique combining multiple exposures to capture detail in both shadows and highlights beyond what a single exposure can record.

Image predominantly composed of light tones. Often used in fashion and beauty photography for a bright, airy feel.

The brightest areas of a scene or image. In a negative, highlights appear as the densest (darkest) areas.

Graph showing the distribution of tones in an image. Left side represents shadows, right side highlights. Used in scanning software.

Mounting bracket on top of camera with electrical contacts for flash synchronisation. Standard design shared across most cameras.

Ilford HP5 Plus, a popular ISO 400 B&W film known for its versatility and pushability. Successor to HP4 and HP3.

Combining analogue capture (film) with digital processing (scanning and editing). Shoot on film, scan, edit digitally, print or share online.

Developing agent that builds density in highlights. Slow-acting alone but combined with metol creates synergistic 'superadditive' effect. Used in most traditional developers.

The focus distance that maximises depth of field for a given aperture. When focused at hyperfocal distance, everything from half that distance to infinity is acceptably sharp.

Common name for fixer. The term derives from an old, incorrect name 'sodium hyposulfite' — the actual chemical is sodium thiosulfate.

Washing aid, typically a sodium sulphite solution, that converts residual fixer into compounds that wash out of the emulsion and base more readily. Shortens the final wash time.

Image Correction and Enhancement. Infrared-based dust and scratch removal technology used in some scanners; similar systems exist under other names, such as SilverFast's iSRD. Works on colour film but not on silver-based black and white film, where the silver image blocks the infrared. Also called infrared cleaning.

Ilford ID-11 — Ilford's equivalent to Kodak D-76. Virtually identical formula and results. Powder developer, fine grain, full film speed.

The circular image projected by a lens. Must be large enough to cover the film format being used. Larger circles allow for camera movements.

Light falling on a subject, as opposed to light reflected from it. Incident meters measure this type of light.

Film sensitive to infrared radiation beyond visible light. Produces unusual effects: foliage appears white, skies go dark. Requires special handling.

Self-developing film that produces a finished print within minutes. Introduced by Polaroid in 1948 and popularised by its integral SX-70 film in the 1970s. Now produced by Polaroid and Fujifilm (Instax).

Deliberately moving the camera during exposure to create abstract blur effects. Often abbreviated ICM. Creative technique for impressionistic images.

Camera system allowing different lenses to be mounted. Found in SLRs, mirrorless cameras, and some rangefinders.

Negative made from a slide or print for making prints. Allows adjustments not possible when printing directly from the original.

Light intensity decreases with the square of distance. Doubling the distance quarters the light. Important for flash and studio lighting.

International Organization for Standardization film speed rating. Replaced ASA and DIN. ISO 400 is twice as sensitive as ISO 200.

Compressed image file format commonly used for scanned photos. Lossy compression reduces file size but discards some data. Use TIFF for archival.

Unit measuring colour temperature of light. Lower values (2700K) are warm/orange; higher values (6500K+) are cool/blue. Daylight is approximately 5500K.

Harman/Ilford budget black and white film line. Kentmere 100 and 400 offer good quality at lower prices than HP5 or FP4, with slightly more grain.

Professional photo processing facility. Offers development, scanning, and printing services. Quality varies widely between labs.

Film formats 4x5 inches and larger. Offers exceptional detail and camera movements. Requires sheet film and specialised equipment.

Intensification of the latent image before development. Can increase effective film speed. Techniques include low-level light exposure or chemical fogging.

The invisible image formed on film by exposure to light. Becomes visible only after development.

A film's tolerance for exposure error. Films with wide latitude (like Portra 400) can be over- or underexposed and still produce usable images.

The protruding tongue of film at the start of a 35mm cassette, used for loading into the camera.

Tool for extracting the film leader from a fully rewound 35mm cassette. Essential for bulk loading or retrieving accidentally rewound film.

Shutter built into the lens using overlapping metal blades. Allows flash sync at all speeds. Found in medium format and large format lenses.

Attachment that shades the front element from stray light, reducing flare. Can be round, petal-shaped, or rectangular depending on the lens.

The mechanical and electrical interface between camera body and lens. Different manufacturers use different mounts: Nikon F, Canon EF, Sony E, etc.

Basic tonal adjustment setting black point, white point, and midpoint. Simpler than curves. Often the first adjustment in a scanning workflow.

Illuminated surface for viewing slides and negatives. Provides even, colour-corrected light. Essential for editing transparencies. Also called a light table.

Unwanted light entering the camera or film holder, causing fogging or streaks on the film. Often from deteriorated seals.

Device for measuring light levels to determine correct exposure. Can be built into cameras or handheld. Measures reflected or incident light.

Technique of illuminating subjects with a moving light source during a long exposure. Creates unique lighting effects impossible with conventional sources.

Light travelling along the film base, like an optical fibre, from the exposed leader into the cassette. Most common with clear polyester-base films; grey-tinted bases reduce it. Affected frames appear fogged on the edges.

Foam or fabric strips in camera backs that prevent light from entering. Deteriorate with age and may need replacement.

Illuminated surface for viewing slides and negatives. Essential for evaluating and selecting images. Also called a light box.

Darkroom printing technique using lith developer for extreme high contrast and distinctive brown/salmon tones. Very different from standard printing.

The process of putting film into a camera or developing tank. Must be done in darkness for most films.

An exposure lasting several seconds or longer. Requires a tripod and may require reciprocity compensation.

Magnifying lens for examining negatives, slides, or prints. Essential for checking focus and detail.

Image predominantly composed of dark tones. Creates dramatic, moody atmosphere. Opposite of high key.

Light Value. A scale of scene brightness independent of film speed: numerically the EV that would expose the scene correctly at a reference speed (commonly ISO 100). Used in exposure calculations.

Close-up photography at 1:1 magnification or greater, where the subject is reproduced life-size or larger on film.

Exposure mode where the photographer sets both aperture and shutter speed. Gives complete control but requires understanding of exposure.

Focusing controlled by the photographer rather than the camera. Standard on older cameras and preferred by many for precision work.

Nikon's term for multi-segment metering that analyses brightness patterns across the frame. Similar to evaluative metering (Canon).

Film formats larger than 35mm but smaller than large format. Includes 6x4.5, 6x6, 6x7, 6x9 on 120 or 220 film.

Measuring light to determine proper exposure settings. Can be done with in-camera meters or handheld meters.

The pattern used to measure light across the frame. Common modes: spot, centre-weighted, matrix/evaluative.

Developing agent (4-methylaminophenol sulfate) used in many classic formulas. Provides good shadow detail. Combined with hydroquinone in MQ developers. Also called Elon.

Ilford Microphen — speed-increasing powder developer. Gives up to about half a stop of extra film speed with most films, more with fast films such as HP5 Plus and Delta 3200, while keeping grain fine. Good for push processing.

Focusing aid in SLR viewfinders. A ring of tiny prisms that shimmer when out of focus and stabilise when sharp.

Tones of medium brightness, between highlights and shadows. Also called middle grey or 18% grey.

Camera feature that raises the SLR mirror before exposure to reduce vibration. Essential for sharp long exposures and macro work.

Digital camera without a reflex mirror, using an electronic viewfinder instead. Relevant to film photographers for lens adapting: the short flange distance lets many vintage lenses be mounted via adapters.

Single-solution process combining developer and fixer. Simpler than traditional processing but offers less control.

Image composed of a single colour (usually shades of grey). Synonymous with black and white photography.

Large format camera where lens and film standards slide on a rail. Maximum movements but less portable than field cameras.

Blurring of moving subjects due to slow shutter speed. Can be intentional for creative effect or unintentional from camera shake.

Motorised film advance allowing continuous shooting at several frames per second. More powerful than an autowinder.

Placing slides in cardboard or plastic frames for projection or storage. Can be done by labs or using a slide mounter.

Adjustments to lens or film plane position in view cameras: rise, fall, shift, tilt, swing. Used for perspective control and focus adjustment.

Developer formula using Metol and Hydroquinone as developing agents. Classic combination found in D-76, ID-11, and many others.

Variable contrast photographic paper that allows contrast control through coloured filters. Replaced single-grade papers for most users.

Two or more exposures on the same frame, made deliberately for layered images or accidentally by advancing film incorrectly. Many cameras have a dedicated control for this. Also called double exposure.

High-quality, acid-free mounting board used for archival print presentation. Often made from cotton rag. More expensive but suited to long-term preservation.

Neutral Density filter. Reduces light evenly across all wavelengths, allowing slower shutter speeds or wider apertures in bright conditions.

Film with reversed tones (or colours) compared to the original scene. Printed or scanned to produce positive images.

Holder that keeps the negative flat in an enlarger. Different carriers for different film formats. Glass or glassless designs.

Lightroom plugin for converting colour negative scans to positive images. Popular for DSLR scanning workflows.

Circular interference patterns caused by film touching glass surfaces. Problem in scanning and printing. Prevented by anti-Newton ring glass.

Lens with focal length roughly equal to the film diagonal, providing a natural-looking perspective. Approximately 50mm for 35mm film, 75-80mm for 6x6 medium format. Also called a standard lens.

Developer discarded after single use. Provides consistent results but less economical than replenished developers.

Technique where the shutter is opened in bulb mode, flash is fired manually, then shutter is closed. Used for painting with light.

The true resolution of a scanner based on its sensor. More meaningful than interpolated resolution, which uses software to add pixels.

The orange-tinted integral mask in colour negative film, produced by coloured masking couplers in the emulsion layers. It compensates for the unwanted absorptions of the image dyes and improves colour reproduction during printing. Also called simply the mask.

Film sensitive to blue and green light but not red. Can be handled under red safelight. Renders red subjects very dark.

Giving film more light than needed for correct exposure. Results in dense negatives or washed-out slides.

Chemical reaction with oxygen that degrades developer activity. Causes browning of solution and reduced development capacity. Minimised by proper storage.

Ilford Pan F Plus 50 — extremely fine-grain black and white film at ISO 50. Maximum sharpness and tonal detail, best in bright conditions or on a tripod.

Film sensitive to all visible light colours. Most modern B&W films are panchromatic and must be handled in complete darkness.

Following a moving subject with the camera during exposure. Keeps the subject sharp while blurring the background to convey motion.

Camera designed specifically for wide aspect ratio images. Types include swing-lens (Widelux, Horizon), rotating (Roundshot), and wide-frame (Hasselblad XPan).

Light-sensitive material for making prints. Available in various surfaces (glossy, matte, pearl), weights, and contrast grades.

Developer formulated specifically for photographic paper. Common types include Dektol, Multigrade Developer, and PQ Universal.

The difference between what the viewfinder sees and what the lens sees. Significant at close distances with rangefinder and TLR cameras.

Adjustment made to framing in rangefinder/TLR cameras to compensate for the viewfinder/lens offset at close distances.

Standard flash connection socket using a 3.5mm coaxial plug. Named after Prontor-Compur shutters. Found on most cameras and flash units.

Ilford Perceptol — ultra-fine grain powder developer. Produces extremely smooth tonality at the cost of some film speed (Ilford does not give a figure).

Lens movements or specialised lenses (tilt-shift) that correct converging lines in architectural photography.

Developing agent that can replace metol. More active, requires smaller quantities. Combined with hydroquinone in PQ developers. Less likely to cause skin sensitivity.

Kodak's brand name for a wetting agent added to the final rinse to promote even drying and prevent water spots on film.

Lens aberration where straight lines bow inward toward the centre. Common in telephoto lenses. Opposite of barrel distortion.

Compact camera with automatic exposure and focus. Minimal manual controls. Convenient but limited creative options.

Filter that blocks polarised light. Reduces reflections and deepens blue skies. Circular polarisers work with autofocus cameras.

Kodak's professional colour negative film line, known for fine grain and excellent skin tones. Available in 160, 400 and 800 speeds.

An image with tones (or colours) matching the original scene. Slides and prints are positives.

Restrainer added to developers to prevent fog and control contrast. Slows development of unexposed silver halides. Often added when replenishing used developer.

Pixels per inch. Measure of digital image resolution. Scanner output is measured in PPI (often incorrectly called DPI).

Developer formula using Phenidone and Hydroquinone. Similar results to MQ but more economical and stable. Found in Ilford developers.

Immersing film in water before development. Allows temperature equalisation and may improve developer penetration. Debated practice.

Water rinse before colour processing to stabilise film temperature. Not part of the standard lab C-41 and E-6 sequences, but many home kits recommend a warm pre-rinse to bring the tank up to temperature.

Lens with a fixed focal length (non-zoom). Generally sharper and faster than zooms at similar focal lengths.

Positive image on paper, made from a negative. Can be made in the darkroom or digitally from scans.

Device that holds negative and paper in contact for making contact prints. Simple wood and glass construction.

Maintaining consistent development conditions (time, temperature, agitation) for reproducible results.

The chemical treatment of exposed film to produce a visible, permanent image. Includes development, stopping, fixing, and washing.

Automatic exposure mode where the camera selects both aperture and shutter speed. May allow program shift to favour different combinations.

Contact print of an entire roll, made by exposing the negatives in contact with photographic paper. Shows all frames at actual negative size for review and image selection. Also called a contact sheet.

Fujifilm Provia 100F — professional slide film with accurate, natural colour rendition. More neutral than Velvia, preferred for portraits and commercial work.

Rating film at a lower ISO than box speed (for example ISO 400 film at 200) and reducing development time to compensate for the overexposure. Decreases contrast, which is useful for high-contrast scenes. Also called pulling.

Rating film at a higher ISO than box speed (for example ISO 400 film at 1600) and extending development time to compensate for the underexposure. Increases contrast and grain. Also called pushing.

Fuji's Quickload system (Kodak's equivalent was Readyload) for large format film: single sheets pre-packed in disposable plastic envelopes that load into a dedicated holder in daylight, simplifying field work. Availability is limited, so check with a dealer.

A focusing system using a separate optical path to measure distance. Also refers to cameras using this system (Leica M, etc.).

The double-image area in a rangefinder viewfinder used for focusing. Images align when properly focused.

Unprocessed scanner output without colour corrections or adjustments. Preferred by those who want maximum control in post-processing.

Resin-coated photographic paper, with a polyethylene coating on both sides. Faster to process, dries flat, and is less archival than fibre-based paper, but more convenient for casual work. Also called resin-coated paper.

Flash fires at the end of exposure rather than the beginning. Creates motion trails behind moving subjects. Also called second-curtain sync.

The principle that exposure is the product of light intensity and time. Doubling intensity and halving time gives the same exposure.

Reference showing exposure compensation for long exposures for a specific film. Different films have different reciprocity characteristics.

Film's loss of sensitivity during very long or very short exposures. Long exposures require additional time beyond what the meter suggests.

Technique of loading film backwards so light passes through the base first. Produces warm, red-shifted images.

Chemical solution that removes silver from an overdeveloped negative, reducing density. Opposite of intensifier.

Spiral holder that keeps film evenly spaced in a developing tank. Available in steel (adjustable) and plastic (fixed size) versions.

Light bouncing off a subject toward the camera/meter. In-camera meters measure reflected light.

Viewfinder that shows the image reflected by a mirror. Used in SLRs and some medium format cameras. Shows an image at waist level.

Anti-halation backing on motion picture film stocks. Must be removed before or during development. CineStill films are cinema stocks with remjet pre-removed.

Adding chemicals to used developer to maintain activity. Allows processing more film with less waste than one-shot development.

The amount of detail an imaging system can capture or reproduce. Higher resolution means more detail.

Wrinkling of the film emulsion caused by sudden temperature changes during processing. Creates distinctive cracked texture.

Manual correction of prints or negatives to remove flaws. Can be done with brushes (prints) or spot removal (digital scans).

Film that produces a positive image directly through reversal processing. Slide film and E-6 films are reversal films.

Upward movement of the lens or film standard in a view camera. Used to include more at the top of the frame without tilting.

Classic single-agent developer known for high acutance and visible grain. Can be diluted highly for stand development.

Development method using motorised rotation for continuous agitation. Common for colour processing and drums. More consistent than hand agitation.

Dim, coloured light that doesn't affect certain photographic materials. Typically red or amber for B&W paper, not safe for panchromatic film.

The intensity or purity of a colour. Highly saturated colours are vivid; desaturated colours approach grey.

Detail captured when scanning, measured in DPI or PPI. Higher resolution captures more detail but creates larger files. Match resolution to intended output size.

Device that converts film or prints to digital files. Types include flatbed, dedicated film, and drum scanners.

Converting film negatives or slides to digital files using a scanner or camera. Quality depends on resolution, dynamic range, and technique.

When lens, subject, and film planes intersect at a common line, the entire subject is in focus. Used in tilt movements for focus control.

Physical damage to film emulsion or base. Emulsion scratches remove image density, so more light passes and they print dark; base scratches scatter light and typically print as light lines.

Lens attachment using threaded screw connection. Slower to change than a bayonet. Examples: Leica thread mount (M39) and M42 (Praktica, Pentax and others).

Light meter using a selenium cell that generates current when exposed to light. No batteries needed. Less sensitive than CdS meters.

Post-processing treatment that converts silver to silver selenide. Increases print permanence, deepens blacks, and can add subtle colour shifts (purple-brown in shadows).

Camera feature that delays shutter release for a set time (typically 10 seconds). Allows photographer to be in the shot.

Development with minimal agitation, typically only at the start and once or twice during a long development time, rather than continuously. Compromise between normal and stand development.

The science of measuring photographic material response to light and development. Used to create characteristic curves and establish film speeds.

The darkest areas of a scene or image. In a negative, shadows appear as the thinnest (most transparent) areas.

The clarity of detail in an image. Determined by resolution, acutance, and absence of blur or camera shake.

Individual sheets of film, typically 4x5 inches or larger. Used in large format cameras. Also called cut film.

Lateral movement of lens or film standard in a view camera. Used for panoramic stitching or including more of one side without rotating.

The upper curved portion of a film's characteristic curve where highlight response flattens. Determines highlight rendition.

Mechanism that controls how long light reaches the film. Types include focal plane and leaf shutters.

Semi-automatic exposure mode where the photographer sets shutter speed and the camera selects aperture. Often marked 'S' or 'Tv'.

The duration the shutter is open during an exposure. Measured in seconds or fractions of seconds. Controls motion blur and exposure time.

Subject rendered as a dark shape against a bright background. Created by exposing for the background, underexposing the subject.

Light-sensitive silver compounds (silver bromide, silver chloride, silver iodide) that form the basis of film emulsions.

Popular professional scanning software. Offers advanced colour management and multi-exposure scanning for extended dynamic range.

A positive transparency, typically mounted in a cardboard or plastic frame for projection. Made from reversal film.

Film with low sensitivity (ISO 100 or lower). Offers finer grain and higher resolution but requires more light.

Single Lens Reflex. Camera design using a mirror to show the lens's view through the viewfinder. The mirror flips up during exposure.

Cone-shaped attachment for studio lights that focuses light into a narrow beam. Creates dramatic spotlight effects.

Preservative used in most developers to prevent oxidation. Also acts as a mild silver solvent, affecting grain structure. Essential ingredient in developer formulas.

The traditional active ingredient in photographic fixer (rapid fixers use ammonium thiosulfate instead). Dissolves unexposed silver halide, making the image permanent. Also called hypo.

Intentional slight blur for artistic effect, often used in portraits. Can be achieved with special lenses or filters.

Effect where extremely overexposed areas reverse to negative. Also used to describe the Sabattier effect (partial reversal during development).

Toning technique using two different toners to affect highlights and shadows differently. Creates colour contrast between light and dark areas of the print.

Focusing aid in SLR viewfinders. A divided circle that shows misalignment when out of focus. Align the two halves for correct focus.

The core that 35mm or 120 film winds onto. 35mm spools remain in the cassette; 120 spools are reusable.

Metering mode that measures light from a very small area, a few degrees of the view. Allows precise exposure control for specific subject areas.

Applying dye or pigment to remove white spots (dust marks) from prints. Traditional retouching technique.

Perforations along the edges of 35mm film used for transport and frame positioning in cameras and projectors.

Tool for removing excess water from film before drying. Controversial — can cause scratches if particles are present. Many photographers prefer wetting agent and air drying.

Final bath in colour processing. Older C-41 and E-6 stabilisers contained formaldehyde (a carcinogen) to stabilise the dyes; current final-rinse solutions are formaldehyde-free and mainly contain a wetting agent and biocide. Don't skip the final bath, and use older formaldehyde stabilisers only with gloves and good ventilation.

Development technique using highly diluted developer and minimal agitation over extended times (30-60+ minutes). Produces compensating effect.

Combining multiple overlapping images into a single panoramic or high-resolution image. Requires consistent exposure and careful overlap between frames.

Developer at full concentration before dilution. Must be diluted to working strength before use.

A doubling or halving of light. The universal unit of exposure change. One stop more = twice as much light.

Acidic solution used between developer and fixer to halt development immediately. Can be replaced by water rinse with less precision.

Closing the aperture to a smaller opening (higher f-number). Increases depth of field but requires longer exposure.

Proper film storage: refrigerated for short term, frozen for long term. Unexposed film degrades with heat and humidity.

Metal attachment points on camera body for connecting the neck or wrist strap. Usually on each side of the camera.

Exposure guideline: On a sunny day, use f/16 at 1/ISO shutter speed. ISO 100 film = f/16 at 1/125.

Fujifilm Superia — family of consumer colour negative films, often described as having slightly cooler tones than Kodak equivalents. Several variants, including X-TRA 400, have since been discontinued.

Rotation of lens or film standard around a vertical axis in view cameras. Used for perspective control and focus plane adjustment.

Tabular grain film technology (Kodak). Flat, tablet-shaped crystals that provide finer grain at a given speed than traditional crystals.

Light-tight container for processing film. Allows development in daylight after loading. Holds reels with wound film.

Lens with focal length longer than normal (>50mm for 35mm). Provides magnification and compressed perspective.

Critical factor in film development. B&W typically at 20°C, C-41 at 38°C. Temperature affects development rate and requires compensation.

Small piece of paper used to determine correct print exposure. Exposed in incremental steps to show different exposure times.

Underexposed or underdeveloped negative with low density. Appears very transparent. Lacks shadow detail and requires careful scanning/printing.

Tagged Image File Format. Uncompressed or losslessly compressed file format preferred for archival scans. Larger files but no quality loss.

Rotation of lens or film standard around a horizontal axis. Used for Scheimpflug focus control or creative blur effects.

Lens with built-in movements borrowed from view cameras, for 35mm or medium format cameras. Tilt controls the plane of focus (Scheimpflug principle); shift corrects converging verticals. Used for architecture and selective focus without a view camera. Often shortened to tilt-shift.

The relationship between development time and temperature. Lower temperatures require longer times; higher temperatures require shorter times.

Twin Lens Reflex. Camera with two lenses: one for viewing/focusing, one for taking the image. Examples: Rolleiflex, Yashica Mat.

The lower curved portion of a film's characteristic curve where shadow response begins. Determines shadow rendition and minimum density.

Chemical treatment that changes print colour or improves archival quality. Sepia, selenium, and gold are common toners.

A positive image on transparent film base, viewed by transmitted light. Slides and large format chromes are transparencies.

Kodak's classic ISO 400 B&W film, known for its distinctive grain structure and pushability. Introduced as sheet film in 1940, in 35mm and 120 in 1954, and reformulated several times since.

Three-legged support for cameras, essential for long exposures and precise composition. Available in various sizes and materials.

Through The Lens metering. Measures light through the taking lens for accurate exposure. Standard in modern SLRs.

Incandescent light with warm colour temperature (~3200K). Tungsten-balanced film is designed for this light without filtration.

Development method using two solutions: the first is absorbed by the emulsion, the second activates it. Provides a compensating effect as developer exhausts faster in highlights.

Kodak Ultramax 400 — consumer colour negative film offering versatility at ISO 400. Known for warm tones with slightly more saturation than Gold.

Giving film less light than needed for correct exposure. Results in thin negatives or dark slides with lost shadow detail.

Filter that blocks ultraviolet light. Reduces haze in landscapes and protects the front lens element. Often left on permanently.

Fujifilm Velvia — legendary slide film known for extremely vivid, saturated colours and fine grain. Velvia 50 and Velvia 100 are landscape photographer favourites.

Large format camera with movements for perspective and focus control. Types include field cameras and monorail cameras.

The viewing system used to frame and compose images. Types include eye-level, waist-level, and rangefinder viewfinders.

Darkening at the corners of an image. Can be caused by lens design, filters, or hoods that intrude into the image circle. Sometimes added intentionally.

Third-party scanning software by Hamrick Software. Supports a very wide range of scanners, offers a consistent interface, raw scan capability, and IT8 calibration. Popular alternative to bundled software.

Viewing system that allows looking down into the camera from above. Standard on TLRs and many medium format cameras.

Removing fixer and residual chemicals from processed film or prints with water. Essential for archival permanence.

Container of temperature-controlled water for maintaining processing temperature. Essential for colour processing.

Scanning technique where film is mounted with a liquid (oil or mounting fluid) to reduce Newton rings and fill base scratches. Improves scan quality but requires careful handling.

Chemical added to final rinse to reduce surface tension and promote even drying. Photo-Flo is a common brand.

Adjusting colour to render white objects as neutral white. In scanning, compensates for colour temperature of original lighting.

Lens with focal length shorter than normal (<50mm for 35mm). Provides wider field of view and exaggerated perspective.

Card with rectangular opening that frames a print. Separates print from glass in framing and provides visual border. Also called overmat or passepartout.

Developer diluted to use strength. Some developers are one-shot (discarded after use); others can be replenished.

Fogging of film caused by airport X-ray machines. Higher ISO films are more susceptible. Request hand inspection for valuable film.

Ilford XP2 Super — chromogenic black and white film processed in C-41 chemistry. Fine grain and wide exposure latitude. Convenient for lab processing.

Kodak Xtol — modern powder developer using ascorbic acid instead of hydroquinone. Fine grain, full film speed, environmentally friendlier. Supply has been intermittent in recent years.

Pre-setting focus distance and using depth of field to keep a range of distances sharp. Allows shooting without adjusting focus each time.

Exposure and development control system developed by Ansel Adams and Fred Archer. Divides tonal range into 11 zones (0-X) from pure black to pure white.

Lens with variable focal length, allowing a range of framings without changing lenses. Trade-off: typically slower and less sharp than primes.

Medium format roll film, about 61mm wide with paper backing. Standard format for most medium format cameras. Produces 8-16 frames depending on format.

Medium format roll film without paper backing (paper only at leader/trailer). Allows twice as many frames as 120 but requires compatible cameras. Availability is now very limited.

The most common film format. 35mm wide with sprocket holes. Standard cassette holds 24 or 36 exposures. Frame size 24x36mm.