The first is about the way of well-maintaining the flatness of photosensitive material. The unexposed film in a camera or a film holder, the original negative inserted into an enlarger, the photographic paper set on an enlarging easel, all these should be hold as perfectly flat as a plate glass, while the situation today is as deplorable as ever. Since the defect in flatness causes the out-focus or distortion of the whole or part of animage on the film or the paper, the improvement of image quality in the present condition is desperate inspite of the remarkable progress of camera and photosensitive material. Here is proposed the unprecedented method of well-maintaining the flatness of all kinds of photo sensitive material; the unexposed film in a camera, the original negative in the process of darkroom work.
The second is about the new method of controlling color balance in color photography. Particularly the color-printing by the negative-positive system today shows, as is often the case with popular prints of service-size, the reddish finish one time and the bluish the other from the same original negative. The present situation is that the automatic printer causes color failure, restraining the strong color in the image, while manual correction fails to produce a normal print owing to the uncertainty of operator’s sensibility and memory of color.
If we record the light from light sources on the film at the time of photographing, that will be absolutely helpful to produce a normal color print without color failure even with the automatic printer, on condition that the recorded light shows colorless neutral grey. This proposed method is available with any ordinary camera.
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