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The original was either a miniature 6 x 6 cm or 35 mmm colour transparency, or else a large format 5 x 7 or 8 x 10 inch colour transparency. Three separation negatives were made on panchromatic film exposing the colour transparency through a red, green and blue filter that would eventually print in the subtractive dyes: cyan, magenta and yellow ...
The alternative Super series, denoted SnR, nR Plus or nR+, has an aspect ratio of 3∶2 (or as close as possible) and thus provides a better fit for standard 135 film (35 mm) at sizes of 8 inches or above. 5R is twice the size of a 2R print, 6R twice the size of a 4R print and S8R twice the size of 6R. 4D/6D is a newer size for most consumer ...
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The variant called Super 16 mm, Super 16, or 16 mm Type W is an adaptation of the 1.66 (1.66:1 or 15:9) aspect ratio of the "Paramount format" [8] to 16 mm film. It was developed by Swedish cinematographer Rune Ericson in 1969, [ 9 ] using single-sprocket film and taking advantage of the extra room for an expanded picture area of 12.52 mm × 7. ...
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Chromogenic prints, like most color photographic prints, are developed using the RA-4 process. As of 2017, the major lines of professional chromogenic print paper are Kodak Endura and Fujifilm Crystal Archive. [21] Plastic chromogenic "papers" such as Kodak Duratrans and Duraclear are used for producing backlit advertising and art. [citation ...
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