Divyanshu67/squad_v2 huggingface dataset:
Professional_wrestling

Although professional wrestling in Mexico (lucha libre) also has stories and characters, they are less emphasized. Wrestlers in Mexico are traditionally more agile and perform more aerial maneuvers than professional wrestlers in the U.S. who, more often, rely on power moves and strikes to subdue their opponents. The difference in styles is due to the independent evolution of the sport in Mexico beginning in the 1930s and the fact that wrestlers in the cruiserweight division (peso semicompleto) are often the most popular wrestlers in Mexican lucha libre. Wrestlers often execute high flying moves characteristic of lucha libre by utilizing the wrestling ring's ropes to catapult themselves towards their opponents, using intricate combinations in rapid-fire succession, and applying complex submission holds. Lucha libre is also known for its tag team wrestling matches, in which the teams are often made up of three members, instead of two as is common in the U.S.

Question: How do characters differ in Mexican wrestling?
Answer: they are less emphasized

Question: How are Mexican wrestlers different? 
Answer: more agile and perform more aerial maneuvers

Question: What do American wrestlers depend on? 
Answer: rely on power moves and strikes to subdue their opponents

Question: What else is lucha libre known for?
Answer: tag team wrestling matches

Question: How does lucha libre's tag team matches differ? 
Answer: often made up of three members, instead of two as is common in the U.S
Professional_wrestling

The style of Japanese professional wrestling (puroresu) is again different. With its origins in traditional American style of wrestling and still being under the same genre, it has become an entity in itself. Despite the similarity to its American counterpart in that the outcome of the matches remains predetermined, the phenomena are different in the form of the psychology and presentation of the sport; it is treated as a full contact combat sport as it mixes hard hitting martial arts strikes with shoot style submission holds, while in the U.S. it is rather more regarded as an entertainment show. Wrestlers incorporate kicks and strikes from martial arts disciplines, and a strong emphasis is placed on submission wrestling, and unlike the use of involved storylines in the U.S., they are not as intricate in Japan, more emphasis is placed on the concept of Fighting Spirit, meaning the Wrestlers display of physical and mental stamina are valued a lot more than theatrics. Many of Japan's wrestlers including top stars such as Shinya Hashimoto, Riki Choshu and Keiji Mutoh came from a legitimate martial arts background and many Japanese wrestlers in the 1990s began to pursue careers in mixed martial arts organizations such as Pancrase and Shooto which at the time retained the original look of puroresu, but were actual competitions.

Question: How is Japanese wrestling similar to American?
Answer: outcome of the matches remains predetermined

Question: How does Japanese wrestling differ? 
Answer: the form of the psychology and presentation of the sport

Question: What does Japanese wrestling combine?
Answer: hard hitting martial arts strikes with shoot style submission holds

Question: What is the emphasis placed on in Japanese wrestling? 
Answer: Fighting Spirit

Question: What is a common background for a Japanese wrestler? 
Answer: legitimate martial arts
Professional_wrestling

Those involved in producing professional wrestling have developed a kind of global fraternity, with familial bonds, shared language and passed-down traditions. New performers are expected to "pay their dues" for a few years by working in lower-profile promotions and working as ring crew before working their way upward. The permanent rosters of most promotions develop a backstage pecking order, with veterans mediating conflicts and mentoring younger wrestlers. For many decades (and still to a lesser extent today), performers were expected to keep the illusions of wrestling's legitimacy alive even while not performing, essentially acting in character any time they were in public. Some veterans speak of a "sickness" among wrestling performers, an inexplicable pull to remain active in the wrestling world despite the devastating effects the job can have on one's life and health.

Question: What is expected of newcomers? 
Answer: to "pay their dues" for a few years by working in lower-profile promotions

Question: What were wrestlers expected to do for decades? 
Answer: keep the illusions of wrestling's legitimacy alive

Question: How did wrestlers have to act in public? 
Answer: acting in character

Question: What effects can wrestling have on the wrestlers? 
Answer: devastating effects the job can have on one's life and health
Professional_wrestling

Fans of professional wrestling have their own subculture, comparable to those of science fiction, video games, or comic books (in some cases, the "fandoms" overlap; in recent years, some professional wrestlers, particularly those who nurture an anti-establishment rebel persona, such as CM Punk, have made guest appearances at comic book conventions). Those who are interested in the backstage occurrences, future storylines, and reasonings behind company decisions read newsletters written by journalists with inside ties to the wrestling industry. These "rags" or "dirt sheets" have expanded into the Internet, where their information can be dispensed on an up-to-the-minute basis. Some have expanded into radio shows.

Question: What do the fans have?
Answer: their own subculture

Question: What sometimes happens with fandoms? 
Answer: overlap

Question: Where have some wrestlers appeared?
Answer: comic book conventions
Professional_wrestling

Some fans enjoy a pastime of collecting tapes of wrestling shows from specific companies, of certain wrestlers, or of specific genres. The Internet has given fans exposure to worldwide variations of wrestling they would be unable to see otherwise. Since the 1990s, many companies have been founded which deal primarily in wrestling footage. When the WWF purchased both WCW and ECW in 2001, they also obtained the entire past video libraries of both productions and have released many past matches online and on home video.

Question: What do some fans like to do?
Answer: collecting tapes of wrestling shows

Question: What has the internet done for wrestling fans? 
Answer: exposure to worldwide variations of wrestling

Question: Many companies who handle wrestling footage have been founded since what decade?
Answer: 1990s

Question: What companies did WWF purchase in 2001? 
Answer: WCW and ECW
Professional_wrestling

From the first established world championship, the top professional wrestlers have garnered fame within mainstream society. Each successive generation has produced a number of wrestlers who extend their careers into the realms of music, acting, writing, business, politics or public speaking, and are known to those who are unfamiliar with wrestling in general. Conversely, celebrities from other sports or general pop culture also become involved with wrestling for brief periods of time. A prime example of this is The Rock 'n' Wrestling Connection of the 1980s, which combined wrestling with MTV.

Question: What kind of notoriety have wrestlers achieved?
Answer: fame within mainstream society

Question: What did the Rock 'n' Wrestling Connection do?
Answer: combined wrestling with MTV

Question: What are some other career paths wrestlers embarked on?
Answer: music, acting, writing, business, politics or public speaking
Professional_wrestling

Many television shows and films have been produced which portray in-character professional wrestlers as protagonists, such as Ready to Rumble, ¡Mucha Lucha!, Nacho Libre, and the Santo film series. In the wildly popular Rocky series of films about the fictional boxer Rocky Balboa, Rocky III saw its hero fighting a "boxer vs. wrestler" exhibition match against the enormous and villainous wrestler "Thunderlips", portrayed by real-life soon-to-be wrestling icon Hulk Hogan. At least two stage plays set in the world of pro wrestling have been produced: The Baron is a comedy that retells the life of an actual performer known as Baron von Raschke. From Parts Unknown... is an award-nominated Canadian drama about the rise and fall of a fictional wrestler. The 2009 South Park episode "W.T.F." played on the soap operatic elements of professional wrestling. One of the lead characters on the Disney Channel series Kim Possible was a huge fan of pro wrestling and actually featured it on an episode (with two former WWE wrestlers voicing the two fictitious wrestlers featured in the episode). The 2008 film The Wrestler, about a washed-up professional wrestler, garnered several Oscar nominations.

Question: Name a popular series of boxing films?
Answer: Rocky series

Question: Who is the movie The Baron about? 
Answer: Baron von Raschke

Question: What episode of South Park dealt with wrestling?
Answer: "W.T.F."

Question: What critically acclaimed wrestling film came out in 2008? 
Answer: The Wrestler

Question: Many of what forms of entertainment have portrayed wrestlers? 
Answer: television shows and films
Professional_wrestling

With its growing popularity, professional wrestling has attracted attention as a subject of serious academic study and journalistic criticism. Many courses, theses, essays, and dissertations have analyzed wrestling's conventions, content, and its role in modern society. It is often included as part of studies on theatre, sociology, performance, and media. The Massachusetts Institute of Technology developed a course of study on the cultural significance of professional wrestling, and anthropologist Heather Levi has written an ethnography about the culture of lucha libre in Mexico.

Question: What other areas has wrestling garnered interest from?
Answer: academic study and journalistic criticism

Question: What areas of study is wrestling talked about in?
Answer: theatre, sociology, performance, and media

Question: What did Heather Levi write?
Answer: an ethnography about the culture of lucha libre

Question: What college has a course about the cultural impact of wrestling?
Answer: Massachusetts Institute of Technology
Professional_wrestling

However, this was not always the case; in the early 20th century, once it became apparent that the "sport" was worked, pro wrestling was looked down on as a cheap entertainment for the uneducated working class — an attitude that still exists to varying degrees today. The French theorist Roland Barthes was among the first to propose that wrestling was worthy of deeper analysis, in his essay "The World of Wrestling" from his book Mythologies, first published in 1957. Barthes argued that it should be looked at not as a scamming of the ignorant, but as spectacle; a mode of theatric performance for a willing, if bloodthirsty, audience. Wrestling is described as performed art which demands an immediate reading of the juxtaposed meanings. The logical conclusion is given least importance over the theatrical performers of the wrestlers and the referee. According to Barthes, the function of a wrestler is not to win: it is to go exactly through the motions which are expected of them and to give the audience a theatrical spectacle. This work is considered a foundation of all later study.

Question: What impact did the revelation of wrestling being "fixed" have?
Answer: looked down on as a cheap entertainment for the uneducated working class

Question: When was Roland Barthes book published?
Answer: 1957

Question: What did Barthes believe a wrestler give the audience?
Answer: a theatrical spectacle

Question: What was the name of Roland Barthes' essay?
Answer: "The World of Wrestling"
Professional_wrestling

While pro wrestling is often described simplistically as a "soap opera for males", it has also been cited as filling the role of past forms of literature and theatre; a synthesis of classical heroics, commedia dell'arte, revenge tragedies, morality plays, and burlesque. The characters and storylines portrayed by a successful promotion are seen to reflect the current mood, attitudes, and concerns of that promotion's society (and can, in turn, influence those same things). Wrestling's high levels of violence and masculinity make it a vicarious outlet for aggression during peacetime.

Question: What is wrestling sometimes called?
Answer: "soap opera for males"

Question: What is wrestling to people during a peaceful time?
Answer: vicarious outlet for aggression

Question: What role does wrestling fill?
Answer: past forms of literature and theatre;
Professional_wrestling

Documentary filmmakers have studied the lives of wrestlers and the effects the profession has on them and their families. The 1999 theatrical documentary Beyond the Mat focused on Terry Funk, a wrestler nearing retirement; Mick Foley, a wrestler within his prime; Jake Roberts, a former star fallen from grace; and a school of wrestling student trying to break into the business. The 2005 release Lipstick and Dynamite, Piss and Vinegar: The First Ladies of Wrestling chronicled the development of women's wrestling throughout the 20th century. Pro wrestling has been featured several times on HBO's Real Sports with Bryant Gumbel. MTV's documentary series True Life featured two episodes titled "I'm a Professional Wrestler" and "I Want to Be a Professional Wrestler". Other documentaries have been produced by The Learning Channel (The Secret World of Professional Wrestling) and A&E (Hitman Hart: Wrestling with Shadows). Bloodstained Memoirs explored the careers of several pro wrestlers, including Chris Jericho, Rob Van Dam and Roddy Piper.

Question: Who has studied the lives of wrestlers?
Answer: Documentary filmmakers

Question: When did Beyond the Mat come out? 
Answer: 1999

Question: Who hosts Real Sports?
Answer: Bryant Gumbel

Question: Who are a few wrestlers who have had memoirs written about them?
Answer: Chris Jericho, Rob Van Dam and Roddy Piper
Professional_wrestling

Although professional wrestling is worked, there is a high chance of injury, and even death. Strikes are often stiff, especially in Japan and in independent wrestling promotions such as Combat Zone Wrestling (CZW) and Ring of Honor (ROH). The ring is often made out of 2 by 8 timber planks. Many of the injuries that occur in pro wrestling are shoulders, knee, back, neck, and rib injuries. Chronic traumatic encephalopathy and traumatic brain injuries have also been linked to pro wrestling, including in the double-murder suicide case involving Chris Benoit. Professional wrestler Davey Richards said in 2015, "We train to take damage, we know we are going to take damage and we accept that".

Question: What are the risks of wrestling?
Answer: high chance of injury, and even death

Question: What is the ring commonly made of?
Answer: 2 by 8 timber planks

Question: What are common injuries in wrestling?
Answer: shoulders, knee, back, neck, and rib injuries

Question: What other injuries have been connected with wrestling?
Answer: Chronic traumatic encephalopathy and traumatic brain injuries

Question: Chris Benoit was involved in what tragic event? 
Answer: double-murder suicide case
Film_speed

Relatively insensitive film, with a correspondingly lower speed index, requires more exposure to light to produce the same image density as a more sensitive film, and is thus commonly termed a slow film. Highly sensitive films are correspondingly termed fast films. In both digital and film photography, the reduction of exposure corresponding to use of higher sensitivities generally leads to reduced image quality (via coarser film grain or higher image noise of other types). In short, the higher the sensitivity, the grainier the image will be. Ultimately sensitivity is limited by the quantum efficiency of the film or sensor.

Question: What does the film's quantum efficiency limit? 
Answer: sensitivity

Question: What speed of film is produced by insensitive film? 
Answer: slow film

Question: What leads to lower quality images?
Answer: reduction of exposure

Question: What types of film are considered fast films?
Answer: Highly sensitive films

Question: What effect does highly sensitive film have on images?
Answer: reduced image quality

Question: What does insensitive film with a faster speed index need?

Question: What does a sensitive film more of?

Question: How is digital photography different from film?

Question: Higher sensitivity leads to greater what?

Question: What does a grainier image limit?
Film_speed

The Warnerke Standard Sensitometer consisted of a frame holding an opaque screen with an array of typically 25 numbered, gradually pigmented squares brought into contact with the photographic plate during a timed test exposure under a phosphorescent tablet excited before by the light of a burning Magnesium ribbon. The speed of the emulsion was then expressed in 'degrees' Warnerke (sometimes seen as Warn. or °W.) corresponding with the last number visible on the exposed plate after development and fixation. Each number represented an increase of 1/3 in speed, typical plate speeds were between 10° and 25° Warnerke at the time.

Question: What consists of 25 pigmented squares touching a plate below a phosphorescent tablet under the light of a burning Magnesium ribbon?
Answer: The Warnerke Standard Sensitometer

Question: What do degrees Warnerke measure?
Answer: The speed of the emulsion

Question: How much speed is associated with each degree Warnerke?
Answer: an increase of 1/3 in speed

Question: What were usual ranges of Warnerke speeds? 
Answer: between 10° and 25° Warnerke

Question: What does the last exposed number on the plate represent? 
Answer: 'degrees' Warnerke

Question: The Warnerke Standard Sensitometer has 25 opaque what?

Question: What measures the number of pigmented squares on the photographic plate?

Question: Degrees Warneke represented the first what?

Question: What was the range of the number of squares in a Sensitometer?

Question: Each number represented a decrease of what?
Film_speed

The Scheinergrade (Sch.) system was devised by the German astronomer Julius Scheiner (1858–1913) in 1894 originally as a method of comparing the speeds of plates used for astronomical photography. Scheiner's system rated the speed of a plate by the least exposure to produce a visible darkening upon development. Speed was expressed in degrees Scheiner, originally ranging from 1° Sch. to 20° Sch., where an increment of 19° Sch. corresponded to a hundredfold increase in sensitivity, which meant that an increment of 3° Sch. came close to a doubling of sensitivity.

Question: Who created the Scheinergrade system? 
Answer: the German astronomer Julius Scheiner

Question: What is the Scheinergrade system used for?
Answer: comparing the speeds of plates used for astronomical photography

Question: What do degrees Scheiner indicate?
Answer: the speed of a plate

Question: What is the range of Scheiner speeds?
Answer: from 1° Sch. to 20° Sch

Question: Approximately how many degrees indicate double the sensitivity? 
Answer: an increment of 3° Sch

Question: What was the second use of the Scheinergrade system?

Question: What did an increment of 1 degree Sch. correspond to?

Question: What was 20 degrees Sch. indicative of?

Question: What measured the visible darkening of a developing photograph?

Question: When did the Scheinergrade system become outdated?
Film_speed

The system was later extended to cover larger ranges and some of its practical shortcomings were addressed by the Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de) (1896–1960), (who, in 1919/1920, jointly developed their Eder–Hecht neutral wedge sensitometer measuring emulsion speeds in Eder–Hecht grades). Still, it remained difficult for manufactures to reliably determine film speeds, often only by comparing with competing products, so that an increasing number of modified semi-Scheiner-based systems started to spread, which no longer followed Scheiner's original procedures and thereby defeated the idea of comparability.

Question: Who developed a device that improved on the shortcomings of Scheiner's invention?
Answer: Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de)

Question: What did the Eder-Hecht device measure?
Answer: emulsion speeds

Question: What method did manufacturers use much of the time to compare film speeds?
Answer: comparing with competing products

Question: What type of measurement methods began to proliferate?
Answer: modified semi-Scheiner-based systems

Question: What eliminated comparability?
Answer: modified semi-Scheiner-based systems

Question: Who caused the shortcomings in the Scheiner invention?

Question: What device allowed manufacturers to reliably determine speed?

Question: What was revised to a measure a tighter range?

Question: What made comparability a more common option?

Question: What scientist suggested comparing the systems?
Film_speed

The DIN system, officially DIN standard 4512 by Deutsches Institut für Normung (but still named Deutscher Normenausschuß (DNA) at this time), was published in January 1934. It grew out of drafts for a standardized method of sensitometry put forward by Deutscher Normenausschuß für Phototechnik as proposed by the committee for sensitometry of the Deutsche Gesellschaft für photographische Forschung since 1930 and presented by Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970) at the influential VIII. International Congress of Photography (German: Internationaler Kongreß für wissenschaftliche und angewandte Photographie) held in Dresden from August 3 to 8, 1931.

Question: When was the DIN system established? 
Answer: January 1934

Question: Who created the DIN system?
Answer: Deutsches Institut für Normung

Question: What was proposed at the VIII International Congress of Photography?
Answer: a standardized method of sensitometry

Question: Who presented the idea that grew into the DIN?
Answer: Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970)

Question: Where was the VIII International Congress of Photography held?
Answer: Dresden

Question: When were the drafts by Deutscher Normenausschuß für Phototechnik made?

Question: What was the abbreviation for the Deutscher Normenausschuß für Phototechnik drafts?

Question: When was Deutsche Gesellschaft für photographische Forschung founded?

Question: Where was Emanuel Goldberg from?

Question: Who founded the VIII. International Congress of Photography?
Film_speed

As in the Scheiner system, speeds were expressed in 'degrees'. Originally the sensitivity was written as a fraction with 'tenths' (for example "18/10° DIN"), where the resultant value 1.8 represented the relative base 10 logarithm of the speed. 'Tenths' were later abandoned with DIN 4512:1957-11, and the example above would be written as "18° DIN". The degree symbol was finally dropped with DIN 4512:1961-10. This revision also saw significant changes in the definition of film speeds in order to accommodate then-recent changes in the American ASA PH2.5-1960 standard, so that film speeds of black-and-white negative film effectively would become doubled, that is, a film previously marked as "18° DIN" would now be labeled as "21 DIN" without emulsion changes.

Question: What unit was used in the DIN to express speeds? 
Answer: degrees

Question: How was sensitivity expressed at first in the DIN system?
Answer: as a fraction with 'tenths' (for example "18/10° DIN")

Question: When did the degree symbol fall out of use in the DIN system?
Answer: with DIN 4512:1961-10

Question: Why did the definition of film speeds change considerably?
Answer: to accommodate then-recent changes in the American ASA PH2.5-1960 standard

Question: What happened to film speeds of black-and-white negative film?
Answer: would become doubled

Question: What replaced the American ASA PH2.5-1960 standard?

Question: What system reintroduced the degree symbol?

Question: What American standard abandoned the tenths method?

Question: With emulsion changes, what did 18° DIN become?

Question: What happened to film speeds after the introduction of the DIN 4512:1957-11?
Film_speed

On an international level the German DIN 4512 system has been effectively superseded in the 1980s by ISO 6:1974, ISO 2240:1982, and ISO 5800:1979 where the same sensitivity is written in linear and logarithmic form as "ISO 100/21°" (now again with degree symbol). These ISO standards were subsequently adopted by DIN as well. Finally, the latest DIN 4512 revisions were replaced by corresponding ISO standards, DIN 4512-1:1993-05 by DIN ISO 6:1996-02 in September 2000, DIN 4512-4:1985-08 by DIN ISO 2240:1998-06 and DIN 4512-5:1990-11 by DIN ISO 5800:1998-06 both in July 2002.

Question: What took the place of the German DIN 4512 system?
Answer: ISO 6:1974, ISO 2240:1982, and ISO 5800:1979

Question: How is sensitivity shown in the ISO systems?
Answer: in linear and logarithmic form as "ISO 100/21°"

Question: What standards did the DIN begin to use?
Answer: ISO standards

Question: When were the ISO standards first adopted?
Answer: in the 1980s

Question: When were the last ISO standards adopted? 
Answer: July 2002

Question: What did the German DIN 4512 supersede?

Question: What German system wrote in a linear and logarithmic form?

Question: What standards did DIN abandon?

Question: When did the ISO adopt the DIN standards?

Question: When did DIN 4512-5:1990-11 replace DIN ISO 5800:1998-06?
Film_speed

Before the advent of the ASA system, the system of Weston film speed ratings was introduced by Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936), a British-born electrical engineer, industrialist and founder of the US-based Weston Electrical Instrument Corporation, with the Weston model 617, one of the earliest photo-electric exposure meters, in August 1932. The meter and film rating system were invented by William Nelson Goodwin, Jr., who worked for them and later received a Howard N. Potts Medal for his contributions to engineering.

Question: What system was used previous to the ASA system?
Answer: the system of Weston film speed ratings

Question: Who devised the Weston film speed ratings? 
Answer: Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936)

Question: What company did Dr. Edward Weston start? 
Answer: the US-based Weston Electrical Instrument Corporation

Question: When was the Weston model 617 created?
Answer: August 1932

Question: Who is credited with creating the film and meter system?
Answer: William Nelson Goodwin, Jr.

Question: Who introduced the ASA system?

Question: When was the ASA system introduced?

Question: When was William Nelson Goodwin Jr. born?

Question: What medal did Edward Faraday Weston win?

Question: What did Howard N. Potts invent in 1932?
Film_speed

The Weston Cadet (model 852 introduced in 1949), Direct Reading (model 853 introduced 1954) and Master III (models 737 and S141.3 introduced in 1956) were the first in their line of exposure meters to switch and utilize the meanwhile established ASA scale instead. Other models used the original Weston scale up until ca. 1955. The company continued to publish Weston film ratings after 1955, but while their recommended values often differed slightly from the ASA film speeds found on film boxes, these newer Weston values were based on the ASA system and had to be converted for use with older Weston meters by subtracting 1/3 exposure stop as per Weston's recommendation. Vice versa, "old" Weston film speed ratings could be converted into "new" Westons and the ASA scale by adding the same amount, that is, a film rating of 100 Weston (up to 1955) corresponded with 125 ASA (as per ASA PH2.5-1954 and before). This conversion was not necessary on Weston meters manufactured and Weston film ratings published since 1956 due to their inherent use of the ASA system; however the changes of the ASA PH2.5-1960 revision may be taken into account when comparing with newer ASA or ISO values.

Question: Which cameras were first of their type to adopt the ASA scale?
Answer: The Weston Cadet (model 852 introduced in 1949), Direct Reading (model 853 introduced 1954) and Master III (models 737 and S141.3 introduced in 1956)

Question: What were updated Weston values based on?
Answer: the ASA system

Question: How were Weston values changed to ASA values?
Answer: by subtracting 1/3 exposure stop

Question: Beginning with which year was the Weston to ASA conversion not necessary?
Answer: 1956

Question: Until what year did other models use the original Weston scale?
Answer: 1955

Question: Which two models were introduced in 1949?

Question: When did models move back to the Weston scale?

Question: What was added to convert Weston values to the older meters?

Question: What was necessary on meters manufactured after 1956?

Question: When was the ASA scale established?
Film_speed

General Electric switched to use the ASA scale in 1946. Meters manufactured since February 1946 were equipped with the ASA scale (labeled "Exposure Index") already. For some of the older meters with scales in "Film Speed" or "Film Value" (e.g. models DW-48, DW-49 as well as early DW-58 and GW-68 variants), replaceable hoods with ASA scales were available from the manufacturer. The company continued to publish recommended film values after that date, however, they were now aligned to the ASA scale.

Question: Which company adopted the ASA scale in 1946?
Answer: General Electric

Question: Beginning what year were cameras built with the ASA meter?
Answer: 1946

Question: How did older models convert to ASA scale?
Answer: replaceable hoods with ASA scales

Question: How was the ASA scale shown on models built after 1946?
Answer: labeled "Exposure Index"

Question: What were recommended film values lined up with after 1946?
Answer: they were now aligned to the ASA scale

Question: What company stopped using ASA in 1946?

Question: When were the DW-48 and DW-49 models made?

Question: What were models pre-1946 labeled with?

Question: Who refused to create replaceable hoods with ASA scales?

Question: What did the recommended film values no longer follow after 1946?
Film_speed

Based on earlier research work by Loyd Ancile Jones (1884–1954) of Kodak and inspired by the systems of Weston film speed ratings and General Electric film values, the American Standards Association (now named ANSI) defined a new method to determine and specify film speeds of black-and-white negative films in 1943. ASA Z38.2.1-1943 was revised in 1946 and 1947 before the standard grew into ASA PH2.5-1954. Originally, ASA values were frequently referred to as American standard speed numbers or ASA exposure-index numbers. (See also: Exposure Index (EI).)

Question: Who pioneered research that led to the new ANSI values?
Answer: Loyd Ancile Jones

Question: What standards were the ANSI developed from?
Answer: Weston film speed ratings and General Electric film values

Question: What types of film did the ANSI measure?
Answer: black-and-white negative films

Question: When did the ANSI define its new measure?
Answer: 1943

Question: What were ANSI values often called in the beginning?
Answer: American standard speed numbers or ASA exposure-index numbers

Question: Who did research for General Electric?

Question: What was Kodak renamed as?

Question: What were the Weston Film speed ratings inspired by?

Question: When did Jones publish his research?

Question: When was ASA PH2.5-1954 released?
Film_speed

The ASA standard underwent a major revision in 1960 with ASA PH2.5-1960, when the method to determine film speed was refined and previously applied safety factors against under-exposure were abandoned, effectively doubling the nominal speed of many black-and-white negative films. For example, an Ilford HP3 that had been rated at 200 ASA before 1960 was labeled 400 ASA afterwards without any change to the emulsion. Similar changes were applied to the DIN system with DIN 4512:1961-10 and the BS system with BS 1380:1963 in the following years.

Question: In what year were big changes made to the ANSI?
Answer: 1960

Question: What did the 1960 changes to film speed measures lead to?
Answer: effectively doubling the nominal speed of many black-and-white negative films

Question: Which other system were these changes applied to?
Answer: the DIN system

Question: In what year was the BS system modified?
Answer: 1963

Question: What safety factors were done away with beginning with the modifications to the standards?
Answer: safety factors against under-exposure

Question: When were new safety factors put in place?

Question: The nominal speed of what films were halved by abandoning safety factors?

Question: A 400 ASA became what after 1960?

Question: When were changes applied to the DIN system?

Question: The Ilford HP3 changes were applied to what in the following years?
Film_speed

Film speed is found from a plot of optical density vs. log of exposure for the film, known as the D–log H curve or Hurter–Driffield curve. There typically are five regions in the curve: the base + fog, the toe, the linear region, the shoulder, and the overexposed region. For black-and-white negative film, the “speed point” m is the point on the curve where density exceeds the base + fog density by 0.1 when the negative is developed so that a point n where the log of exposure is 1.3 units greater than the exposure at point m has a density 0.8 greater than the density at point m. The exposure Hm, in lux-s, is that for point m when the specified contrast condition is satisfied. The ISO arithmetic speed is determined from:

Question: What is the plot from which film speed is derived called?
Answer: the D–log H curve or Hurter–Driffield curve

Question: How many regions does the Hurter-Driffield curve have?
Answer: five

Question: What is plotted in the Hurter-Driffield curve?
Answer: a plot of optical density vs. log of exposure for the film

Question: What is denoted when the specified contrast condition is met?
Answer: The exposure Hm, in lux-s

Question: What are the five regions of the Hurter-Driffield curve?
Answer: the base + fog, the toe, the linear region, the shoulder, and the overexposed region

Question: What is film speed combined with to produce optical density?

Question: What is a plot of film speed vs. log of exposure called?

Question: How many speed points are there in a black and white film?

Question: What is the point at which density is 0.1 less than the base + fog?

Question: What is the ISO arithmetic speed?
Film_speed

Film speed is used in the exposure equations to find the appropriate exposure parameters. Four variables are available to the photographer to obtain the desired effect: lighting, film speed, f-number (aperture size), and shutter speed (exposure time). The equation may be expressed as ratios, or, by taking the logarithm (base 2) of both sides, by addition, using the APEX system, in which every increment of 1 is a doubling of exposure; this increment is commonly known as a "stop". The effective f-number is proportional to the ratio between the lens focal length and aperture diameter, the diameter itself being proportional to the square root of the aperture area. Thus, a lens set to f/1.4 allows twice as much light to strike the focal plane as a lens set to f/2. Therefore, each f-number factor of the square root of two (approximately 1.4) is also a stop, so lenses are typically marked in that progression: f/1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, etc.

Question: What is the effective f-number proportional to?
Answer: the ratio between the lens focal length and aperture diameter

Question: What is used to discover the right exposure parameters?
Answer: Film speed

Question: What variables help the photographer produce the desired effect?
Answer: lighting, film speed, f-number (aperture size), and shutter speed (exposure time)

Question: A lens with a setting of f/1.4 lets how much to hit the focal plane compared with a setting of f/2?
Answer: twice as much

Question: In the APEX system, the increment that doubles the exposure is called what?
Answer: "stop"

Question: What are appropriate exposure parameters used to find?

Question: What is another name for film speed?

Question: What system uses ratios?

Question: The ratio between the diameter and square root of the aperture is called what?

Question: How much does light does an f/2 let in as compared to an f/4?
Film_speed

Upon exposure, the amount of light energy that reaches the film determines the effect upon the emulsion. If the brightness of the light is multiplied by a factor and the exposure of the film decreased by the same factor by varying the camera's shutter speed and aperture, so that the energy received is the same, the film will be developed to the same density. This rule is called reciprocity. The systems for determining the sensitivity for an emulsion are possible because reciprocity holds. In practice, reciprocity works reasonably well for normal photographic films for the range of exposures between 1/1000 second to 1/2 second. However, this relationship breaks down outside these limits, a phenomenon known as reciprocity failure.

Question: What determines the effect on the emulsion after exposure?
Answer: the amount of light energy that reaches the film

Question: In what range of exposures does reciprocity usually work?
Answer: between 1/1000 second to 1/2 second

Question: How is the exposure of film changed?
Answer: by varying the camera's shutter speed and aperture

Question: How are ways of finding an emulsion's sensitivity possible?
Answer: because reciprocity holds

Question: What happens outside the 1/1000 second to 1/second exposure range?
Answer: reciprocity failure

Question: What determines the amount of light energy that reaches the film?

Question: Multiplying the brightness of a light by a factor and decreasing the exposure by the same factor causes what to change?

Question: How is the brightness of a light changed?

Question: Reciprocity only works outside of what ranges?

Question: Reciprocity holds because of what system?
Film_speed

Some high-speed black-and-white films, such as Ilford Delta 3200 and Kodak T-MAX P3200, are marketed with film speeds in excess of their true ISO speed as determined using the ISO testing method. For example, the Ilford product is actually an ISO 1000 film, according to its data sheet. The manufacturers do not indicate that the 3200 number is an ISO rating on their packaging. Kodak and Fuji also marketed E6 films designed for pushing (hence the "P" prefix), such as Ektachrome P800/1600 and Fujichrome P1600, both with a base speed of ISO 400.

Question: What are two examples of films that are marketed with speeds above their true ISO speed?
Answer: Ilford Delta 3200 and Kodak T-MAX P3200

Question: What speed of film is the Ilford Delta 3200?
Answer: ISO 1000

Question: Which two companies produced E6 films meant for "pushing"?
Answer: Kodak and Fuji

Question: What is the base speed of Ektachrome P800/1600 and Fujichrome P1600?
Answer: ISO 400

Question: What type of films are Ilford Delta 3200 and Kodak T-MAX P3200?
Answer: high-speed black-and-white films

Question: What cameras have speeds above what they are marketed as?

Question: 3200 is the true ISO of what film?

Question: What is the true speed of the Kodak T-MAX P3200 according to the data sheet?

Question: What is the Delta 3200 designed for?

Question: Ilford Delta and Fuji marketed what kind of film?
Film_speed

For digital photo cameras ("digital still cameras"), an exposure index (EI) rating—commonly called ISO setting—is specified by the manufacturer such that the sRGB image files produced by the camera will have a lightness similar to what would be obtained with film of the same EI rating at the same exposure. The usual design is that the camera's parameters for interpreting the sensor data values into sRGB values are fixed, and a number of different EI choices are accommodated by varying the sensor's signal gain in the analog realm, prior to conversion to digital. Some camera designs provide at least some EI choices by adjusting the sensor's signal gain in the digital realm. A few camera designs also provide EI adjustment through a choice of lightness parameters for the interpretation of sensor data values into sRGB; this variation allows different tradeoffs between the range of highlights that can be captured and the amount of noise introduced into the shadow areas of the photo.

Question: What is another name for an exposure index rating?
Answer: ISO setting

Question: How do some camera designs give some EI choices?
Answer: by adjusting the sensor's signal gain in the digital realm

Question: Who provides the exposure index rating?
Answer: the manufacturer

Question: What are digital photo cameras also called?
Answer: digital still cameras

Question: What is an sRGB image file commonly called?

Question: The lightness of an sRGB file is designed to be different from what?

Question: What is adjusted prior to conversion to analog?

Question: What do choices do camera designs not offer?

Question: What does the choice of lightness parameters prevent?
Film_speed

Digital cameras have far surpassed film in terms of sensitivity to light, with ISO equivalent speeds of up to 409,600, a number that is unfathomable in the realm of conventional film photography. Faster processors, as well as advances in software noise reduction techniques allow this type of processing to be executed the moment the photo is captured, allowing photographers to store images that have a higher level of refinement and would have been prohibitively time consuming to process with earlier generations of digital camera hardware.

Question: What types of cameras have proven to be much more sensitive to light than film?
Answer: Digital cameras

Question: What ISO equivalent speeds can digital cameras obtain?
Answer: 409,600

Question: What is responsible for these vast increases in speed?
Answer: Faster processors, as well as advances in software noise reduction techniques

Question: What is one thing that limited speeds of older digital hardware?
Answer: prohibitively time consuming to process

Question: What does the higher speed do for the images produced?
Answer: a higher level of refinement

Question: How has film surpassed digital cameras?

Question: What is the highest ISO speed a film camera can reach?

Question: What, besides a faster processor, prevents processing from happening when a photo is taken?

Question: What could earlier generations of digital cameras store?

Question: Which generation of cameras are capable of storing higher refined images?
Film_speed

The ISO standard ISO 12232:2006 gives digital still camera manufacturers a choice of five different techniques for determining the exposure index rating at each sensitivity setting provided by a particular camera model. Three of the techniques in ISO 12232:2006 are carried over from the 1998 version of the standard, while two new techniques allowing for measurement of JPEG output files are introduced from CIPA DC-004. Depending on the technique selected, the exposure index rating can depend on the sensor sensitivity, the sensor noise, and the appearance of the resulting image. The standard specifies the measurement of light sensitivity of the entire digital camera system and not of individual components such as digital sensors, although Kodak has reported using a variation to characterize the sensitivity of two of their sensors in 2001.

Question: How many techniques are available because of ISO 12232:2006?
Answer: five

Question: What techniques did CIPA DC-004 provide?
Answer: two new techniques allowing for measurement of JPEG output files

Question: What factors affect the exposure index rating?
Answer: the sensor sensitivity, the sensor noise, and the appearance of the resulting image

Question: What does the standard of ISO 12232:2006 specify?
Answer: the measurement of light sensitivity of the entire digital camera system and not of individual components

Question: In what year did Kodak start using a different way of characterizing two sensors?
Answer: 2001

Question: When was ISO 12232:2006 made public?

Question: How many JPEG techniques were introduced in 1998?

Question: What are the three techniques that affect ISO?

Question: How many techniques depend on sensor sensitivity?

Question: When did Kodak stop using variations of sensitivity?
Film_speed

The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

Question: What option does the Recommended Exposure Index give manufacturers? 
Answer: to specify a camera model’s EI choices arbitrarily

Question: What is another name for multi-zone metering?
Answer: pattern metering

Question: What distinction does the Recommended Exposure Index have?
Answer: the only technique available under the standard for output formats that are not in the sRGB color space

Question: When was the Recommended Exposure Index introduced?
Answer: 2006

Question: What is the only technique that can be used when multi-zone metering is used?
Answer: Recommended Exposure Index (REI) technique

Question: What standardized EI choices?

Question: When was multi-zone metering introduced?

Question: REI and what are the only techniques available under standard outputs?

Question: What was retracted in the 2006 standards?

Question: Who created the 2006 standard?
Film_speed

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.

Question: What year was the Standard Output Sensitivity technique introduced?
Answer: 2006

Question: What does the Standard Output Sensitivity technique apply to?
Answer: sRGB images—typically JPEG

Question: What is the output level measured in?
Answer: the sRGB output from the camera

Question: With what type of metering can the Standard Output Sensitivity not be used?
Answer: multi-zone metering

Question: With what standard is the automatic exposure control system calibrated?
Answer: ISO 2721

Question: What technique was removed in the 2006 standards?

Question: When exposure is not automatically controlled, what is the gray set at?

Question: How are files in raw measured?

Question: Multi-zone metering uses what ISO calibration?

Question: When was the SOS technique applied to raw images?