Question: What is wrestling sometimes called?

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.

Answer: "soap opera for males"

<hl> 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. <hl> 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.

While pro wrestling is often described simplistically as a <hl> "soap opera for males" <hl>, 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.

While pro wrestling is often described simplistically as a <hl> "soap opera for males" <hl> , 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.


Question: What is wrestling to people during a peaceful time?

Answer: vicarious outlet for aggression

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). <hl> Wrestling's high levels of violence and masculinity make it a vicarious outlet for aggression during peacetime. <hl>

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 <hl> vicarious outlet for aggression <hl> during peacetime.


Question: What role does wrestling fill?

Answer: past forms of literature and theatre;

<hl> 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. <hl> 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.

While pro wrestling is often described simplistically as a "soap opera for males", it has also been cited as filling the role of <hl> past forms of literature and theatre; <hl> 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: Who has studied the lives of wrestlers?

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.

Answer: Documentary filmmakers

<hl> Documentary filmmakers have studied the lives of wrestlers and the effects the profession has on them and their families. <hl> 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.

<hl> Documentary filmmakers <hl> 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: When did Beyond the Mat come out?

Answer: 1999

Documentary filmmakers have studied the lives of wrestlers and the effects the profession has on them and their families. <hl> 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. <hl> 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.

Documentary filmmakers have studied the lives of wrestlers and the effects the profession has on them and their families. The <hl> 1999 <hl> 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 hosts Real Sports?

Answer: Bryant Gumbel

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. <hl> Pro wrestling has been featured several times on HBO's Real Sports with Bryant Gumbel . <hl> 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.

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 <hl> Bryant Gumbel <hl>. 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.

Pro wrestling has been featured several times on HBO's Real Sports with <hl> Bryant Gumbel <hl> .


Question: Who are a few wrestlers who have had memoirs written about them?

Answer: Chris Jericho, Rob Van Dam and Roddy Piper

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). <hl> Bloodstained Memoirs explored the careers of several pro wrestlers, including Chris Jericho, Rob Van Dam and Roddy Piper . <hl>

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 <hl> Chris Jericho, Rob Van Dam and Roddy Piper <hl>.

Bloodstained Memoirs explored the careers of several pro wrestlers, including <hl> Chris Jericho, Rob Van Dam and Roddy Piper <hl> .


Question: What are the risks of 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".

Answer: high chance of injury, and even death

<hl> Although professional wrestling is worked, there is a high chance of injury, and even death . <hl> 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".

Although professional wrestling is worked, there is a <hl> high chance of injury, and even death <hl>. 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".

Although professional wrestling is worked, there is a <hl> high chance of injury, and even death <hl> .


Question: What is the ring commonly made of?

Answer: 2 by 8 timber planks

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). <hl> The ring is often made out of 2 by 8 timber planks . <hl> 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".

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 <hl> 2 by 8 timber planks <hl>. 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".

The ring is often made out of <hl> 2 by 8 timber planks <hl> .


Question: What are common injuries in wrestling?

Answer: shoulders, knee, back, neck, and rib injuries

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. <hl> Many of the injuries that occur in pro wrestling are shoulders, knee, back, neck, and rib injuries . <hl> 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".

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 <hl> shoulders, knee, back, neck, and rib injuries <hl>. 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".

Many of the injuries that occur in pro wrestling are <hl> shoulders, knee, back, neck, and rib injuries <hl> .


Question: What other injuries have been connected with wrestling?

Answer: Chronic traumatic encephalopathy and traumatic brain injuries

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. <hl> Chronic traumatic encephalopathy and traumatic brain injuries have also been linked to pro wrestling, including in the double-murder suicide case involving Chris Benoit. <hl> Professional wrestler Davey Richards said in 2015, "We train to take damage, we know we are going to take damage and we accept that".

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. <hl> Chronic traumatic encephalopathy and traumatic brain injuries <hl> 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: Chris Benoit was involved in what tragic event?

Answer: double-murder suicide case

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. <hl> Chronic traumatic encephalopathy and traumatic brain injuries have also been linked to pro wrestling, including in the double-murder suicide case involving Chris Benoit. <hl> Professional wrestler Davey Richards said in 2015, "We train to take damage, we know we are going to take damage and we accept that".

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 <hl> double-murder suicide case <hl> 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 does the film's quantum efficiency limit?

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.

Answer: sensitivity

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). <hl> In short, the higher the sensitivity , the grainier the image will be. <hl> Ultimately sensitivity is limited by the quantum efficiency of the film or sensor.

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 <hl> sensitivity <hl>, the grainier the image will be. Ultimately sensitivity is limited by the quantum efficiency of the film or sensor.

In short, the higher the <hl> sensitivity <hl> , the grainier the image will be.


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

Answer: slow film

<hl> 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 . <hl> 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.

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 <hl> slow film <hl>. 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.

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 <hl> slow film <hl> .


Question: What leads to lower quality images?

Answer: reduction of exposure

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. <hl> 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). <hl> 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.

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 <hl> reduction of exposure <hl> 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 types of film are considered fast films?

Answer: Highly sensitive films

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. <hl> Highly sensitive films are correspondingly termed fast films. <hl> 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.

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. <hl> Highly sensitive films <hl> 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 effect does highly sensitive film have on images?

Answer: reduced image quality

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. <hl> 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). <hl> 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.

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 <hl> reduced image quality <hl> (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 consists of 25 pigmented squares touching a plate below a phosphorescent tablet under the light of a burning Magnesium ribbon?

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.

Answer: The Warnerke Standard Sensitometer

<hl> 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. <hl> 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.

<hl> The Warnerke Standard Sensitometer <hl> 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 do degrees Warnerke measure?

Answer: The speed of the emulsion

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. <hl> The speed of the emulsion was then expressed in 'degrees' Warnerke (sometimes seen as Warn. <hl> 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.

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. <hl> The speed of the emulsion <hl> 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: How much speed is associated with each degree Warnerke?

Answer: an increase of 1/3 in 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. <hl> Each number represented an increase of 1/3 in speed , typical plate speeds were between 10° and 25° Warnerke at the time. <hl>

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 <hl> an increase of 1/3 in speed <hl>, typical plate speeds were between 10° and 25° Warnerke at the time.

Each number represented <hl> an increase of 1/3 in speed <hl> , typical plate speeds were between 10° and 25° Warnerke at the time.


Question: What were usual ranges of Warnerke speeds?

Answer: between 10° and 25° Warnerke

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. <hl> Each number represented an increase of 1/3 in speed, typical plate speeds were between 10° and 25° Warnerke at the time. <hl>

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 <hl> between 10° and 25° Warnerke <hl> at the time.


Question: What does the last exposed number on the plate represent?

Answer: 'degrees' Warnerke

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. <hl> The speed of the emulsion was then expressed in 'degrees' Warnerke (sometimes seen as Warn. <hl> 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.

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 <hl> 'degrees' Warnerke <hl> (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: Who created the Scheinergrade system?

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.

Answer: the German astronomer Julius Scheiner

<hl> 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. <hl> 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.

The Scheinergrade (Sch.) system was devised by <hl> the German astronomer Julius Scheiner <hl> (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: What is the Scheinergrade system used for?

Answer: comparing the speeds of plates used for astronomical photography

<hl> 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 . <hl> 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.

The Scheinergrade (Sch.) system was devised by the German astronomer Julius Scheiner (1858–1913) in 1894 originally as a method of <hl> comparing the speeds of plates used for astronomical photography <hl>. 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.

The Scheinergrade (Sch.) system was devised by the German astronomer Julius Scheiner (1858–1913) in 1894 originally as a method of <hl> comparing the speeds of plates used for astronomical photography <hl> .


Question: What do degrees Scheiner indicate?

Answer: the speed of a plate

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. <hl> Scheiner's system rated the speed of a plate by the least exposure to produce a visible darkening upon development. <hl> 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.

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 <hl> the speed of a plate <hl> 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: What is the range of Scheiner speeds?

Answer: from 1° Sch. to 20° Sch

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. <hl> 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. <hl>

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 <hl> from 1° Sch. to 20° Sch <hl>., 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.

Speed was expressed in degrees Scheiner, originally ranging <hl> from 1° Sch. to 20° Sch <hl> ., 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: Approximately how many degrees indicate double the sensitivity?

Answer: an increment of 3° Sch

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. <hl> 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. <hl>

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 <hl> an increment of 3° Sch <hl>. came close to a doubling of sensitivity.

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 <hl> an increment of 3° Sch <hl> . came close to a doubling of sensitivity.


Question: Who developed a device that improved on the shortcomings of Scheiner's invention?

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.

Answer: Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de)

<hl> 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). <hl> 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.

The system was later extended to cover larger ranges and some of its practical shortcomings were addressed by the <hl> Austrian scientist Josef Maria Eder (1855–1944) and Flemish-born botanist Walter Hecht (de) <hl> (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: What did the Eder-Hecht device measure?

Answer: emulsion speeds

<hl> 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). <hl> 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.

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 <hl> emulsion speeds <hl> 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: What method did manufacturers use much of the time to compare film speeds?

Answer: comparing with competing products

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). <hl> 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. <hl>

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 <hl> comparing with competing products <hl>, 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.

Still, it remained difficult for manufactures to reliably determine film speeds, often only by <hl> comparing with competing products <hl> , 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: What type of measurement methods began to proliferate?

Answer: modified semi-Scheiner-based systems

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). <hl> 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. <hl>

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 <hl> modified semi-Scheiner-based systems <hl> started to spread, which no longer followed Scheiner's original procedures and thereby defeated the idea of comparability.


Question: What eliminated comparability?

Answer: modified semi-Scheiner-based systems

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). <hl> 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. <hl>

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 <hl> modified semi-Scheiner-based systems <hl> started to spread, which no longer followed Scheiner's original procedures and thereby defeated the idea of comparability.


Question: When was the DIN system established?

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.

Answer: January 1934

<hl> 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 . <hl> 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.

The DIN system, officially DIN standard 4512 by Deutsches Institut für Normung (but still named Deutscher Normenausschuß (DNA) at this time), was published in <hl> January 1934 <hl>. 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.

The DIN system, officially DIN standard 4512 by Deutsches Institut für Normung (but still named Deutscher Normenausschuß (DNA) at this time), was published in <hl> January 1934 <hl> .


Question: Who created the DIN system?

Answer: Deutsches Institut für Normung

<hl> 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. <hl> 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.

The DIN system, officially DIN standard 4512 by <hl> Deutsches Institut für Normung <hl> (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: What was proposed at the VIII International Congress of Photography?

Answer: a standardized method of sensitometry

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. <hl> 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. <hl> International Congress of Photography (German: Internationaler Kongreß für wissenschaftliche und angewandte Photographie) held in Dresden from August 3 to 8, 1931.

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 <hl> a standardized method of sensitometry <hl> 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: Who presented the idea that grew into the DIN?

Answer: Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970)

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. <hl> 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. <hl> International Congress of Photography (German: Internationaler Kongreß für wissenschaftliche und angewandte Photographie) held in Dresden from August 3 to 8, 1931.

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 <hl> Robert Luther (de) (1868–1945) and Emanuel Goldberg (1881–1970) <hl> 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: Where was the VIII International Congress of Photography held?

Answer: Dresden

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. <hl> International Congress of Photography (German: Internationaler Kongreß für wissenschaftliche und angewandte Photographie) held in Dresden from August 3 to 8, 1931. <hl>

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 <hl> Dresden <hl> from August 3 to 8, 1931.


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

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.

Answer: degrees

<hl> As in the Scheiner system, speeds were expressed in ' degrees '. <hl> 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.

As in the Scheiner system, speeds were expressed in '<hl> degrees <hl>'. 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.

As in the Scheiner system, speeds were expressed in ' <hl> degrees <hl> '.


Question: How was sensitivity expressed at first in the DIN system?

Answer: as a fraction with 'tenths' (for example "18/10° DIN")

As in the Scheiner system, speeds were expressed in 'degrees'. <hl> 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. <hl> '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.

As in the Scheiner system, speeds were expressed in 'degrees'. Originally the sensitivity was written <hl> as a fraction with 'tenths' (for example "18/10° DIN") <hl>, 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.

Originally the sensitivity was written <hl> as a fraction with 'tenths' (for example "18/10° DIN") <hl> , where the resultant value 1.8 represented the relative base 10 logarithm of the speed.


Question: When did the degree symbol fall out of use in the DIN system?

Answer: with DIN 4512:1961-10

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". <hl> The degree symbol was finally dropped with DIN 4512:1961-10 . <hl> 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.

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 <hl> with DIN 4512:1961-10 <hl>. 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.

The degree symbol was finally dropped <hl> with DIN 4512:1961-10 <hl> .


Question: Why did the definition of film speeds change considerably?

Answer: to accommodate then-recent changes in the American ASA PH2.5-1960 standard

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. <hl> 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. <hl>

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 <hl> to accommodate then-recent changes in the American ASA PH2.5-1960 standard <hl>, 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.

This revision also saw significant changes in the definition of film speeds in order <hl> to accommodate then-recent changes in the American ASA PH2.5-1960 standard <hl> , 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 happened to film speeds of black-and-white negative film?

Answer: would become doubled

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. <hl> 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. <hl>

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 <hl> would become doubled <hl>, that is, a film previously marked as "18° DIN" would now be labeled as "21 DIN" without emulsion changes.

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 <hl> would become doubled <hl> , that is, a film previously marked as "18° DIN" would now be labeled as "21 DIN" without emulsion changes.


Question: What took the place of the German DIN 4512 system?

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.

Answer: ISO 6:1974, ISO 2240:1982, and ISO 5800:1979

<hl> 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). <hl> 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.

On an international level the German DIN 4512 system has been effectively superseded in the 1980s by <hl> ISO 6:1974, ISO 2240:1982, and ISO 5800:1979 <hl> 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: How is sensitivity shown in the ISO systems?

Answer: in linear and logarithmic form as "ISO 100/21°"

<hl> 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). <hl> 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.

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 <hl> in linear and logarithmic form as "ISO 100/21°" <hl> (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 standards did the DIN begin to use?

Answer: ISO standards

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). <hl> These ISO standards were subsequently adopted by DIN as well. <hl> 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.

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 <hl> ISO standards <hl> 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: When were the ISO standards first adopted?

Answer: in the 1980s

<hl> 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). <hl> 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.

On an international level the German DIN 4512 system has been effectively superseded <hl> in the 1980s <hl> 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: When were the last ISO standards adopted?

Answer: July 2002

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. <hl> 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 . <hl>

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 <hl> July 2002 <hl>.

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 <hl> July 2002 <hl> .


Question: What system was used previous to the ASA system?

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.

Answer: the system of Weston film speed ratings

<hl> 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. <hl> 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.

Before the advent of the ASA system, <hl> the system of Weston film speed ratings <hl> 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: Who devised the Weston film speed ratings?

Answer: Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936)

<hl> 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. <hl> 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.

Before the advent of the ASA system, the system of Weston film speed ratings was introduced by <hl> Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936) <hl>, 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.

Before the advent of the ASA system, the system of Weston film speed ratings was introduced by <hl> Edward Faraday Weston (1878–1971) and his father Dr. Edward Weston (1850–1936) <hl> , 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.


Question: What company did Dr. Edward Weston start?

Answer: the US-based Weston Electrical Instrument Corporation

<hl> 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. <hl> 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.

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 <hl> the US-based Weston Electrical Instrument Corporation <hl>, 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.

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 <hl> the US-based Weston Electrical Instrument Corporation <hl> , with the Weston model 617, one of the earliest photo-electric exposure meters, in August 1932.


Question: When was the Weston model 617 created?

Answer: August 1932

<hl> 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 . <hl> 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.

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 <hl> August 1932 <hl>. 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.

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 <hl> August 1932 <hl> .


Question: Who is credited with creating the film and meter system?

Answer: William Nelson Goodwin, Jr.

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. <hl> 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. <hl>

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 <hl> William Nelson Goodwin, Jr. <hl>, who worked for them and later received a Howard N. Potts Medal for his contributions to engineering.

The meter and film rating system were invented by <hl> William Nelson Goodwin, Jr. <hl> , who worked for them and later received a Howard N. Potts Medal for his contributions to engineering.


Question: Which cameras were first of their type to adopt the ASA scale?

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.

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)

<hl> 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. <hl> 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.

<hl> 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) <hl> 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: What were updated Weston values based on?

Answer: the ASA system

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. <hl> 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. <hl> 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.

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 <hl> the ASA system <hl> 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: How were Weston values changed to ASA values?

Answer: by subtracting 1/3 exposure stop

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. <hl> 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. <hl> 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.

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 <hl> by subtracting 1/3 exposure stop <hl> 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.