More than 95 per cent of the images you see in this column as well as the articles in both Nuts & Bolts and Films & Accessories are shot on ISO 100 color reversal films. It is only those concerts' pictures that were the exception, which were shot on either ISO 400 or 800 emulsions. There also some candid and outdoor shots that were photographed using ISO 100 color print film. Why did I choose to shoot on ISO 100 color reversal film rather than on a color print type, anyway? It has nothing to do with the quality, as both types do possess excellent color and skin tone reproductions, moderate contrast, super fine grain and high sharpness. It is the narrower exposure latitude that made me choose the reversal color film instead for most of the pictures used to illustrate the articles here and the other columns. With narrower exposure latitude, I am able to ascertain the limits of any EOS camera's exposure metering capabilities in conjunction with the photographic techniques that can be utilized for the articles in this column. Typically, the modern color print films have exposure latitudes of 2-stops underexposure and two-and-a-half stops of overexposure - if you make any error, the 1-hour minilab operator can still give you a decent print. With a color reversal film, the exposure latitude is between 1-stop of underexposure and 1-1/3 of overexposure. There are also some slower films like ISO 50 and 64, which have an even narrower level of 2/3-stop of underexposure and 2/3-stop of overexposure. In other words, if the EOS cameras I am testing are able to give excellent exposures even with ISO color reversal film having a limited range of exposure latitude, you can rest assured that they are able to do the same with wider latitudes color print versions as well. This is not an overexposure This is not an underexposure     The neon sign changing from third to first phase The neon sign in its second phase appearance These four photos above of the neon sign in Las Vegas' Riviera Hotel Casino were photographed showing how the brightness had changed continuously from its three phases in succession. The brightest level was the neon sign's first phase, while the second level was when it turned brownish warm. The third level was when the bulbs inside the "Riviera" sign gradually dimmed with only its edges bathed in red lights (3rd photo). Immediately after this, the first level would take over again (also in 3rd photo). The exposure latitude of the ISO 100 film used was able to cover the whole range of the neon sign's three phases of brightness without overexposing or underexposing the shadow areas of the pictures. On the first photo, the "V" alphabet was recorded as warm tone and not bright white because it was recorded on film in-between the split-second it took the whole neon sign to change from its third level to the first. The second photo show the complete transition to the middle phase of its brightness level. << Back to Main . 1 . 2 . 3 . 4 . 5 . 6 . 7 .