著者

宮川 俊夫 渡辺 信 横山 明 黒田 貴一

出版者

社団法人 日本写真学会

雑誌

日本写真学会誌 (ISSN:03695662)

巻号頁・発行日

vol.35, no.3, pp.168-172, 1972-06-30 (Released:2011-08-11)

参考文献数

8

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The light fading rate of magenta dye, 4-aza-(p-diethyl-aminophenyl)-pheny1-3-methyl-pyrazole-5-one, was studied. The dye was prepared by the method of coupling development, and extracted from the reaction product. Then, it was dispersed into a cellulose acetate film.According with spectral fading of the dye, absorptions of 270 nm and 540 nm contributed to the fading reaction each other, but 440 nm did not.The kinetic expression of fading rate for 540 nm light was as follows.-dC/dt= (K/C0)ΔI·CK: rate constant Co: initial concentration of the dyeI: absorbed light C: concentration of the dye

著者

宮本 五郎 村山 勇 宮川 俊夫 坂部 健

出版者

社団法人 日本写真学会

雑誌

日本写真学会会誌 (ISSN:18846327)

巻号頁・発行日

vol.19, no.3, pp.124-129, 1956-11-30 (Released:2011-08-11)

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Optimal amounts of phenidone and hydroquinone in D-76 type PQ developers (pH 8.7), are 0.2g and 5.0g per 1000cc each other, as shown in Fig. 1 and 2. This Formula (PQE) gives slightly more fog than D-76, but addition of 0.2g KBr or 0.01g benzotriazole retards fog (Fig. 3).Optimal pH ranges have been estimated in several kinds of developing formula (Fig. 4-13).PQ-MK (Fig. 15, 16) and PM-MK (Fig. 17, 18) developers give sensitivity about two to three times more than D-76.

著者

宮川 俊夫 白井 靖男 津田 元久 一色 真幸 西村 英之 遠藤 正治 長嶋 正春

出版者

社団法人 日本写真学会

雑誌

日本写真学会誌 (ISSN:03695662)

巻号頁・発行日

vol.56, no.3, pp.205-213, 1993-06-25 (Released:2011-08-11)

参考文献数

14

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This paper is the first one of scientific reports on Tsui-shu (wooden, urushi lacquered and engraved) cameras. These were made and used in the last days of the Tokugawa shogunate. It was considered that three sets of this kind of cameras were in existence. But today, we can see only two. The authors show X-ray computed tomograms of the camera kept in Fukui Municipal Museum of History. Coating layer on the outer surface of the wooden camera body was estimated at 6 mm thickness in maximum. Hg and Fe were detected by means of fluorescent X-ray spectroscopic analysis, as metal element components contained in the layer. It was observed that the painted crust composed of a thin coated reddish pigment-urushi lacquer layer on a heavy coated and reliefed clay-urushi layer, by means of soft X-ray photography and low magnification micrography. Computed tomograms also showed that the optical system of this camera was composed of only two pieces of single lenses and had about 17 cm of focal length. The F-number was estimated at about 7. The first lens was almost a flat plate and the second was in plano-convex type. UV-visible spectrogram showed that the former was made of glass, not quartz. It was considered that the Tsui-shu Camera was made in Japan, not in China, because of following reasons: 1) an imitative “tsui-shu” and Japanese style wooden craft, 2) the optical system, and its cloisonne wared lens cap and the outer cylider were prepared in Owari area of this country.

著者

菊池 真一 小口 正信 宮川 俊夫 田部 洋 安田 正博 原 重夫

出版者

社団法人 日本写真学会

雑誌

日本写真学会誌 (ISSN:03695662)

巻号頁・発行日

vol.43, no.3, pp.163-168, 1980-06-20 (Released:2011-08-11)

参考文献数

2

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The authors investigated on determining sensitivity of phototypesetting films and papers, based on the exposure condition which the line-width of character could be correctly reproduced under.The line-width is faithfully reproduced under the following conditions;Film: The exposure to cause 2.0+ΔD density units.Paper: Three times exposure to cause 0.7+ΔD density units.(ΔD is fog-plus-base density)Finally, the authors propose to determine the sensitivity as follows;Film: Sf=100/E (E: lux·Esec at D=2.0+ΔD)Paper: Sp=100/3E (E: lux·Esec at D=0.7+ΔD)

著者

宮川 俊夫 白井 靖男 森田 一朗 森田 峰子 北村 二朗 遠藤 正治

出版者

社団法人 日本写真学会

雑誌

日本写真学会誌 (ISSN:03695662)

巻号頁・発行日

vol.53, no.3, pp.219-225, 1990-06-28 (Released:2011-08-11)

参考文献数

38

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In the former paper, Miyagawa et al. reported on Kohsai Udagawa's writing on albumen-on-glass photography, entitled “Potokarahii”. Yokusai Ihnuma who lived in Mino was Kohsai Udagawa's real father, and was one of famous scientists in 19th Century. He and his followers tried photography. Among them, his nephew, Ryuh-a Kojima was a tallent photographic technician. He opened a photographic studio in Gifu-ken, which was the first one in this prefecture. In 1873, he made an interesting collage picture composed of his familie's and his own portraits. It could be the oldest one of such kind of pictures in Japan. Yoshihiro Kuze studied photography with Yokusai Ihnuma in the Chemical Institute of the Ohgaki Clan. Reiji Esaki opened his photographic studio in Tokyo. He studied, at first, wet-collodion process, subsequently, he tried to use imported dry plate to take picture of rapid moving objects. In addition to them, he developed collage picture making. He made a surprising one composed of 1700 babies' photographic portraits which were taken with dry plate, in 1893.