Kodachrome Test (3) dition of all of the colors in this "spectrum" with any size of diaphragm opening simultaneously. Which is to say that the film can not give proper values for all of the colors in a scene, under any conditions, when that scene is projected upon a screen with tungsten light and the exposure was made by sun light. (I know this already, before the film is developed). The best that can be expected is approximate color rendition. It will be not less than 2 weeks before the film is developed. Sept. 16th.,1936. A correction to paragraphs 2 and 3 on page one. Referring to paragraphs 1 and 2 on p.l.: This is incorrect one half should be black not transparent, hence this half should show black on the screen. When the spectrum is placed there it will have to be illuminated by means of high temperature tungs- ten lamp from a flood-light or another projector. Since the original memorandum was written, advices have been received from the Weston Co. stating that the film speed 8 should be used on their instrument in connection with Kodachrome. Referring now to the readings actually taken on the various colors, the correct exposures for each of the colors at the time the film was run, would have been, by Weston meter: No.1, f9; No.2, f6.3--7; No. 3 same as 2; No.4, f8--9; No.5, f9; No.6,f8--9; No.7,f7--8; 8 same as NO.7. Or, put in another way: Azure blue and lemon chrome take the smallest stop, that is the least exposure and the same, f9. Nile green and orange chrome t somewhat larger, f8--9. Scarlet and spectrum red still larger, f7--8. Ultramarine and emerald green larger still, f6.3--7. That is: as anticipated, different colors require different exposures. It will be noted also that the Weston readings call for more exposure than the manufacturers of the film recommend. December 20th. Development and projection of the film as planned showed briefly the best general rendition of color at f11 and f16. F16 was equal in color to f11, but a little to dark pict- orially, i.e a little too dense. Without going into detail as to each color, it should be said that at no time was the emerald green even fair. At best it was a muddy olive green and ranged from brown to black. This may have been due to defective processing, for I have, at times, secured good greens. At present green is the "sticker". Incidentally the "black" side of the film with the smallest stops showed purplish. (Due to diffraction at the edge of the mask? Eastman cautions against small stops with masks).