pan·chro·matic (pan′krō mat′ik) adjective
sensitive to light of all colors panchromatic film
panchromatism pan·chro′·ma·tism′ (pan krō′mə tiz′əm) noun
Webster’s New World College Dictionary Copyright © 2009 by Wiley Publishing, Inc., Cleveland, Ohio.
Sensitive to all colors: panchromatic film.
the quality or condition of being lsensitive to all colors, as certain types of photographic film.
The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company.
panchromatic In photography, a term describing highly sensitive black-and-white film made to render all visible spectral colours in correct grey tones. Panchromatic film is always developed in total darkness.
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panchromatic Photog (of an emulsion or film) made sensitive to all colours by the addition of suitable dyes to the emulsion
Collins Discovery Encyclopedia, 1st edition © HarperCollins Publishers 2005
panchromatic [¦pan·krə′mad·ik] Of a photographic emulsion, film, or plate, sensitive to all wavelengths within the visible spectrum, though not uniformly so.
McGraw-Hill Dictionary of Scientific & Technical Terms, 6E, Copyright © 2003 by The McGraw-Hill Companies, Inc.
panchromatic [ˌpænkrəʊˈmætɪk] adj
Photog (of an emulsion or film) made sensitive to all colours by the addition of suitable dyes to the emulsion panchromatism [pænˈkrəʊməˌtɪzəm] n
Collins English Dictionary – Complete and Unabridged 6th Edition 2003. © William Collins Sons & Co. Ltd 1979, 1986 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003
Panchromatic film is a type of black-and-white photographic film that is sensitive to all wavelengths of visible light. A panchromatic film therefore produces a realistic image of a scene. Almost all modern photographic film is panchromatic.
From Wikipedia, the free encyclopedia
To the photographer who keeps level with the times there is probably little to be said concerning the general advantages of the panchromatic plate For the photography of furniture the copying of paintings and for many other purposes its superiority is obvious in fact it is indispensable to success But the remarkable fact remains that in portraiture we go on in the same old way photographing everything by blue and violet light entirely regardless of effect The reasons are perhaps not far to seek Apart from the conservativeness which seems to be inherent in the majority of professional photographers there are two main objections which stand forth First is the increased exposure consequent on the use of a color screen and second perhaps the increased cost of working My object is not only to show that the advantages of the panchromatic are sufficient to swamp entirely any such objections but also to show that the objections themselves have very little real foundation in actual practice
Geo. F. Greenfield, “Practical Panchromatism in the Studio”, Wilson’s Photographic Magazine, October 1912, p. 460–461.
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