135 film in the context of "Film holder"

In photography, reversal film, or slide film, is a type of photographic film that produces a positive image on a transparent base. Instead of negatives and prints, reversal film is processed to produce transparencies, or diapositives (abbreviated as "diafilm" or "dia" in some languages like German, Romanian or Hungarian). Reversal film is produced in various sizes, from 35 mm to roll film to 8×10 inch sheet film.

A slide is a specially mounted individual transparency intended for projection onto a screen using a slide projector. This allows the photograph to be viewed by a large audience at once. The most common form is the 35 mm slide, with the image framed in a 2×2 inch cardboard or plastic mount. Some specialized labs produce photographic slides from digital camera images in formats such as JPEG, from computer-generated presentation graphics, and from a wide variety of physical source material such as fingerprints, microscopic sections, paper documents, astronomical images, etc.

A slide projector is an optical device for projecting enlarged images of photographic slides onto a screen. Many projectors have mechanical arrangements to show a series of slides loaded into a special tray sequentially.

35 mm slide projectors, direct descendants of the larger-format magic lantern, first came into widespread use during the 1950s for slide shows as home entertainment, and for use by educational and other institutes. Reversal film created a small positive projectable image rather than the negatives used since the early days of photography; photography now produced 35mm directly viewable small colour slides, rather than large monochrome negatives. The slide images were too small for unaided viewing, and required enlargement by a projector or enlarging viewer.

Negative pulldown is the manner in which an image is exposed on a film stock, described by the number of film perforations spanned by an individual frame. It can also describe whether the image captured on the negative is oriented horizontally or vertically. Changing the number of exposed perforations allows a cinematographer to change both the aspect ratio of the image and the size of the area on the film stock that the image occupies (which affects image clarity).

The most common negative pulldowns for 35 mm film are 4-perf and 3-perf, the latter of which is usually used in conjunction with Super 35. 2-perf, used in Techniscope in the 1960s, is enjoying a slight resurgence due to the birth of digital intermediate techniques eliminating the need for optical lab work. Vertical pulldown is overwhelmingly the dominant axis of motion in cinematography, although horizontal pulldown is used in IMAX, VistaVision, and in 35 mm consumer and professional still cameras.

Medium format has traditionally referred to a film format in photography and the related cameras and equipment that use film. Nowadays, the term applies to film and digital cameras that record images on media larger than the 24 mm × 36 mm (0.94 in × 1.42 in) used in 35 mm photography (though not including 127 sizes), but smaller than 4 in × 5 in (100 mm × 130 mm) (which is considered large format photography).

In digital photography, medium format refers either to cameras adapted from medium-format film photography uses or to cameras making use of sensors larger than that of a 35 mm film frame. Some of the benefits of using medium-format digital cameras include higher resolution sensors, better low-light capabilities compared to a traditional 35mm DSLR, and a wider dynamic range.

A disposable or single-use camera is a simple box camera meant to be used once. Most use fixed-focus lenses. Some are equipped with an integrated flash unit, and there are even waterproof versions for underwater photography. Internally, the cameras use a 135 film or an APS cartridge.

While some disposables contain an actual cartridge as used for loading normal, reusable cameras, others just have the film wound internally on an open spool. The whole camera is handed in for processing. Some of the cameras are recycled, i.e. refilled with film and resold. The cameras are returned for "processing" in the same fashion as film cameras.

In cinematography, full frame refers to an image area (today most commonly on a digital sensor) that is the same size as that used by a 35 mm still camera. Still cameras run the film horizontally behind the lens, whereas standard 35 mm motion-picture cameras run the film vertically. Thus, a 35 mm still camera's image is significantly larger than that of a standard 35 mm motion-picture camera.

Specialty motion-picture formats have used film running horizontally, notably VistaVision (which produced a "full-frame" image) and IMAX.

120 is a film format for still photography introduced by Kodak for their Brownie No. 2 in 1901. It was originally intended for amateur photography but was later superseded in this role by 135 film. 120 film survives to this day as the only medium format film that is readily available to both professionals and amateur enthusiasts.

828 is a film format for still photography. Kodak introduced it in 1935, only a year after 135 film. 828 film was introduced with the Kodak Bantam, a consumer-level camera.

The 828 format uses the same basic film stock as 135 film (standard 35mm film), but the film lacks the sprocket holes of 135. The standard image format is 40 × 28 mm. This provides a 30% larger image compared to 135's standard 24 × 36 mm, yet on the same film stock. Because Kodak targeted 828 at a lower-end consumer market, the film was much shorter, at a standard 8 exposures per roll. 828 film originally had one perforation per frame, much like 126 film. Unlike 135 (a single-spool cartridge film) or 126 (a dual-spool cartridge film), 828 is a roll film format, like 120 film. Like 120, it has a backing paper and frames are registered through a colored window on the back of the camera (except on the original folding Bantams, where images were registered with an index hole).