Hi, this listing is for a very interesting autograph book from 1942 - 1947. All from Wartime Tiller Dancing Girls! Theatre Royal Leeds etc. Arthur Blues, Betty Jumel, Reg Wheatley, Hazel Bayless, Valerie Kennedy, Judy Bordell, Len Kenny, Heather Stringfellow, Barbara Sutton, Vera Blacke, Yvonne Estelle, Jill Welshe,Joan Brett, Hewitt, Powell, Graham among others, some names I can not make out.

The Tiller Girls were among the most popular dance troupes of the 1890s, first formed by John Tiller in Manchester, England, in 1889. In theatre Tiller had noticed the overall effect of a chorus of dancers was often spoiled by lack of discipline. Tiller found that by linking arms the dancers could dance as one; he is credited with inventing precision dance. Possibly most famous for their high-kicking routines, the Tiller Girls were highly trained and precise.
After John Tiller's death in 1925, the Tiller schools in the U.K. were kept alive first by his wife Jennie Tiller, then by some of the head girls. The U.S. Tiller school in New York City was continued under the leadership of Mary Read until 1935. By the 1940s The John Tiller Schools of Dancing were managed by its 3 directors. Mr John Smith, Miss Doris Alloway and Miss Barbara Aitken (also choreographer and a former Tiller Girl). During the 1940s the Tiller Girls were popular, appearing in summer seasons, pantomimes, variety tours, London West End shows and cabaret.

Buy with full confidence check my feedback and Thankyou for looking!

More Autograph books listed - Check out my other items!

Add summerdannys
to your FAVOURITES !

Terms & Conditions
Payment must be received within 5 days of Auction ending (unless other arrangements made via email)
Postage & Packaging
Items are dispatched within 1-3 working days of receipt of payment or cleared funds
Postage costs include Shipment, Handling, Postage & Packaging.

PLEASE NOTE: All sales are private and I offer No Warranty or Returns on any purchase unless otherwise stated.

I am happy to combine postage on multiple items that are purchased at the same time.
Any questions Please email me

Thank you for looking !

35 mm equivalent focal length Angle of view Aperture Black and white Chromatic aberration Circle of confusion

Color balance Color temperature Depth of field Depth of focus Exposure Exposure compensation Exposure value F-

number Film format Large Medium Film speed Focal length Guide number Hyperfocal distance Metering mode Orb

(optics) Perspective distortion Photograph Photographic printing Photographic processes Reciprocity Red-eye

effect Science of photography Shutter speed Sync Zone System Genres Abstract Aerial Architectural

Astrophotography Banquet Conceptual Conservation Cloudscape Documentary Ethnographic Erotic Fashion Fine-art

Fire Forensic Glamour High-speed Landscape Lomography Nature Neues Sehen Nude Photojournalism Pornography

Portrait Post-mortem Selfie Social documentary Sports Still life Stock Street Vernacular Underwater Wedding

Wildlife Techniques Afocal Bokeh Brenizer Contre-jour Cyanotype ETTR Fill flash Fireworks Harris shutter HDRI

High-speed Holography Infrared Intentional camera movement Kirlian Kite aerial Long-exposure Macro Mordançage

Multiple exposure Night Panning Panoramic Photogram Print toning Redscale Rephotography Rollout Scanography

Schlieren photography Sabatier effect Stereoscopy Stopping down Strip Slit-scan Sun printing Tilt?shift

Miniature faking Time-lapse Ultraviolet Vignetting Xerography Composition Diagonal method Framing Headroom Lead

room Rule of thirds Simplicity Equipment Camera light-field field instant pinhole press rangefinder SLR still

TLR toy view Darkroom enlarger safelight Film base format holder stock Filter Flash beauty dish cucoloris gobo

hood hot shoe monolight Reflector snoot Softbox Lens Wide-angle lens Zoom lens Telephoto lens Manufacturers

Monopod Movie projector Slide projector Tripod head Zone plate History Timeline of photography technology

Analog photography Autochrome Lumière Box camera Calotype Camera obscura Daguerreotype Dufaycolor Heliography

Painted backdrops Photography and the law Glass plate Visual arts photography Digital camera D-SLR comparison

MILC camera back Digiscoping Digital nude versus film photography Film scanner Image sensorCMOS APS CCD Three-

CCD camera Foveon X3 sensor Image sharing Pixel Color photography Color Print film Reversal film Color

management color space primary color CMYK color model RGB color model Photographic processing Bleach bypass C-

41 process Cross processing Developer Digital image processing Dye coupler E-6 process Fixer Gelatin silver

process Gum printing Instant film K-14 process Print permanence Push processing Stop bath
Lists Norwegian Polish street women. A practical means of color photography was sought from the very beginning.

Results were demonstrated by Edmond Becquerel as early as 1848, but exposures lasting for hours or days were

required and the captured colors were so light-sensitive they would only bear very brief inspection in dim

light.The first durable color photograph was a set of three black-and-white photographs taken through red,

green, and blue color filters and shown superimposed by using three projectors with similar filters. It was

taken by Thomas Sutton in 1861 for use in a lecture by the Scottish physicist James Clerk Maxwell, who had

proposed the method in 1855.[33] The photographic emulsions then in use were insensitive to most of the

spectrum, so the result was very imperfect and the demonstration was soon forgotten. Maxwell's method is now

most widely known through the early 20th century work of Sergei Prokudin-Gorskii. It was made practical by

Hermann Wilhelm Vogel's 1873 discovery of a way to make emulsions sensitive to the rest of the spectrum,

gradually introduced into commercial use beginning in the mid-1880s.Two French inventors, Louis Ducos du Hauron

and Charles Cros, working unknown to each other during the 1860s, famously unveiled their nearly identical

ideas on the same day in 1869. Included were methods for viewing a set of three color-filtered black-and-white

photographs in color without having to project them, and for using them to make full-color prints on paper.[34]
The first widely used method of color photography was the Autochrome plate, a process inventors and brothers

Auguste and Louis Lumière began working on in the 1890s and commercially introduced in 1907.[35] It was based

on one of Louis Ducos du Hauron's ideas: instead of taking three separate photographs through color filters,

take one through a mosaic of tiny color filters overlaid on the emulsion and view the results through an

identical mosaic. If the individual filter elements were small enough, the three primary colors of red, blue,

and green would blend together in the eye and produce the same additive color synthesis as the filtered

projection of three separate photographs.A color portrait of Samuel Clemens (Mark Twain) by Alvin Langdon

Coburn, 1908, made by the recently introduced Autochrome process Autochrome plates had an integral mosaic

filter layer with roughly five million previously dyed potato grains per square inch added to the surface. Then

through the use of a rolling press, five tons of pressure were used to flatten the grains, enabling every one

of them to capture and absorb color and their microscopic size allowing the illusion that the colors are merged

together. The final step was adding a coat of the light capturing substance silver bromide after which a color

image could be imprinted and developed. In order to see it, reversal processing was used to develop each plate

into a transparent positive that could be viewed directly or projected with an ordinary projector. One of the

drawbacks of the technology is an exposure time of at least a second was required during the day in bright

light and the worse the light is, the time required quickly goes up. An indoor portrait required a few minutes

with the subject not being able to move or else the picture would come out blurry. This was because the grains

absorbed the color fairly slowly and that a filter of a yellowish-orange color was added to the plate to keep

the photograph from coming out excessively blue. Although necessary, the filter had the effect of reducing the

amount of light that was absorbed. Another drawback was that the film could only be enlarged so much until the

many dots that make up the image become apparent.[35][36] Competing screen plate products soon appeared and

film-based versions were eventually made. All were expensive and until the 1930s none was "fast" enough for

hand-held snapshot-taking, so they mostly served a niche market of affluent advanced amateurs.A new era in

color photography began with the introduction of Kodachrome film, available for 16 mm home movies in 1935 and

35 mm slides in 1936. It captured the red, green, and blue color components in three layers of emulsion. A

complex processing operation produced complementary cyan, magenta, and yellow dye images in those layers,

resulting in a subtractive color image. Maxwell's method of taking three separate filtered black-and-white

photographs continued to serve special purposes into the 1950s and beyond, and Polachrome, an "instant" slide

film that used the Autochrome's additive principle, was available until 2003, but the few color print and slide

films still being made in 2015 all use the multilayer emulsion approach pioneered by Kodachrome. Talbot's early

silver chloride "sensitive paper" experiments required camera exposures of an hour or more. In 1840, Talbot

invented the calotype process, which, like Daguerre's process, used the principle of chemical development of a

faint or invisible "latent" image to reduce the exposure time to a few minutes. Paper with a coating of silver

iodide was exposed in the camera and developed into a translucent negative image. Unlike a daguerreotype, which

could only be copied by rephotographing it with a camera, a calotype negative could be used to make a large

number of positive prints by simple contact printing. The calotype had yet another distinction compared to

other early photographic processes, in that the finished product lacked fine clarity due to its translucent

paper negative. This was seen as a positive attribute for portraits because it softened the appearance of the

human face[citation needed]. Talbot patented this process,[26] which greatly limited its adoption, and spent

many years pressing lawsuits against alleged infringers. He attempted to enforce a very broad interpretation of

his patent, earning himself the ill will of photographers who were using the related glass-based processes

later introduced by other inventors, but he was eventually defeated. Nonetheless, Talbot's developed-out silver

halide negative process is the basic technology used by chemical film cameras today. Hippolyte Bayard had also

developed a method of photography but delayed announcing it, and so was not recognized as its inventor.In 1839,

John Herschel made the first glass negative, but his process was difficult to reproduce. Slovene Janez Puhar

invented a process for making photographs on glass in 1841; it was recognized on June 17, 1852 in Paris by the

Académie Nationale Agricole, Manufacturière et Commerciale.[27] In 1847, Nicephore Niépce's cousin, the chemist

Niépce St. Victor, published his invention of a process for making glass plates with an albumen emulsion; the

Langenheim brothers of Philadelphia and John Whipple and William Breed Jones of Boston also invented workable

negative-on-glass processes in the mid-1840s.[28] In 1851 Frederick Scott Archer invented the collodion

process.[29] Photographer and children's author Lewis Carroll used this process. (Carroll refers to the process

as "Tablotype" [sic] in the story "A Photographer's Day Out")[30] Roger Fenton's assistant seated on Fenton's

photographic van, Crimea, 1855 Herbert Bowyer Berkeley experimented with his own version of collodion emulsions

after Samman[disambiguation needed] introduced the idea of adding dithionite to the pyrogallol developer.

[citation needed] Berkeley discovered that with his own addition of sulfite, to absorb the sulfur dioxide given

off by the chemical dithionite in the developer, that dithionite was not required in the developing process. In

1881 he published his discovery. Berkeley's formula contained pyrogallol, sulfite and citric acid. Ammonia was

added just before use to make the formula alkaline. The new formula was sold by the Platinotype Company in

London as Sulpho-Pyrogallol Developer.Nineteenth-century experimentation with photographic processes frequently

became proprietary.The German-born, New Orleans photographer Theodore Lilienthal successfully sought legal

redress in an 1881 infringement case involving his "Lambert Process" in the Eastern District of

Louisiana.Popularization General view of The Crystal Palace at Sydenham by Philip Henry Delamotte, 1854 A mid-

19th century "Brady stand" armrest table, used to help subjects keep still during long exposures. It was named

for famous US photographer Mathew Brady.An 1855 cartoon satirized problems with posing for Daguerreotypes:

slight movement during exposure resulted in blurred features, red-blindness made rosy complexions look dark.In

this 1893 multiple-exposure trick photo, the photographer appears to be photographing himself. It satirizes

studio equipment and procedures that were nearly obsolete by then. Note the clamp to hold the sitter's head

still.A comparison of common print sizes used in photographic studios during the 19th century The daguerreotype

proved popular in response to the demand for portraiture that emerged from the middle classes during the

Industrial Revolution.[citation needed] This demand, which could not be met in volume and in cost by oil

painting, added to the push for the development of photography.Roger Fenton and Philip Henry Delamotte helped

popularize the new way of recording events, the first by his Crimean war pictures, the second by his record of

the disassembly and reconstruction of The Crystal Palace in London. Other mid-nineteenth-century photographers

established the medium as a more precise means than engraving or lithography of making a record of landscapes

and architecture: for example, Robert Macpherson's broad range of photographs of Rome, the interior of the

Vatican, and the surrounding countryside became a sophisticated tourist's visual record of his own travels.In

America, by 1851 a broadside by daguerreotypist Augustus Washington was advertising prices ranging from 50

cents to $10.[32] However, daguerreotypes were fragile and difficult to copy. Photographers encouraged chemists

to refine the process of making many copies cheaply, which eventually led them back to Talbot's process.
Ultimately, the photographic process came about from a series of refinements and improvements in the first 20

years. In 1884 George Eastman, of Rochester, New York, developed dry gel on paper, or film, to replace the

photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around.

In July 1888 Eastman's Kodak camera went on the market with the slogan "You press the button, we do the rest".

Now anyone could take a photograph and leave the complex parts of the process to others, and photography became

available for the mass-market in 1901 with the introduction of the Kodak Brownie. The most common size of film

is 35mm. This is the cassette that everyone thinks of when they think of film. But there is also medium format

film, which is 6cm wide and sometimes comes with a paper backing. APS film which is smaller than 35mm. There is

also sheet film which can be 4x5 inches or even larger and comes in sheets like paper instead of on a roll. The

size of the film dictates the resolution of your final image.35mm can be blown up to an 8x10 easily, but medium

format and large pieces of sheet film can be blown up to poster size with little trouble. Most medium format

cameras shoot a square that is close to four times the size of a 35mm negative. That's four times the

resolution, four times the detail. On a moderately priced scanner, I've produced files from medium format film

that are over a 1 GB. For a single image, that is huge. Set on its highest resolution, my DSLR can fit over 70

photos in that amount of space. But alas, due to the developing costs, camera costs, and for the most part

unneeded resolution, I don't shoot much medium format film. My favorite film size is 35mm because of the vast

number of cameras that use it. The most common film type is color negative or C-41 film. But there is also

black and white negative film which I mentioned earlier for its extreme latitude. And there is slide film (also

called chrome or E6) which creates a positive color image. You might be familiar with this type of film if

you've ever seen old slides that were shown with a projector. Slide film has a latitude similar to that of

digital cameras, but it can produce a very high quality, high resolution image. It also reproduces vivid colors

brilliantly. My favorite type of color film is Kodak UC 100. This 100 speed color negative has been given the

special designation of "Ultra Color" because the hues are so rich and saturated. I also love Kodak Tri-X for

black and white work. It is extremely forgiving both in exposure and in developing. Film speeds range from 100

to 3200 typically. Film speed is often expressed as an ISO setting and many advanced digital cameras allow you

to change this setting in a digital way. Film speed really has nothing to do with speed - it would be more

appropriate to call it film sensitivity. 100 speed film is "slow" or not very sensitive, it needs a lot of

light to make an exposure. 3200 speed film is "fast" or very sensitive. I'm reluctant to say that slow film

speeds are best for bright outdoor situations and fast film speeds are best for action or low light, but that

is a general guide line. That said, don't be afraid to experiment with fast film outside during the day or slow

speed films in low light. The important thing to remember is that the more sensitive a film is the more

"grainy" your photos will be. Most of the time, 100 speed film will have greater detail and stronger, richer

colors than 3200 speed film. In my opinion, 800 speed is as high as I will go. If I'm shooting black and white,

the film can be "pushed" to a higher speed during the developing process. For color, the quality of the image

suffers too much at higher speeds. In the photo below, though taken with a digital camera, the quality differs

between high and low ISO settings. The effect with film is similar.Bolsey C22 Bolsey C22 - Vintage Cameras
Exakta RTL 1000 Exakta RTL 1000 - Vintage Cameras Oriental Japan Large Format Field Camera Oriental Japan Large

Format Field Camera - Vintage Cameras NIKON S3 BODY Black Original NIKON S3 BODY Black Original - Vintage

Cameras LOMO 135 VS LOMO 135 VS - Vintage Cameras The Agfa Clack The Agfa Clack - Vintage Cameras The Zeiss

Ikon Ikoflex IIa The Zeiss Ikon Ikoflex IIa - Vintage Cameras ANSCO Shur-Flash ANSCO Shur-Flash - Vintage

Cameras The Voigtländer Bessa-L The Voigtländer Bessa-L - Vintage Cameras The Zenit-TTL The Zenit-TTL Vintage

Cameras Lomography Diana+ Lomography Diana+ - Vintage Cameras Yashica D-Twin Yashica D-Twin - Vintage Cameras
Kodak 35 Kodak 35 - Vintage Cameras Argus Argus - Vintage Cameras Pentax K 1000 Pentax K 1000 - Vintage Cameras
FUJI TX-2 FUJI TX-2 - Vintage Cameras Kodak Instamatic Kodak Instamatic - Vintage CamerasMinolta 110 Zoom

Minolta 110 Zoom - Vintage Cameras Rollei 35 Rollei 35 - Vintage Cameras Kodak Brownie Bullet Camera Kodak

Brownie Bullet Camera - Vintage Cameras Wirgin Folding Camera Wirgin Folding Camera - Vintage Cameras
Mamiya RB67 Mamiya RB67 - Vintage Cameras Crown Graphic Crown Graphic - Vintage Cameras Kodak Colorburst

Instant Camera Kodak Colorburst Instant Camera - Vintage Cameras Minolta Autocord Minolta Autocord - Vintage

Canon F1 Canon F1 - Vintage Cameras Kodak Pony Kodak Pony - Vintage Cameras Polaroid SX70 Polaroid SX70 -

Vintage Cameras The Univex Mercury The Univex Mercury - Vintage Cameras Hasselblad 500 Series (V System)

Hasselblad 500 Series (V System) - Vintage Cameras Graph-Check Sequence Camera Graph-Check Sequence Camera -

Vintage Cameras The Action Sampler The Action Sampler - Vintage Cameras Kiev ? a Soviet Contax Kiev ? a Soviet

Contax - Vintage Cameras KING Sequence 8 model X-2 KING Sequence 8 model X-2 - Vintage Cameras Koni-Omega Rapid

M Koni-Omega Rapid M - Vintage Cameras Lubitel Universal 166 Lubitel Universal 166 - Vintage Cameras Lubitel+

IS Lubitel+ IS 01. Leica M3, Double Stroke, 1956 an-argoflex-trio02. An Argoflex Trio -instant-camera03. Kodak

Happy Times Instant Camera mamiya-528-AL-outfit04. Mamiya 528 AL Outfit star-wars-episode-I05. Star Wars

Episode I Picture Plus Image Camera rollei-rolleiflex-3-5E06. Rollei Rolleiflex 3.5E batman-digital-camera07.

Batman Digital Camera imperial-mark-2708. Imperial Mark 27 ensign-ful-vue09. Ensign Ful-Vue no-3A-folding-

pocket-kodak10. No 3A Folding Pocket Kodak -ultra-fex11. Ultra Fex kodak-startech12. Kodak Startech super-

altissa13. Super Altissa -ansco-camera-head-robot14. Ansco Camera Head Robot kodak-brownie-vecta15. Kodak

Brownie Vecta sabre-620-cameras-1-valiant-62016. Sabre 620 Cameras 1 Valiant 620 dick-tracy17. Dick Tracy
dacora-daci-royal18. Dacora Daci Royal haneel-tri-vision19. Haneel Tri-Vision color-flex20. Color-Flex
zeiss-ikon-voigtlander-vitessa-500-AE-electronic21. Zeiss Ikon Voigtländer Vitessa 500 AE Electronic
univex-mercury-II-model-CX22. Univex Mercury II (Model CX) bauer-88B23. Bauer 88B polaroid-land-camera-

automatic-34024. Polaroid Land Camera Automatic 340 tower-camflash-12725. Tower Camflash 127 ferrania-zeta-

duplex26. Ferrania Zeta Duplex brownie-beau-no227. Brownie Beau No2 spartus-rocket28. Spartus Rocket
univex-uniflash29. Univex Uniflash coca-cola-brownie-starflash30. Coca-Cola Brownie Starflash
kandor31. Kandor majestic32. Majestic imperial-HD-70033. Imperial HD 700 kodak-no2-hawkette34. Kodak No.2

Hawkette ginfax-can-camera-heineken35. Ginfax Can Camera (Heineken) gilbert36. Gilbert argus-model-m37. Argus

Model M zorki-c38. Zorki C voltron-star-shooter39. Voltron Star Shooter the-president40. The President
coronet-consul41. Coronet Consul slick-for-rebollo42. Slick For Rebollo anscoflex-II43. Anscoflex II
spartus-press-flash44. Spartus Press Flash brenda-starr-cub-reporter45. Brenda Starr Cub Reporter pentacon-

penti46. Pentacon Penti leica-R5-black-outfit47. Leica R5 (black) Outfit -almost-twin-brownies48. Almost Twin

Brownies imperial-reflex49. Imperial Reflex graflex-century-graphic-2x350. Graflex Century Graphic 2×3 Film -

Strictly speaking, film is a photographic material that consists of a celluloid base covered with a

photographic emulsion. It is used to make negatives or transparencies and can be contained in a roll, cassette,

or cartridge. Larger film usually comes in sheets. When we say film we are referring to processed/developed

slides, negatives, or transparencies. Film Format - The size of the film. Frame - One still image. A frame can

be single or part of a filmstrip containing multiple frames. All our scanning is priced per frame, not per

filmstrip. Filmstrip - A piece of photographic film that contains one or more photographic frames. Transparency

- An unmounted positive photographic image on film. A transparency can be color or black & white. Slide - A

single transparency frame that has been placed in a slide mount. In other words, a slide is a mounted

transparency. There are different types of slides but the most common is a 35mm slide. Negative - The inverse

of a positive image. Blacks appear white and whites appear black if you view a neg on a light box. Negative

film comes in all formats and can be color or black and white. Matted - One frame that has been taped/attached

to a piece of board. Any frame can be matted but medium format transparencies are most common. Matts usually

fold over like a book and contain a window for viewing the image. DPI - Dots per inch. Refers to print

resolution, or how many dots a printer can produce in one inch. 300dpi is standard photo quality. Higher DPI =

better quality, lower DPI = lower quality. SPI - Samples per inch. A scanner reproduces images by taking

"samples" across an image, and so a scanner will take 4000 samples in a 4000spi scan. SPI is basically the

technical term for the resolution the scanner uses when you are in the process of scanning or taking samples.

PPI - Pixels per inch. This is how we measure how many pixels are displayed in a digital image, the result of

the scan. A 4000spi scan results in a 4000ppi digital image. Both Adobe and Nikon measure digital images as PPI

and we do too. Film Formats The basic film formats are sub-miniature, APS, standard, medium, and large format.

Please note that the images below are NOT to scale and this list only covers the more common formats. 110

"Instamatic" Format 110 Filmstrip This is a 110 filmstrip that contains 4 13mm x 17mm frames. The 110

instamatic film format comes in cartridges and was introduced by Kodak in 1972. 110 film is exactly 16mm wide.

110 Slide Here's what a 110 slide in a 2" x 2" mount looks like. The viewable frame size is about 12mm x 16mm.

If you happen to have the small 110 30mm x 30mm mount slides, you will need to buy 50mm x 50mm adapters and

place the small slide in them so they can be scanned; one adapter for every slide. Disc Film Disc Film This is

disc film. The disc contains 15 8mm x 11mm frames. This film was introduced by Kodak in 1982 but it didn't

catch on. Probably because the small frames produced grainy unsharp images. We currently do not scan disc film.

APS - Advanced Photo System APS Cassette This is an APS cassette. One unique aspect of APS film is that it's

always contained in the cassette. This allows you to change rolls mid-roll without damaging the film. APS

cassettes typically contain 15, 25, or 40 frames. APS is negative film and comes in both color and black and

white. Inside the cassette the film is 23mm wide and the frames are 30.2mm x 16.7mm in size (don't open the

cassette or it will be ruined!). We discontinued APS scanning service 1/08. 135 (35mm) Standard Format Standard

35mm Filmstrip This is a standard 35mm filmstrip that contains 4 36mm x 24mm frames. The frame number is

printed on the top and/or bottom of the frame. 135 format is exactly 35mm wide. This format was introduced in

1934 and quickly became the most popular format.35mm Slide Here's what a standard 35mm slide in a 2" x 2" mount

looks like. The frame size (black area) is usually about 34mm x 23mm, although it does vary by manufacturer and

slide age. 126 "Instamatic" Format 126 Filmstrip This is a 126 filmstrip that contains 4 28mm x 28mm frames.

The frame number is printed at the bottom of the frame. 126 film is actually 35mm wide and so it can be

confused with 35mm if you don't look carefully. Like 110 format, 126 film comes in cartridges for easy loading;

it was introduced in 1963. 126 Slide Here's what a 126 slide in a 2" x 2" mount looks like. The viewable area

is usually about 26.5mm x 26.5mm. Now due to the aperture of the scanner (36.8mm x 25.1mm) about 1.45mm will be

cropped from the top and bottom of these slides. Move your mouse over the picture to see the area that will get

cropped out (red). 127 Format 127 Slide Here's what a 127 "super slide" in a 2" x 2" mount looks like. The

viewable area is about 40mm x 40mm. Unfortunately, a significant portion cannot be scanned due to the aperture

of the scanner. Move your mouse over the picture to see the area that will get cropped out (red). 120 Medium

Format 6x6cm Transparency or Negative 120 medium format contains a range of frame sizes; 6x4.5cm, 6x6cm, 6x7cm,

6x8cm, and 6x9cm. The most common being the 6x6cm size shown at the left. This actually has a frame size of

56mm x 56mm. The frame number is printed at the top or bottom and this format is 60mm wide. This format was

introduced in 1901 and comes on a roll. Also related are 220 and 620 format. The difference is that these

formats allow for more exposures per roll. 6x6cm Slide This is a medium format 6x6cm slide in a 70mm x 70mm

mount. We can scan these slides and also 6x4.5cm, 6x7cm, 6x8cm, and 6x9cm medium format slides. 6x6 Matted

Here's a matted 6x6cm frame. Please remove film from mats before sending it in for scanning. We do not

recommend this type of mounting because adhesives can easily become permanently stuck to the film, thereby

damaging it.4 x 5 Inch Large Format 4" x 5" Large Format 4" x 5" large format is sheet film. You would think

this format would be 4x5 inches in size, but it's not. The sheet size is usually about 100mm x 125mm and the

frame size is roughly 95mm x 120mm. We discontinued 4x5 inch scanning service 7/11.