Ultraviolet Photography
since: 2018/09/24
update: 2018/11/19
reference:
0. Ultraviolet Photography
1. Ultraviolet Photography with Film-Based Cameras
2. Black and White ArtZone-UltraViolet Photography
3. A Beginners Guide to UV Reflectance in Photography
4. Ultraviolet, Infrared & Fluorescence Photography
5. Reflected Ultraviolet Photography
6. UV photography
7. Overview of Infrared and Ultraviolet Photography
8. Photo Extremist: Creative Photography Tutorials
9. A Photographer Captures Plants’ Invisible UV Glow - Creators
10. Filters for UV photography
11. Photography of the Invisible World
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Ultraviolet Photography with Film-Based Cameras
Dr. Austin Richards info@uvcorder.com
Because digital ultraviolet imaging systems are generally more expensive than film-based UV camera systems, it is worth discussing the difficulties that the traditional film-based UV photographer faces.
因為數字紫外成像系統通常比基於膠片的UV相機系統更昂貴，所以值得討論傳統的基於膠片的UV攝影師所面臨的困難。
Ultraviolet imaging in the near-UV band has traditionally been done with standard black and white film cameras equipped with a filter that passes near-UV light while rejecting visible light. The Wratten 18A filter has been a staple of UV photography for decades, but is no longer manufactured. Suitable replacements include filters made with Hoya U- 360 and Schott UG-11 glasses. These glasses have a black appearance to the eye, since nearly all visible light is absorbed. These filters are unfortunately called UV filters, but really they are visible light filters! They let the UV through and block visible light. This is the opposite of the traditional UV haze filter, often denoted by the number 2A, which blocks UV, but passes visible light!
傳統上，標準的黑白膠片相機在近紫外波段進行紫外成像，該膠片相機配備了過濾器，該過濾器通過近紫外光，同時抑制可見光。 幾十年來，Wratten 18A過濾器一直是紫外線攝影的主要產品，但已不再生產。 合適的替代品包括用Hoya U-360和Schott UG-11玻璃製成的過濾器。 這些眼鏡在眼睛上具有黑色外觀，因為幾乎所有可見光都被吸收。 不幸的是，這些過濾器被稱為UV過濾器，但實際上它們是可見光過濾器！ 它們讓紫外線通過並阻擋可見光。 這與傳統的紫外線霧霾濾光片相反，通常用數字2A表示，它可以阻擋紫外線，但會通過可見光！
Standard camera lenses can be used for UV imaging in the near-UV band (340-400nm), although their transmission rolls off below about 330nm. For shorter wavelengths of UV, the standard practice is to use a special lens made of UV-transmitting materials such as quartz and calcium fluorite. These lenses are very expensive and come in a limited range of focal lengths and f/numbers.
標準相機鏡頭可用於近紫外波段（340-400nm）的紫外成像，儘管它們的傳輸在約330nm以下滾動。 對於較短波長的紫外線，標準做法是使用由紫外透射材料製成的特殊鏡片，如石英和螢石鈣。 這些鏡頭非常昂貴，並且焦距和f /數量範圍有限。
The disadvantages of UV photography using film are many, and the situation is getting worse with time, because some UV photographic equipment for film cameras is no longer being produced. Apparently, many manufacturers of photographic equipment have decided that there is little opportunity to make money on low-volume items like UV pass filters, quartz lenses and special UV film.
使用膠片的UV攝影的缺點很多，並且隨著時間的推移情況越來越糟，因為用於膠片相機的一些UV攝影設備不再生產。 顯然，許多攝影器材製造商已經決定，在紫外線透過濾器，石英透鏡和特殊紫外線膠片等小批量產品上賺錢的機會微乎其微。
Why is it hard to use a camera to record a UV image? For starters, one cannot compose the shot with a UV pass filter installed on the lens of an SLR camera, because the filter is opaque to visible light. This makes it very difficult to take candid images in the UV band. A tripod is an absolute requirement, since the exposures with standard films like T-Max 400 tend to be quite long. In addition, the focus setting will be different for the UV image, unless one is using a quartz lens like the very expensive Nikon UV-Nikkor (no longer produced) that has the same focus point for both green and near-UV light. In practice, the UV film photographer ends up shooting with the aperture stopped way down to increase the depth of field. This can obviate the focus problem, but makes for even longer exposure times. Conventional light meters on modern SLR cameras aren’t calibrated for UV work, so getting the right exposure almost always requires bracketing to achieve the correct exposure density.
為什麼使用相機記錄UV圖像很困難？ 對於初學者來說，不能使用安裝在SLR相機鏡頭上的UV通過濾鏡來構圖，因為濾光片對可見光是不透明的。 這使得在UV波段中拍攝坦率圖像非常困難。 三腳架是絕對必要的，因為使用標準膠片如T-Max 400的曝光往往很長。 此外，對於UV圖像，焦點設置將有所不同，除非使用石英鏡頭，如非常昂貴的Nikon UV-Nikkor（不再生產），對於綠光和近紫外光都具有相同的焦點。 在實踐中，UV膠片攝影師最終拍攝時光圈停止向下以增加景深。 這可以避免焦點問題，但可以實現更長的曝光時間。 現代SLR相機上的傳統測光錶未針對UV工作進行校準，因此獲得正確的曝光幾乎總是需要包圍以獲得正確的曝光密度。
To summarize the UV film experience, you put the camera on the tripod, compose the shot with the UV pass filter removed, focus in the visible, stop the lens down to f/11 or thereabouts, put the filter on, bracket the exposure using a cable release since you generally have several second long exposures, develop the film and throw away 80% of your images that are either too light or too dark. To add to the pain and suffering, black and white film is no longer sold in drugstores and supermarkets, and your standard 1 hour photolab won’t process it. Color film can be used for UV photography, but it is less sensitive than high-speed B/W film leading to still longer exposures and a lot of trial and error.
總結一下紫外線膠片的使用經驗，你將相機放在三腳架上，在取下紫外線通過濾光鏡的情況下進行拍攝，將焦點對準可見光，將鏡頭向下移至f / 11或左右，將濾光鏡打開，用曝光支架曝光 電纜釋放，因為你通常有幾秒鐘長時間曝光，開發電影並丟棄80％的太亮或太暗的圖像。 為了增加痛苦和痛苦，黑色和白色膠片不再在藥店和超市出售，你的標準1小時photolab將不會處理它。 彩色膠片可以用於紫外線攝影，但它不如高速黑白膠片敏感，導致更長時間的曝光和大量的反複試驗。
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Black and White ArtZone-UltraViolet Photography
Light which is visible to the human eye covers the spectral region from about 400 to 750 nanometers. This is the radiation spectrum used in normal photography. There is another band of radiation that is also included in the complete spectrum, and extends from about 10 nanometers to 400 nanometers, known as ultraviolet (UV) radiation. Ultraviolet light is divided in three bands: Long wave UV that extends from 320 to 400 nanometers. Medium wave UV that extends from 280 to 320 nm.. Short wave UV that extends from 200 to 280 nm.
人眼可見的光覆蓋約400至750納米的光譜區域。 這是正常攝影中使用的輻射光譜。 還存在另一個輻射帶，其也包括在整個光譜中，並且從大約10納米延伸到400納米，稱為紫外（UV）輻射。 紫外線分為三個波段：長波紫外線，從320納米到400納米。 中波紫外線從280納米到320納米。短波紫外線從200波長到280納米。
In archaeological photography, we use ultraviolet radiation when we want to provide information about an object which cannot be obtained by other photographic methods. With UV radiation we can reveal the coloring, the images and many times the writing that have been rendered invincible with the passage of time.
在考古攝影中，當我們想要提供關於通過其他攝影方法無法獲得的物體的信息時，我們使用紫外線輻射。 通過紫外線輻射，我們可以顯示著色，圖像和許多次隨著時間的推移而變得無敵的書寫。
Another application, is to collect information about the condition of the ancient subject. We can collect information about the level of moisture deterioration and how deep it has penetrated. We can reveal hidden cracks in marble artifacts. We can also verify the authenticity of an artifact, as well as any additional work or restoration done on it at a later time.
另一個應用是收集有關古代主體狀況的信息。 我們可以收集有關水分惡化程度和滲透深度的信息。 我們可以揭示大理石文物中隱藏的裂縫。 我們還可以驗證工件的真實性，以及稍後對其進行的任何其他工作或修復。
In archaeological photography, long wave UV is mostly used. A big deciding factor is that long wave UV radiation can pass freely from most modern lenses, in contrast with the short bands that are absorbed by normal glass lenses. There are some special quartz crystal lenses made by Zeiss for Hasselblad and other companies, which allow wavelengths from about 200 to 280 nanometers to pass. These short UV wavelengths are used mostly in medical research, will cause "sunburn" of unprotected eyes or skin, and of course the price of the lenses is very high.
在考古攝影中，大多使用長波紫外線。 一個重要的決定因素是長波紫外線輻射可以從大多數現代鏡頭自由通過，與普通玻璃鏡頭吸收的短波段相反。 Zeiss為Hasselblad和其他公司製造了一些特殊的石英晶體透鏡，可以通過大約200到280納米的波長。 這些短紫外波長主要用於醫學研究，會導致無保護眼睛或皮膚的“曬傷”，當然鏡片的價格也很高。
There are two ways to use UV radiation to take photographs. The reflected ultraviolet and the ultraviolet fluorescence photography.
The reflected ultraviolet photography has no practical use in archaeological photography (other than a few cases), as it has in medicine, dermatology, criminology and theatrical applications.
有兩種方法可以使用紫外線照射來拍攝照片。 反射紫外線和紫外熒光攝影。
反射紫外線攝影在考古攝影（除少數情況之外）中沒有實際用途，因為它在醫學，皮膚病學，犯罪學和戲劇應用中都有。
Sunlight is the most available free UV radiation source, but the quality and quantity of the radiation depends on atmospheric conditions. A bright and dry day is much richer in UV radiation and is preferable than a cloudy or rainy day.
陽光是最常用的紫外線輻射源，但輻射的質量和數量取決於大氣條件。 明亮乾燥的一天比紫外線輻射更豐富，比陰天或下雨天更好。
Other suitable sources are electronic flash, and "black light" fluorescence tubes. Electronic flash, in combination with an aluminum reflector can be used efficiently. Some flash units have a special UV absorbing glass over the flash tube, which must be removed before the exposure.
其他合適的來源是電子閃光燈和“黑光”熒光燈管。 可以有效地使用電子閃光燈和鋁反射器。 有些閃光燈在閃光燈管上有一個特殊的紫外線吸收玻璃，必須在曝光前將其取下。
Special UV lamps known as "black light" fluorescence tubes, are used for long wave ultraviolet photography. Most modern UV sources are based on a mercury arc sealed in a glass tube. By coating the tube internally with a suitable phosphor, it becomes an effective long wave UV source.
被稱為“黑光”熒光燈管的特殊紫外線燈用於長波紫外線攝影。 大多數現代紫外光源都是基於密封在玻璃管中的汞弧。 通過在內部塗覆合適的磷光體，它成為有效的長波紫外光源。
In reflected UV photography the subject is illuminated directly by 2 lamps (radiation sources). A filter is placed on the lens, that allows ultraviolet to pass and absorbs all visible light. Kodak Wratten 18A, B+W .. are some of this kind of filters. These filters are made from glass. Most types of glass will allow long wave UV to pass, but absorb all the other UV wavelengths.
在反射UV攝影中，受試者直接由2個燈（輻射源）照射。 濾鏡放置在鏡頭上，允許紫外線通過並吸收所有可見光。 Kodak Wratten 18A，B + W ..是這種過濾器的一部分。 這些過濾器由玻璃製成。 大多數類型的玻璃都允許長波紫外線通過，但吸收所有其他紫外波長。
Ultraviolet fluorescence photography on the other hand, has better results in archaeological photography. We use the same fluorescence tubes as in reflected UV photography, except that a glass filter is placed in front of the light source, to absorb all the visible light and allow the desired ultraviolet to pass only. These filters are sometimes incorporated in the source tube itself, but most of the time are separate elements. These filter glasses usually allow a small amount of violet visible light. This should not be confused with UV light, which is invisible to the human eye.
另一方面，紫外熒光攝影在考古攝影中具有更好的效果。 我們使用與反射UV攝影相同的熒光管，除了將玻璃濾光片放置在光源前面，以吸收所有可見光並允許所需的紫外線僅通過。 這些過濾器有時包含在源管本身中，但大多數時候是單獨的元件。 這些濾光玻璃通常允許少量的紫色可見光。 這不應該與人眼看不見的紫外線混淆。
The same kind of filters are made for flash tubes also, for BALCAR and other lighting companies. This filter is called an "exciter" filter and it allows only the radiation needed to excite fluorescence. A second filter must be placed in front of the camera lens, to exclude residual ultraviolet and allow the resulting fluorescence. This filter is called the "barrier" filter. Kodak Wratten 2A- 2B is effective. Using a 2E filter gives better results in some situations. The same filters are also made by other companies with the same codes.
對於BALCAR和其他照明公司而言，也為閃光管製造了相同類型的濾光片。 該濾波器稱為“激勵器”濾波器，它僅允許激發熒光所需的輻射。 必須在鏡頭前放置第二個濾鏡，以排除殘留的紫外線並產生熒光。 此過濾器稱為“屏障”過濾器。 Kodak Wratten 2A-2B是有效的。 在某些情況下，使用2E濾波器可以獲得更好的效果。 其他公司也使用相同的代碼製作相同的過濾器。
The shooting must take place in a darkened room, with a black background and for better results, you should wear dark color clothes.
拍攝必須在黑暗的房間裡進行，黑色背景，為了獲得更好的效果，你應該穿深色衣服。
In case a layer of varnish is used over a subject to protect it against the sun's ultraviolet radiation, this layer must be removed before taking a photograph.
如果在受試者上使用一層清漆以保護其免受太陽的紫外線輻射，則必須在拍攝照片之前去除該層。
Due to the very low intensity of light in practice, it is very difficult to use a common exposure meter to take measurements. Correct exposure time can be found only with a series of test exposures, depending on the lighting equipment and the size of the subject. The lights must be placed as close to the subject as possible, while being able to illuminate the whole surface, i.e. from 20 to 50 cm. Using a Polaroid B&W film, type 667 3200 ASA or equivalent as a starting point it help to determine the correct exposure time.
由於實際上光的強度非常低，因此很難使用普通的曝光計進行測量。 只有一系列測試曝光才能找到正確的曝光時間，具體取決於照明設備和拍攝對象的尺寸。 燈必須盡可能靠近物體放置，同時能夠照亮整個表面，即20至50厘米。 使用寶麗來B＆W膠片，輸入667 3200 ASA或等效物作為起點，有助於確定正確的曝光時間。
All B&W Panchromatic films are sensitive to ultraviolet radiation and are suitable for ultraviolet photography, but a faster film like 400 ASA is better than 100 ASA. Using Kodak T-Max 400 ASA as 800 ASA is a good solution without needed pushing proccessing. Due to the very long exposure -from 2 to 15 min.- reciprocity effect must be taken in mind during development. Image contrast decreases as the wavelength of radiation becomes shorter. It is better to increase development time a bit, to get a higher contrast B&W negative.
所有 B＆W 全色底片 都對紫外線輻射敏感，適合紫外線攝影，但像400 ASA更快的膠片比100 ASA更好。 使用柯達 T-Max 400 ASA作為 800 ASA是一個很好的解決方案，無需推動處理。 由於暴露時間很長 - 從2到15分鐘 - 在開發過程中必須考慮到互惠效應。 隨著輻射波長變短，圖像對比度降低。 最好稍微增加開發時間，以獲得更高的對比度B＆W負面。
With color films, daylight type film is preferable. Using the new Kodak E100S or Fuji Provia you would not have big problems with reciprocity effects and color changes. You might need a second color correction filter for better overall color balance. This filter must be fitted between the barrier filter and the lens.
對於彩色底片，日光型底片是優選的。 使用新的 Kodak E100S 或 Fuji Provia，您不會遇到互惠效應和顏色變化的大問題。 您可能需要第二個顏色校正濾鏡，以獲得更好的整體色彩平衡。 此濾鏡必須安裝在屏障濾鏡和鏡頭之間。
Focusing for ultraviolet light is another problem. In practice you must focus a bit farther than the surface of the subject, lighting the subject first with a tungsten lamp for focusing, switching it off before shooting, and finally decreasing the lens aperture at least 1 stop, to obtain adequate depth of field.
聚焦紫外線是另一個問題。 在練習中，您必須將焦點稍微偏離拍攝對象的表面，先用鎢燈照亮拍攝對象進行對焦，然後在拍攝前將其關閉，最後將鏡頭光圈減少至少1檔，以獲得足夠的景深。
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A Beginners Guide to UV Reflectance in Photography
Typical photography exists around the visible spectrum (think of the rainbow), but cameras are also able to pick up other wavelengths of radiation. Ultraviolet radiation, as the name suggests, comes after the violet section of the visible spectrum so is not visible to our eyes. However, some animals (birds, for example) are able to see UV.
典型的攝影存在於可見光譜周圍（想想彩虹），但攝像機也能夠拾取其他波長的輻射。 顧名思義，紫外線輻射出現在可見光譜的紫色部分之後，因此我們的眼睛看不到。 然而，一些動物（例如鳥類）能夠看到紫外線。
UV reflectance photography essentially is recording the UV radiation which is reflected back from a UV source. A UV source emits UV radiation, and this is often referred to as UV light. However UV light does not exist, since light is visible and UV is not! UV reflectance is a fairly involved and arduous process without specialized equipment, however the results can be very rewarding.
UV反射攝影基本上是記錄從UV源反射回來的UV輻射。 UV源發射UV輻射，這通常被稱為UV光。 然而，紫外線不存在，因為光是可見的，而紫外線則不是！ 在沒有專門設備的情況下，紫外線反射是一個相當複雜和艱苦的過程，但結果可能是非常有益的。
Subjects
主題
Why would you want to use UV reflectance? Try shooting someone’s face, then covering it with high SPF sunscreen. Alternatively try imaging some flowers as the patterns visible may differ.
你為什麼要使用紫外線反射？ 嘗試拍攝某人的臉，然後用高SPF防曬霜覆蓋。 或者嘗試對一些花進行成像，因為可見的圖案可能不同.
The UV record shows the effectiveness of the SPF50 sunscreen (made for babies) at absorbing UV. The clean face shows the damage to my skin from the sun (it shows up freckles I never knew existed).
紫外線記錄顯示SPF50防曬霜（嬰兒用）吸收紫外線的有效性。 乾淨的臉顯示我的皮膚受到太陽的傷害（它顯示我從未知道的雀斑）。
Equipment
設備
UV Source: I’m using a fancy converted Metz flash which i’ve been lent, however a simply UV Torch or a black light tube will be more than sufficient.
紫外光源：我使用的是一種經過改裝的 Metz閃光燈，我已經借過了它，但是簡單的紫外火炬或黑光燈管就足夠了。
Instead of a UV source: Flash can be used, a high output studio flash will emit a fair bit of UV
替代UV光源：可以使用閃光燈，高輸出工作室閃光燈會發出相當多的紫外線.
UV Sensitive Camera: I’ve got access to a specialist Nikon D700 converted to be sensitive only to UV however, the cheapest commercial option is to simply use black and white film.
UV敏感相機：我可以使用專業的尼康D700轉換為僅對UV敏感，但最便宜的商業選擇是簡單地使用黑白膠片。
Black and White Film has sensitivity to UV however the images may suffer from reduced contrast.
黑白膠片對UV具有敏感性，但是圖像可能會受到對比度降低的影響。
UV Transmission Filter: A Filter such as the Kodak Wratten 18A (which leaks a little IR) or Baader Venus 1.25″ Ultraviolet Transmission Filter. (check eBay for these)
UV透射濾光片：過濾器，如 Kodak Wratten 18A（洩漏少許紅外線）或 Baader Venus 1.25“紫外線透射濾光片。 （查看 eBay 這些）
Tripod: Exposure times can be long therefore a tripod is necessary.
三腳架：曝光時間可能很長，因此需要三腳架。
Light Meter: Although fairly useless, this might help.
測光錶：雖然相當無用，但這可能會有所幫助。
The lens you use may be good or bad for UV — lenses often contain coatings to block UV — so experiment a little. Alternatively, a quartz lens can be used (Nikon used to make a UV-Nikkor. Be prepared to pay excessively if you can find one).
你使用的鏡頭可能對紫外線有好處或壞處 - 鏡片通常含有阻擋紫外線的塗層 - 所以試驗一下。 或者，可以使用石英鏡頭（尼康用於製作紫外線尼克爾。如果能找到，可以準備支付過多的費用）。
Shooting Film
拍攝底片
Although I’ve not actually done this, I know of some people who have had success shooting UV reflectance using Ilford HP5. This process is much longer and requires a fair amount of bracketing of the exposure.
雖然我實際上並沒有這樣做，但我知道一些使用 Ilford HP5 成功拍攝紫外線反射的人。 這個過程要長得多，並且需要大量的曝光包圍。
First, the source should be set up. If using flash, set it to full power at a distance which is comfortable with your subject (high power flash is very bright and fairly warm). The flash should be triggered using a sync-lead or alternatively radio triggers. Tungsten light offers a good source of UV however the exposure time required will be significantly longer so a sharp image will be harder to obtain.
首先，應該設置源。 如果使用閃光燈，請將其設置為全功率，使拍攝對象感覺舒適（高功率閃光燈非常明亮且溫暖）。 應使用同步引線或無線電觸發器觸發閃光。 鎢燈提供了良好的紫外線光源，但所需的曝光時間將更長，因此難以獲得清晰的圖像。
Next, the camera should be loaded with a black and white film. A high ISO should help more – try out Delta 3200 or HP5 (ISO 400) from Ilford. Obviously, a high ISO film will give more grain, so there is a trade off between sensitivity and image quality.
接下來，相機應該裝有黑白膠卷。 高ISO應該可以提供更多幫助 - 從Ilford試用Delta 3200或HP5（ISO 400）。 顯然，高ISO膠片會產生更多顆粒，因此在靈敏度和圖像質量之間存在折衷。
As a flash source is being used, the shutter speed should be around 1/60th of a second, as high powered flash (such as the 3000 watt second Elinchrom Classics) often has a fairly long flash duration. A tripod may be used to steady the camera.
當使用閃光燈時，快門速度應該在1/60秒左右，因為高功率閃光燈（例如3000瓦秒的Elinchrom Classics）通常具有相當長的閃光持續時間。 三腳架可用於穩定相機。
There is some focus differential when doing UV reflectance photography, photographic lenses are designed to focus visible light not UV radiation, therefore shooting at a large aperture gives a higher chance of obtaining a sharp image.
在進行UV反射攝影時存在一些焦距差異，攝影鏡頭設計用於聚焦可見光而非UV輻射，因此在大光圈下拍攝可獲得更高的獲得清晰圖像的機會。
At this point, things have been fairly standard. Then comes the light metering: the UV pass filter should be held over the photocell of the light meter (if the light meter has a dome, remove it). This will give a very, very rough indication of the actual UV exposure, so bracket, bracket and bracket. For example, if it suggests f/11, try a range of exposures from f/8 to f/16.
在這一點上，事情已經相當標準。 然後是測光：紫外線通過濾光片應該固定在測光錶的光電管上（如果測光錶有圓頂，則將其取下）。 這將非常，非常粗略地顯示實際的紫外線照射，因此支架，支架和支架。 例如，如果它建議 f / 11，請嘗試從 f / 8 到 f / 16 的曝光範圍。
The film then needs to be developed. Black and white is often processed by hand, so if you have access to a darkroom and the know-how, do it yourself. If not, look for a place that can develop the film for you and save your self a bit of work!
然後需要開發這部電影。 黑色和白色通常是手工處理，所以如果您可以使用暗室和專有技術，請自己動手。 如果沒有，找一個可以為你開發電影的地方，並為自己節省一些工作！If the images are underexposed – replicate the setup and add more light or open up the aperture on the camera, if they’re over exposed do the opposite. Ensure you use the same lens as a different lens may give a totally different exposure. Getting some interesting shots might take some trial and error!
如果圖像曝光不足 - 複製設置並添加更多光線或打開相機上的光圈，如果它們過度曝光則執行相反操作。 確保使用相同的鏡頭，因為不同的鏡頭可能會產生完全不同的曝光。 獲得一些有趣的鏡頭可能需要一些試驗和錯誤！
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Ultraviolet, Infrared & Fluorescence Photography
The ultraviolet spectrum is further divided into near UV (320-380nm), middle UV (200- 320nm) and vacuum UV (10-200nm) by physicists, or into UVA, UVB, UVC OR UVD, by biologists.
紫外光譜由物理學家進一步分為近紫外（320-380nm），中紫外（200-320nm）和真空紫外（10-200nm），或由生物學家分為UVA，UVB，UVC或UVD。 The UVA extends from 320nm to 400nm and is known as the glass transmission region, the UVB extends from 280nm to 320nm and is known as the erythemal or sunburn region, while the UVC extends from 185nm to 280nm and is known as the bacterial region.
UVA從320nm延伸到400nm並且被稱為玻璃傳輸區域，UVB從280nm延伸到320nm並且被稱為紅斑或曬傷區域，而UVC從185nm延伸到280nm並且被稱為細菌區域。The eye cannot "see" below 400nm, but the peak of erythemal activity occurs at 297nm so caution needs to be exercised with "continuous" sources of ultraviolet as there is a real risk of burning yourself and/or your patient, or of getting conjunctivitis.
眼睛不能“看到”400nm以下，但紅斑活動的峰值出現在297nm處，所以需要謹慎使用“連續”紫外線源，因為存在燒傷自己和/或你的真實風險 患者或結膜炎。
REFLECTED ULTRAVIOLET PHOTOGRAPHY
反射紫外線攝影
Reflected or direct ultraviolet photography
反射或直接紫外線攝影
The reflected ultraviolet photographic technique records only ultraviolet radiation, in the region 320nm to 390nm, reflected from the subject. All other radiation is prevented from reaching the film. A source of ultraviolet is directed at the subject which will then reflect this radiation back into the camera. In some instances the subject may be excited by this high-energy radiation and emit fluorescence in the visible spectrum. With the reflected technique, it is necessary to fit an ultraviolet transmission filter over the lens to prevent any visible radiation from impinging on the standard black-and-white film. Visible radiation, either in the room or reflected from the subject, can thus be ignored because it is absorbed by the filter over the camera lens.
反射紫外線攝影技術僅記錄從受試者反射的320nm至390nm區域的紫外線輻射。 防止所有其他輻射到達薄膜。 紫外線源指向物體，然後將該輻射反射回照相機。 在一些情況下，受試者可被該高能輻射激發並在可見光譜中發射熒光。 使用反射技術，必須在鏡頭上安裝紫外線透射濾光器，以防止任何可見光輻射照射到標準的黑白膠片上。 因此，可以忽略在房間中或從對象反射的可見輻射，因為它被相機鏡頭上的濾光器吸收。
For most photographic purposes ultraviolet is a problem - it is scattered easily by haze in the atmosphere which often ruins the appearance of landscape pictures, and causes very blue shadows in color photographs taken with daylight or with flash. Figure 6 demonstrates this effect; when the author took this color photograph of the Toronto waterfront the extent of low wavelength atmospheric haze was not visible to the eye but fairly effectively ruins the photograph. Photographic manufacturers have responded to these problems, and most films now have an ultraviolet absorbing overcoat and most electronic flashguns an ultraviolet absorbing filter over the flash tube. As professional photographers we are so accustomed to ultraviolet being a problem that we even advocate fitting a "skylight" or ultraviolet absorbing filter permanently over the lens (Figure 7). To turn the situation completely around and intentionally use this ultraviolet radiation to make the photograph, therefore presents quite a challenge.
對於大多數攝影目的而言，紫外線是一個問題 - 它容易被大氣中的霧霾散落，這常常破壞了風景畫面的外觀，並且在用日光或閃光燈拍攝的彩色照片中產生非常藍色的陰影。攝影製造商對這些問題做出了回應，大多數薄膜現在都有紫外線吸收塗層，大多數電子閃光燈都是閃光管上的紫外線吸收濾光片。作為專業攝影師，我們習慣於紫外線是一個問題，我們甚至提倡在鏡頭上永久安裝“天窗”或紫外線吸收濾光片。為了完全扭轉局面並故意使用這種紫外線照射來製作照片，因此提出了相當大的挑戰。
Flowers have often been the subject of reflected ultraviolet photography in an attempt to identify markings or 'guides' for insect vector pollination.
花通常是反射紫外線攝影的主題，試圖識別昆蟲媒介授粉的標記或“指南”。Sources Of Ultraviolet Radiation
紫外線輻射源
Sunlight itself emits 10% of its energy in the ultraviolet region。
陽光本身會在紫外線區域釋放出10％的能量。
Tungsten lamps are very poor sources of ultraviolet and should be avoided.
鎢燈是非常差的紫外線源，應該避免使用。In practice, ultraviolet sources can be divided into two types - continuous and flash. Continuous sources are more suited to chromatography, immunoelectrophoretic studies, fluorescence and document examination, while flash is obviously more suited to patient photography.
在實踐中，紫外線源可分為兩種類型 - 連續和閃光。連續光源更適用於色譜，免疫電泳研究，熒光和文件檢查，而閃光燈顯然更適合患者攝影。
The xenon arc lamp is a particularly good continuous source of ultraviolet. It has a fairly flat, but high spectral output from 300nm to 1100nm and is therefore suitable as a continuous source for both ultraviolet and infrared photography.
氙弧燈是一種特別好的連續紫外線源。 它具有相當平坦但高光譜輸出，從300nm到1100nm，因此適合作為紫外和紅外攝影的連續光源。
Nikon used to supply a portable flash with an uncoated tube - the SB-140. The Nikon unit came complete with filters for both ultraviolet and infrared work and had a useful exposure guide - in many respects the ideal source for invisible radiation patient photography, especially on location. Figures 20 to 23 show the spectral emission curves for this source with its various filters. Unfortunately Nikon have now withdrawn this unit from their product range - like so many products suited to specialized imaging from different manufacturers.
尼康曾經提供帶有無塗層管的便攜式閃光燈 - SB-140。尼康裝置配備了紫外線和紅外線工作的濾光片，並提供了有用的曝光指南 - 在許多方面是無形輻射患者攝影的理想來源，尤其是在位置上。不幸的是，尼康現在已經從他們的產品系列中撤出了這個部件 - 就像許多產品適合不同製造商的專業成像一樣。
Great care needs to be taken when working with continuous ultraviolet sources or a severe burn to the patient, or a keratitis to the photographer, may occur. As can be seen from Figure 4 the peak of erythemal activity occurs at about 310nm. Conjunctivitis and skin erythema only appear 4 to 5 hours after exposure to ultraviolet radiation, and there is no heat involved to warn the photographer of an impending burn.
使用連續紫外線源或嚴重燒傷患者或攝影師可能會發生角膜炎時，需要特別小心。紅斑活動的峰值出現在約 310nm 處。結膜炎和皮膚紅斑僅在暴露於紫外線後 4 至 5 小時出現，並且沒有熱量來警告攝影師即將發生的燒傷。
The low-pressure mercury vapor lamp has found renewed popularity in an unfiltered form for some electrophoretic investigations using radiation at 254nm. Special care needs to be taken with these and with the newer short-wave ultraviolet fluorescent tubes - goggles and skin protection must be worn. Electronic flash only emits a very brief burst of radiation and is completely safe - it is therefore a much more practical source for patient photography. The medical photographer however should be aware that patients suffering from xeroderma pigmentosum can be seriously affected by even moderate exposure to normal electronic flash。
對於使用 254nm 輻射的一些電泳研究，低壓汞蒸汽燈已經發現以未經過濾的形式重新流行。需要特別注意這些，並使用較新的短波紫外熒光燈管 - 必須佩戴護目鏡和皮膚保護裝置。電子閃光燈僅發出非常短暫的輻射，並且是完全安全的 - 因此它是患者攝影的更實用的來源。然而，醫學攝影師應該意識到患有色素性乾皮病的患者即使在適度暴露於正常電子閃光下也會受到嚴重影響。
Filters
過濾器All UV transmitting filters are made of glass。
所有紫外線透射濾光片均由玻璃製成。
Note - the skylight or UV filter commonly used over camera lenses as physical protection from damage and optical protection against UV haze effects - is an UV absorbing filter
注意 - 通常用於相機鏡頭的天窗或紫外線過濾器作為物理保護免受損壞和光學防止紫外線霧霾效應 - 是一種紫外線吸收過濾器
The Kodak Wratten 18A is still the standard filter with a transmission window from 300 to 400nm.
柯達 Wratten 18A仍然是標準濾波器，傳輸窗口為 300 至 400nm。
It should be noted that not only is there a window of transmission in the ultraviolet region of the 18A spectral curve, but that there is also a window in the 700 to 900nm region, which also makes it very effective as an infrared filter - provided of course that the recording medium is also sensitive to infrared.
應該注意到，不僅在18A光譜曲線的紫外區域中存在透射窗，而且在700至900nm區域中還存在窗口，這也使其作為紅外濾光器非常有效。 - 當然提供記錄介質也對紅外線敏感。
B+W supplies an ultraviolet transmission filter (code number 403) with a very similar transmission curve to the Wratten 18A, at a much lower price.
B + W 提供紫外線透射濾光片（代號403），其傳輸曲線與 Wratten 18A 非常相似，低得多價格。
As all ultraviolet transmission filters are visually opaque, a filter holder mechanism must be used which will allow the filter to be placed quickly over the lens after the visual focus point has been established. It is important that the holder provides a light-tight mount.
由於所有紫外線透射濾光器在視覺上都是不透明的，因此必須使用濾光器支架機構，這樣可以在建立視覺聚焦點後將濾光器快速放置在透鏡上。 保持架提供不透光的安裝非常重要。
Films & Processing
底片與處理
All photographic films - color negative and transparency, black-and-white, infrared, process, etc. - are sensitive to ultraviolet radiation (because silver halide crystals are sensitive to ultraviolet). There is no significant advantage to using color film for reflected ultraviolet work because only the blue layer of the tri-color pack will be exposed by the ultraviolet (the integral yellow filter effectively preventing exposure of the red and green layers). Some workers however have designed systems that use source/filter combinations and color film to give false color renditions; these are dealt with in reflected ultraviolet photography with color. For the pure recording of reflected ultraviolet radiation therefore black-and-white negative emulsions are invariably used.
所有攝影膠片 - 彩色負片和透明片，黑白，紅外線，工藝等 - 都對紫外線輻射敏感（因為鹵化銀晶體對紫外線敏感）。 使用彩色膠片進行反射紫外線工作沒有明顯的優勢，因為只有三色包裝的藍色層會被紫外線曝光（整體黃色濾光片有效地防止紅色和綠色層的曝光）。 然而，一些工作人員設計了使用光源/濾鏡組合和彩色膠片來製作假色再現的系統; 這些都是用反射紫外線攝影處理的。 因此，對於反射紫外線輻射的純記錄，總是使用黑白負性乳液。
The recording of ultraviolet radiation involves a number of problems even though silver halide has an inherent sensitivity to all radiation of shorter wavelength than the visible. Firstly, the emulsion grains themselves, and more importantly the gelatin support structure of the film, absorb ultraviolet significantly. This results in the ultraviolet image lying near the surface of the emulsion because the radiation is unable to penetrate very far. Modern films with flat, tabular-grained silver halide crystals near the surface of the emulsion have a natural advantage therefore in recording ultraviolet. Unfortunately, though, in order to remove the generally unwanted complication of ultraviolet sensitivity, most films now have an ultraviolet absorbing filter built into the over coating of the emulsion - this has the effect of reducing the relative sensitivity of these films to ultraviolet. Silver halide crystals are inherently sensitive to short wavelength radiation but the progressive absorption by the gelatin from 300nm downward results in an effective cut-off at 250 nm (90% transmission). The spectral sensitivity curve for a generalized panchromatic emulsion demonstrates that it has a relatively high sensitivity between 350nm and 400nm.
紫外線輻射的記錄涉及許多問題，即使鹵化銀對所有比可見光波長更短的輻射具有固有的靈敏度。首先，乳劑顆粒本身，更重要的是薄膜的明膠支撐結構，顯著吸收紫外線。這導致紫外圖像位於乳液表面附近，因為輻射不能很深地穿透。在乳液表面附近具有扁平的片狀顆粒狀鹵化銀晶體的現代薄膜因此具有記錄紫外線的天然優勢。然而不幸的是，為了消除通常不希望的紫外線敏感性的複雜性，大多數薄膜現在在乳液的外塗層中具有紫外線吸收過濾器 - 這具有降低這些薄膜對紫外線的相對靈敏度的作用。鹵化銀晶體本身對短波輻射敏感，但明膠從300nm向下逐漸吸收導致250nm處的有效截止（90％透射率）。廣義全色乳液的光譜靈敏度曲線表明它在350nm和400nm之間具有相對高的靈敏度。
In order to determine the best film for reflected ultraviolet photography of patient’s extensive tests were carried out by the authors. A "high speed" film was indicated, as five or six stops more exposure were typically required over the visible equivalent, and a relatively small aperture was required to achieve adequate depth-of-field in patient photography. A high sensitivity to ultraviolet was therefore required. ISO film speeds are not necessarily a good indicator of ultraviolet sensitivity; previous workers had reported that slow "non-color" sensitive films, such as Ilford's N531 (0.1 ISO), were just as sensitive to ultraviolet as panchromatic films of 400 ISO.
為了確定患者反射紫外線攝影的最佳膠片，作者進行了廣泛的測試。 指示“高速”膠片，因為在可見等效物上通常需要五到六次曝光，並且需要相對小的孔徑以在患者攝影中獲得足夠的景深。 因此需要對紫外線的高靈敏度。 ISO膠片速度不一定是紫外線敏感度的良好指標; 以前的工作人員報告稱，慢速“無色”敏感薄膜，如伊爾福德的N531（0.1 ISO），對紫外線和400 ISO的全色薄膜一樣敏感。
Many of the traditionally useful films now have the ultraviolet absorbing overcoats mentioned above.
許多傳統上有用的薄膜現在具有上述紫外線吸收外塗層。The various films responded differently in the ultraviolet spectrum in terms of sensitivity-ISO speeds were not particularly indicative - and some relatively fast films performed less well than medium speed equivalents.
在靈敏度方面，各種薄膜在紫外光譜中的反應不同 - ISO速度並不是特別指示 - 並且一些相對快速的薄膜表現不如中速等效。
The results from these tests showed that typically fifty times more exposure was required in the ultraviolet than in the visible to achieve a correctly exposed negative. The Tri-X turned out to be about one and a half times the speed of T-Max 400 in the ultraviolet spectrum, although nominally they are both the same ISO rating. However, the Tri-X had poorer resolution and was lower in contrast than the T-Max. It was interesting to note that the Ilford film, HP5 Plus, again 400 ISO, was in fact over four times the speed of T-Max 400 in the ultraviolet region and that FP4 was approximately 50% faster than the T-Max 400 in the same region!
這些測試的結果表明，紫外線所需的曝光量通常是可見光的50倍，以達到正確曝光的陰性。 Tri-X在紫外光譜中的速度大約是T-Max 400速度的1.5倍，儘管名義上它們都是相同的ISO等級。 然而，Tri-X的分辨率較差，對比度低於T-Max。 值得注意的是，Ilford膠片HP5 Plus再次是400 ISO，實際上是紫外區域T-Max 400速度的四倍，FP4比T-Max 400快了大約50％。 同一地區！
It was clear that the HP5 Plus was the fastest of all the films, i.e., more than three times faster than Tri-X, its next nearest rival, in relative sensitivity to ultraviolet. Initially, therefore, it was concluded that HP5 Plus was the best film due to its speed. Even though the HP5 Plus appeared the film of choice from these initial tests, its relatively poor sensitivity meant that an aperture of only f/8 could be employed, clearly not sufficient for patient photography.
很明顯，HP5 Plus 是所有電影中速度最快的，也就是比其下一個最接近的競爭對手Tri-X快了三倍以上，相對於紫外線相對敏感。 因此，最初得出的結論是，由於其速度，HP5 Plus是最好的電影。 儘管HP5 Plus出現了這些初始測試中選擇的膠片，但其相對較差的靈敏度意味著可以使用僅為 f / 8 的光圈，顯然不足以用於患者攝影。
真正的問題仍然是對紫外線的敏感性，顯然需要“推”處理以進一步提高膠片速度。從以前工作者的出版物（Friar等，1989）可以看出，T-Max 膠片對“推動”處理反應非常好。因此，進一步的測試涉及處理兩個選定的薄膜並進行擴展開發，以確定哪些薄膜表現最佳; HP5 Plus至1600 ISO，T-Max 400至1600 ISO。圖44顯示了T-Max的D Log E曲線族，其發展逐漸增加。將結果與正常處理的T-Max 3200進行比較。結果發現，HP5 Plus表現不佳，粒度明顯增加，大大降低了分辨率。雖然發現T-Max 3200比1600 ISO的T-Max 400速度更快，但分辨率並不理想。 T-Max 400可以非常令人滿意地“推”到 3200 ISO，非常有趣的是，即使“推”到這個速度，所獲得的圖像質量實際上也優於T-Max 3200膠片本身。
柯達 T-Max 400 膠片的光譜靈敏度曲線。
Reflected ultraviolet photography suffers from the gamma/lambda effect - which is a reduction in contrast with decrease in wavelength. As the wavelength decreases through the blue region to the ultraviolet, the gamma, or contrast, of the negative gradually falls. This is well known in the graphic arts industry when making color separations; traditionally the blue separation has always been given more processing to raise its contrast, and similarly increased development is required in reflected ultraviolet photography. Processing must be increased by 25-30% to achieve a normal contrast index. Where "push" processing is being used to increase film speed it will automatically raise the contrast of the finished negatives. In order to obtain the required speed index of 3200 ISO, a processing time of 9.5 minutes must be used. This fortuitously raises the contrast index to approximately 25% higher than normal.
反射紫外線攝影受到伽瑪/λ效應的影響 - 這是波長減少造成的對比度降低。隨著波長通過藍色區域減少到紫外線，負的伽瑪或對比度逐漸下降。在製作分色時，這在圖形藝術工業中是眾所周知的;傳統上，藍色分離一直被給予更多處理以提高其對比度，並且同樣在反射紫外線攝影中需要增加的發展。處理必須增加25-30％才能達到正常的對比度指數。在使用“推”處理來增加膠片速度的情況下，它會自動提高成品底片的對比度。為了獲得 3200 ISO 的所需速度指數，必須使用 9.5 分鐘的處理時間。這偶然地將對比度指數提高到比正常值高約 25％。
The film/processing combination to be recommended for reflected ultraviolet photography of patients is therefore T-Max 400 processed in T-Max developer, 1:4 for 9.5 minutes, at 24oC, to give a relative speed of 3200 ISO.
因此，推薦用於患者的反射紫外線照相的膠片/處理組合是 T-Max 400 在 T-Max 顯影劑中以1：4 處理 9.5 分鐘，在 24℃ 下處理，以提供 3200 ISO 的相對速度。
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My Memo
A. 濾鏡:
1. 最佳: Baader-U filter
Baader Planetarium U-Filter 2" (Venus, Ultraviolet, ZWL 350nm)
搭配: Adorama Step-Down Adapter Ring 58mm Lens to 48mm Filter Size
2. 替代方案: SCHOTT UG11 filter + SCHOTT S8612 filter
B. 底片:
T-Max 400 push to ISO 3200
C. 鏡頭:
1. 測試: G35 或 G90, filter size: 46mm
2. 正式: Schneider Makro-Symmar HM 120mm F/5.6, filter size: 40.5mm
3. 濾鏡專接環: 58mm to 48mm, 46mm to 58mm, 40.5mm to 58mm
D. 365 nm LED手電筒:
HQRP 365 nM UV LED Flashlight
E. 測試記錄
1. 在太陽光下, 測光錶的讀數調整後, 需再增加約 10 個 stop 來曝光
2. 在 365nm LED 照射下, 測光錶的讀數調整後, 需再增加約 5 個 stop 來曝光
F. 其它
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update: 2018/11/19
reference:
0. Ultraviolet Photography
1. Ultraviolet Photography with Film-Based Cameras
2. Black and White ArtZone-UltraViolet Photography
3. A Beginners Guide to UV Reflectance in Photography
4. Ultraviolet, Infrared & Fluorescence Photography
5. Reflected Ultraviolet Photography
6. UV photography
7. Overview of Infrared and Ultraviolet Photography
8. Photo Extremist: Creative Photography Tutorials
9. A Photographer Captures Plants’ Invisible UV Glow - Creators
10. Filters for UV photography
11. Photography of the Invisible World
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Ultraviolet Photography with Film-Based Cameras
Dr. Austin Richards info@uvcorder.com
Because digital ultraviolet imaging systems are generally more expensive than film-based UV camera systems, it is worth discussing the difficulties that the traditional film-based UV photographer faces.
因為數字紫外成像系統通常比基於膠片的UV相機系統更昂貴，所以值得討論傳統的基於膠片的UV攝影師所面臨的困難。
Ultraviolet imaging in the near-UV band has traditionally been done with standard black and white film cameras equipped with a filter that passes near-UV light while rejecting visible light. The Wratten 18A filter has been a staple of UV photography for decades, but is no longer manufactured. Suitable replacements include filters made with Hoya U- 360 and Schott UG-11 glasses. These glasses have a black appearance to the eye, since nearly all visible light is absorbed. These filters are unfortunately called UV filters, but really they are visible light filters! They let the UV through and block visible light. This is the opposite of the traditional UV haze filter, often denoted by the number 2A, which blocks UV, but passes visible light!
傳統上，標準的黑白膠片相機在近紫外波段進行紫外成像，該膠片相機配備了過濾器，該過濾器通過近紫外光，同時抑制可見光。 幾十年來，Wratten 18A過濾器一直是紫外線攝影的主要產品，但已不再生產。 合適的替代品包括用Hoya U-360和Schott UG-11玻璃製成的過濾器。 這些眼鏡在眼睛上具有黑色外觀，因為幾乎所有可見光都被吸收。 不幸的是，這些過濾器被稱為UV過濾器，但實際上它們是可見光過濾器！ 它們讓紫外線通過並阻擋可見光。 這與傳統的紫外線霧霾濾光片相反，通常用數字2A表示，它可以阻擋紫外線，但會通過可見光！
Standard camera lenses can be used for UV imaging in the near-UV band (340-400nm), although their transmission rolls off below about 330nm. For shorter wavelengths of UV, the standard practice is to use a special lens made of UV-transmitting materials such as quartz and calcium fluorite. These lenses are very expensive and come in a limited range of focal lengths and f/numbers.
標準相機鏡頭可用於近紫外波段（340-400nm）的紫外成像，儘管它們的傳輸在約330nm以下滾動。 對於較短波長的紫外線，標準做法是使用由紫外透射材料製成的特殊鏡片，如石英和螢石鈣。 這些鏡頭非常昂貴，並且焦距和f /數量範圍有限。
The disadvantages of UV photography using film are many, and the situation is getting worse with time, because some UV photographic equipment for film cameras is no longer being produced. Apparently, many manufacturers of photographic equipment have decided that there is little opportunity to make money on low-volume items like UV pass filters, quartz lenses and special UV film.
使用膠片的UV攝影的缺點很多，並且隨著時間的推移情況越來越糟，因為用於膠片相機的一些UV攝影設備不再生產。 顯然，許多攝影器材製造商已經決定，在紫外線透過濾器，石英透鏡和特殊紫外線膠片等小批量產品上賺錢的機會微乎其微。
Why is it hard to use a camera to record a UV image? For starters, one cannot compose the shot with a UV pass filter installed on the lens of an SLR camera, because the filter is opaque to visible light. This makes it very difficult to take candid images in the UV band. A tripod is an absolute requirement, since the exposures with standard films like T-Max 400 tend to be quite long. In addition, the focus setting will be different for the UV image, unless one is using a quartz lens like the very expensive Nikon UV-Nikkor (no longer produced) that has the same focus point for both green and near-UV light. In practice, the UV film photographer ends up shooting with the aperture stopped way down to increase the depth of field. This can obviate the focus problem, but makes for even longer exposure times. Conventional light meters on modern SLR cameras aren’t calibrated for UV work, so getting the right exposure almost always requires bracketing to achieve the correct exposure density.
為什麼使用相機記錄UV圖像很困難？ 對於初學者來說，不能使用安裝在SLR相機鏡頭上的UV通過濾鏡來構圖，因為濾光片對可見光是不透明的。 這使得在UV波段中拍攝坦率圖像非常困難。 三腳架是絕對必要的，因為使用標準膠片如T-Max 400的曝光往往很長。 此外，對於UV圖像，焦點設置將有所不同，除非使用石英鏡頭，如非常昂貴的Nikon UV-Nikkor（不再生產），對於綠光和近紫外光都具有相同的焦點。 在實踐中，UV膠片攝影師最終拍攝時光圈停止向下以增加景深。 這可以避免焦點問題，但可以實現更長的曝光時間。 現代SLR相機上的傳統測光錶未針對UV工作進行校準，因此獲得正確的曝光幾乎總是需要包圍以獲得正確的曝光密度。
To summarize the UV film experience, you put the camera on the tripod, compose the shot with the UV pass filter removed, focus in the visible, stop the lens down to f/11 or thereabouts, put the filter on, bracket the exposure using a cable release since you generally have several second long exposures, develop the film and throw away 80% of your images that are either too light or too dark. To add to the pain and suffering, black and white film is no longer sold in drugstores and supermarkets, and your standard 1 hour photolab won’t process it. Color film can be used for UV photography, but it is less sensitive than high-speed B/W film leading to still longer exposures and a lot of trial and error.
總結一下紫外線膠片的使用經驗，你將相機放在三腳架上，在取下紫外線通過濾光鏡的情況下進行拍攝，將焦點對準可見光，將鏡頭向下移至f / 11或左右，將濾光鏡打開，用曝光支架曝光 電纜釋放，因為你通常有幾秒鐘長時間曝光，開發電影並丟棄80％的太亮或太暗的圖像。 為了增加痛苦和痛苦，黑色和白色膠片不再在藥店和超市出售，你的標準1小時photolab將不會處理它。 彩色膠片可以用於紫外線攝影，但它不如高速黑白膠片敏感，導致更長時間的曝光和大量的反複試驗。
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Black and White ArtZone-UltraViolet Photography
Light which is visible to the human eye covers the spectral region from about 400 to 750 nanometers. This is the radiation spectrum used in normal photography. There is another band of radiation that is also included in the complete spectrum, and extends from about 10 nanometers to 400 nanometers, known as ultraviolet (UV) radiation. Ultraviolet light is divided in three bands: Long wave UV that extends from 320 to 400 nanometers. Medium wave UV that extends from 280 to 320 nm.. Short wave UV that extends from 200 to 280 nm.
人眼可見的光覆蓋約400至750納米的光譜區域。 這是正常攝影中使用的輻射光譜。 還存在另一個輻射帶，其也包括在整個光譜中，並且從大約10納米延伸到400納米，稱為紫外（UV）輻射。 紫外線分為三個波段：長波紫外線，從320納米到400納米。 中波紫外線從280納米到320納米。短波紫外線從200波長到280納米。
In archaeological photography, we use ultraviolet radiation when we want to provide information about an object which cannot be obtained by other photographic methods. With UV radiation we can reveal the coloring, the images and many times the writing that have been rendered invincible with the passage of time.
在考古攝影中，當我們想要提供關於通過其他攝影方法無法獲得的物體的信息時，我們使用紫外線輻射。 通過紫外線輻射，我們可以顯示著色，圖像和許多次隨著時間的推移而變得無敵的書寫。
Another application, is to collect information about the condition of the ancient subject. We can collect information about the level of moisture deterioration and how deep it has penetrated. We can reveal hidden cracks in marble artifacts. We can also verify the authenticity of an artifact, as well as any additional work or restoration done on it at a later time.
另一個應用是收集有關古代主體狀況的信息。 我們可以收集有關水分惡化程度和滲透深度的信息。 我們可以揭示大理石文物中隱藏的裂縫。 我們還可以驗證工件的真實性，以及稍後對其進行的任何其他工作或修復。
In archaeological photography, long wave UV is mostly used. A big deciding factor is that long wave UV radiation can pass freely from most modern lenses, in contrast with the short bands that are absorbed by normal glass lenses. There are some special quartz crystal lenses made by Zeiss for Hasselblad and other companies, which allow wavelengths from about 200 to 280 nanometers to pass. These short UV wavelengths are used mostly in medical research, will cause "sunburn" of unprotected eyes or skin, and of course the price of the lenses is very high.
在考古攝影中，大多使用長波紫外線。 一個重要的決定因素是長波紫外線輻射可以從大多數現代鏡頭自由通過，與普通玻璃鏡頭吸收的短波段相反。 Zeiss為Hasselblad和其他公司製造了一些特殊的石英晶體透鏡，可以通過大約200到280納米的波長。 這些短紫外波長主要用於醫學研究，會導致無保護眼睛或皮膚的“曬傷”，當然鏡片的價格也很高。
There are two ways to use UV radiation to take photographs. The reflected ultraviolet and the ultraviolet fluorescence photography.
The reflected ultraviolet photography has no practical use in archaeological photography (other than a few cases), as it has in medicine, dermatology, criminology and theatrical applications.
有兩種方法可以使用紫外線照射來拍攝照片。 反射紫外線和紫外熒光攝影。
反射紫外線攝影在考古攝影（除少數情況之外）中沒有實際用途，因為它在醫學，皮膚病學，犯罪學和戲劇應用中都有。
Sunlight is the most available free UV radiation source, but the quality and quantity of the radiation depends on atmospheric conditions. A bright and dry day is much richer in UV radiation and is preferable than a cloudy or rainy day.
陽光是最常用的紫外線輻射源，但輻射的質量和數量取決於大氣條件。 明亮乾燥的一天比紫外線輻射更豐富，比陰天或下雨天更好。
Other suitable sources are electronic flash, and "black light" fluorescence tubes. Electronic flash, in combination with an aluminum reflector can be used efficiently. Some flash units have a special UV absorbing glass over the flash tube, which must be removed before the exposure.
其他合適的來源是電子閃光燈和“黑光”熒光燈管。 可以有效地使用電子閃光燈和鋁反射器。 有些閃光燈在閃光燈管上有一個特殊的紫外線吸收玻璃，必須在曝光前將其取下。
Special UV lamps known as "black light" fluorescence tubes, are used for long wave ultraviolet photography. Most modern UV sources are based on a mercury arc sealed in a glass tube. By coating the tube internally with a suitable phosphor, it becomes an effective long wave UV source.
被稱為“黑光”熒光燈管的特殊紫外線燈用於長波紫外線攝影。 大多數現代紫外光源都是基於密封在玻璃管中的汞弧。 通過在內部塗覆合適的磷光體，它成為有效的長波紫外光源。
In reflected UV photography the subject is illuminated directly by 2 lamps (radiation sources). A filter is placed on the lens, that allows ultraviolet to pass and absorbs all visible light. Kodak Wratten 18A, B+W .. are some of this kind of filters. These filters are made from glass. Most types of glass will allow long wave UV to pass, but absorb all the other UV wavelengths.
在反射UV攝影中，受試者直接由2個燈（輻射源）照射。 濾鏡放置在鏡頭上，允許紫外線通過並吸收所有可見光。 Kodak Wratten 18A，B + W ..是這種過濾器的一部分。 這些過濾器由玻璃製成。 大多數類型的玻璃都允許長波紫外線通過，但吸收所有其他紫外波長。
Ultraviolet fluorescence photography on the other hand, has better results in archaeological photography. We use the same fluorescence tubes as in reflected UV photography, except that a glass filter is placed in front of the light source, to absorb all the visible light and allow the desired ultraviolet to pass only. These filters are sometimes incorporated in the source tube itself, but most of the time are separate elements. These filter glasses usually allow a small amount of violet visible light. This should not be confused with UV light, which is invisible to the human eye.
另一方面，紫外熒光攝影在考古攝影中具有更好的效果。 我們使用與反射UV攝影相同的熒光管，除了將玻璃濾光片放置在光源前面，以吸收所有可見光並允許所需的紫外線僅通過。 這些過濾器有時包含在源管本身中，但大多數時候是單獨的元件。 這些濾光玻璃通常允許少量的紫色可見光。 這不應該與人眼看不見的紫外線混淆。
The same kind of filters are made for flash tubes also, for BALCAR and other lighting companies. This filter is called an "exciter" filter and it allows only the radiation needed to excite fluorescence. A second filter must be placed in front of the camera lens, to exclude residual ultraviolet and allow the resulting fluorescence. This filter is called the "barrier" filter. Kodak Wratten 2A- 2B is effective. Using a 2E filter gives better results in some situations. The same filters are also made by other companies with the same codes.
對於BALCAR和其他照明公司而言，也為閃光管製造了相同類型的濾光片。 該濾波器稱為“激勵器”濾波器，它僅允許激發熒光所需的輻射。 必須在鏡頭前放置第二個濾鏡，以排除殘留的紫外線並產生熒光。 此過濾器稱為“屏障”過濾器。 Kodak Wratten 2A-2B是有效的。 在某些情況下，使用2E濾波器可以獲得更好的效果。 其他公司也使用相同的代碼製作相同的過濾器。
The shooting must take place in a darkened room, with a black background and for better results, you should wear dark color clothes.
拍攝必須在黑暗的房間裡進行，黑色背景，為了獲得更好的效果，你應該穿深色衣服。
In case a layer of varnish is used over a subject to protect it against the sun's ultraviolet radiation, this layer must be removed before taking a photograph.
如果在受試者上使用一層清漆以保護其免受太陽的紫外線輻射，則必須在拍攝照片之前去除該層。
Due to the very low intensity of light in practice, it is very difficult to use a common exposure meter to take measurements. Correct exposure time can be found only with a series of test exposures, depending on the lighting equipment and the size of the subject. The lights must be placed as close to the subject as possible, while being able to illuminate the whole surface, i.e. from 20 to 50 cm. Using a Polaroid B&W film, type 667 3200 ASA or equivalent as a starting point it help to determine the correct exposure time.
由於實際上光的強度非常低，因此很難使用普通的曝光計進行測量。 只有一系列測試曝光才能找到正確的曝光時間，具體取決於照明設備和拍攝對象的尺寸。 燈必須盡可能靠近物體放置，同時能夠照亮整個表面，即20至50厘米。 使用寶麗來B＆W膠片，輸入667 3200 ASA或等效物作為起點，有助於確定正確的曝光時間。
All B&W Panchromatic films are sensitive to ultraviolet radiation and are suitable for ultraviolet photography, but a faster film like 400 ASA is better than 100 ASA. Using Kodak T-Max 400 ASA as 800 ASA is a good solution without needed pushing proccessing. Due to the very long exposure -from 2 to 15 min.- reciprocity effect must be taken in mind during development. Image contrast decreases as the wavelength of radiation becomes shorter. It is better to increase development time a bit, to get a higher contrast B&W negative.
所有 B＆W 全色底片 都對紫外線輻射敏感，適合紫外線攝影，但像400 ASA更快的膠片比100 ASA更好。 使用柯達 T-Max 400 ASA作為 800 ASA是一個很好的解決方案，無需推動處理。 由於暴露時間很長 - 從2到15分鐘 - 在開發過程中必須考慮到互惠效應。 隨著輻射波長變短，圖像對比度降低。 最好稍微增加開發時間，以獲得更高的對比度B＆W負面。
With color films, daylight type film is preferable. Using the new Kodak E100S or Fuji Provia you would not have big problems with reciprocity effects and color changes. You might need a second color correction filter for better overall color balance. This filter must be fitted between the barrier filter and the lens.
對於彩色底片，日光型底片是優選的。 使用新的 Kodak E100S 或 Fuji Provia，您不會遇到互惠效應和顏色變化的大問題。 您可能需要第二個顏色校正濾鏡，以獲得更好的整體色彩平衡。 此濾鏡必須安裝在屏障濾鏡和鏡頭之間。
Focusing for ultraviolet light is another problem. In practice you must focus a bit farther than the surface of the subject, lighting the subject first with a tungsten lamp for focusing, switching it off before shooting, and finally decreasing the lens aperture at least 1 stop, to obtain adequate depth of field.
聚焦紫外線是另一個問題。 在練習中，您必須將焦點稍微偏離拍攝對象的表面，先用鎢燈照亮拍攝對象進行對焦，然後在拍攝前將其關閉，最後將鏡頭光圈減少至少1檔，以獲得足夠的景深。
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A Beginners Guide to UV Reflectance in Photography
Typical photography exists around the visible spectrum (think of the rainbow), but cameras are also able to pick up other wavelengths of radiation. Ultraviolet radiation, as the name suggests, comes after the violet section of the visible spectrum so is not visible to our eyes. However, some animals (birds, for example) are able to see UV.
典型的攝影存在於可見光譜周圍（想想彩虹），但攝像機也能夠拾取其他波長的輻射。 顧名思義，紫外線輻射出現在可見光譜的紫色部分之後，因此我們的眼睛看不到。 然而，一些動物（例如鳥類）能夠看到紫外線。
UV reflectance photography essentially is recording the UV radiation which is reflected back from a UV source. A UV source emits UV radiation, and this is often referred to as UV light. However UV light does not exist, since light is visible and UV is not! UV reflectance is a fairly involved and arduous process without specialized equipment, however the results can be very rewarding.
UV反射攝影基本上是記錄從UV源反射回來的UV輻射。 UV源發射UV輻射，這通常被稱為UV光。 然而，紫外線不存在，因為光是可見的，而紫外線則不是！ 在沒有專門設備的情況下，紫外線反射是一個相當複雜和艱苦的過程，但結果可能是非常有益的。
Subjects
主題
Why would you want to use UV reflectance? Try shooting someone’s face, then covering it with high SPF sunscreen. Alternatively try imaging some flowers as the patterns visible may differ.
你為什麼要使用紫外線反射？ 嘗試拍攝某人的臉，然後用高SPF防曬霜覆蓋。 或者嘗試對一些花進行成像，因為可見的圖案可能不同.
The UV record shows the effectiveness of the SPF50 sunscreen (made for babies) at absorbing UV. The clean face shows the damage to my skin from the sun (it shows up freckles I never knew existed).
紫外線記錄顯示SPF50防曬霜（嬰兒用）吸收紫外線的有效性。 乾淨的臉顯示我的皮膚受到太陽的傷害（它顯示我從未知道的雀斑）。
Equipment
設備
UV Source: I’m using a fancy converted Metz flash which i’ve been lent, however a simply UV Torch or a black light tube will be more than sufficient.
紫外光源：我使用的是一種經過改裝的 Metz閃光燈，我已經借過了它，但是簡單的紫外火炬或黑光燈管就足夠了。
Instead of a UV source: Flash can be used, a high output studio flash will emit a fair bit of UV
替代UV光源：可以使用閃光燈，高輸出工作室閃光燈會發出相當多的紫外線.
UV Sensitive Camera: I’ve got access to a specialist Nikon D700 converted to be sensitive only to UV however, the cheapest commercial option is to simply use black and white film.
UV敏感相機：我可以使用專業的尼康D700轉換為僅對UV敏感，但最便宜的商業選擇是簡單地使用黑白膠片。
Black and White Film has sensitivity to UV however the images may suffer from reduced contrast.
黑白膠片對UV具有敏感性，但是圖像可能會受到對比度降低的影響。
UV Transmission Filter: A Filter such as the Kodak Wratten 18A (which leaks a little IR) or Baader Venus 1.25″ Ultraviolet Transmission Filter. (check eBay for these)
UV透射濾光片：過濾器，如 Kodak Wratten 18A（洩漏少許紅外線）或 Baader Venus 1.25“紫外線透射濾光片。 （查看 eBay 這些）
Tripod: Exposure times can be long therefore a tripod is necessary.
三腳架：曝光時間可能很長，因此需要三腳架。
Light Meter: Although fairly useless, this might help.
測光錶：雖然相當無用，但這可能會有所幫助。
The lens you use may be good or bad for UV — lenses often contain coatings to block UV — so experiment a little. Alternatively, a quartz lens can be used (Nikon used to make a UV-Nikkor. Be prepared to pay excessively if you can find one).
你使用的鏡頭可能對紫外線有好處或壞處 - 鏡片通常含有阻擋紫外線的塗層 - 所以試驗一下。 或者，可以使用石英鏡頭（尼康用於製作紫外線尼克爾。如果能找到，可以準備支付過多的費用）。
Shooting Film
拍攝底片
Although I’ve not actually done this, I know of some people who have had success shooting UV reflectance using Ilford HP5. This process is much longer and requires a fair amount of bracketing of the exposure.
雖然我實際上並沒有這樣做，但我知道一些使用 Ilford HP5 成功拍攝紫外線反射的人。 這個過程要長得多，並且需要大量的曝光包圍。
First, the source should be set up. If using flash, set it to full power at a distance which is comfortable with your subject (high power flash is very bright and fairly warm). The flash should be triggered using a sync-lead or alternatively radio triggers. Tungsten light offers a good source of UV however the exposure time required will be significantly longer so a sharp image will be harder to obtain.
首先，應該設置源。 如果使用閃光燈，請將其設置為全功率，使拍攝對象感覺舒適（高功率閃光燈非常明亮且溫暖）。 應使用同步引線或無線電觸發器觸發閃光。 鎢燈提供了良好的紫外線光源，但所需的曝光時間將更長，因此難以獲得清晰的圖像。
Next, the camera should be loaded with a black and white film. A high ISO should help more – try out Delta 3200 or HP5 (ISO 400) from Ilford. Obviously, a high ISO film will give more grain, so there is a trade off between sensitivity and image quality.
接下來，相機應該裝有黑白膠卷。 高ISO應該可以提供更多幫助 - 從Ilford試用Delta 3200或HP5（ISO 400）。 顯然，高ISO膠片會產生更多顆粒，因此在靈敏度和圖像質量之間存在折衷。
As a flash source is being used, the shutter speed should be around 1/60th of a second, as high powered flash (such as the 3000 watt second Elinchrom Classics) often has a fairly long flash duration. A tripod may be used to steady the camera.
當使用閃光燈時，快門速度應該在1/60秒左右，因為高功率閃光燈（例如3000瓦秒的Elinchrom Classics）通常具有相當長的閃光持續時間。 三腳架可用於穩定相機。
There is some focus differential when doing UV reflectance photography, photographic lenses are designed to focus visible light not UV radiation, therefore shooting at a large aperture gives a higher chance of obtaining a sharp image.
在進行UV反射攝影時存在一些焦距差異，攝影鏡頭設計用於聚焦可見光而非UV輻射，因此在大光圈下拍攝可獲得更高的獲得清晰圖像的機會。
At this point, things have been fairly standard. Then comes the light metering: the UV pass filter should be held over the photocell of the light meter (if the light meter has a dome, remove it). This will give a very, very rough indication of the actual UV exposure, so bracket, bracket and bracket. For example, if it suggests f/11, try a range of exposures from f/8 to f/16.
在這一點上，事情已經相當標準。 然後是測光：紫外線通過濾光片應該固定在測光錶的光電管上（如果測光錶有圓頂，則將其取下）。 這將非常，非常粗略地顯示實際的紫外線照射，因此支架，支架和支架。 例如，如果它建議 f / 11，請嘗試從 f / 8 到 f / 16 的曝光範圍。
The film then needs to be developed. Black and white is often processed by hand, so if you have access to a darkroom and the know-how, do it yourself. If not, look for a place that can develop the film for you and save your self a bit of work!
然後需要開發這部電影。 黑色和白色通常是手工處理，所以如果您可以使用暗室和專有技術，請自己動手。 如果沒有，找一個可以為你開發電影的地方，並為自己節省一些工作！If the images are underexposed – replicate the setup and add more light or open up the aperture on the camera, if they’re over exposed do the opposite. Ensure you use the same lens as a different lens may give a totally different exposure. Getting some interesting shots might take some trial and error!
如果圖像曝光不足 - 複製設置並添加更多光線或打開相機上的光圈，如果它們過度曝光則執行相反操作。 確保使用相同的鏡頭，因為不同的鏡頭可能會產生完全不同的曝光。 獲得一些有趣的鏡頭可能需要一些試驗和錯誤！
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Ultraviolet, Infrared & Fluorescence Photography
The ultraviolet spectrum is further divided into near UV (320-380nm), middle UV (200- 320nm) and vacuum UV (10-200nm) by physicists, or into UVA, UVB, UVC OR UVD, by biologists.
紫外光譜由物理學家進一步分為近紫外（320-380nm），中紫外（200-320nm）和真空紫外（10-200nm），或由生物學家分為UVA，UVB，UVC或UVD。 The UVA extends from 320nm to 400nm and is known as the glass transmission region, the UVB extends from 280nm to 320nm and is known as the erythemal or sunburn region, while the UVC extends from 185nm to 280nm and is known as the bacterial region.
UVA從320nm延伸到400nm並且被稱為玻璃傳輸區域，UVB從280nm延伸到320nm並且被稱為紅斑或曬傷區域，而UVC從185nm延伸到280nm並且被稱為細菌區域。The eye cannot "see" below 400nm, but the peak of erythemal activity occurs at 297nm so caution needs to be exercised with "continuous" sources of ultraviolet as there is a real risk of burning yourself and/or your patient, or of getting conjunctivitis.
眼睛不能“看到”400nm以下，但紅斑活動的峰值出現在297nm處，所以需要謹慎使用“連續”紫外線源，因為存在燒傷自己和/或你的真實風險 患者或結膜炎。
REFLECTED ULTRAVIOLET PHOTOGRAPHY
反射紫外線攝影
Reflected or direct ultraviolet photography
反射或直接紫外線攝影
The reflected ultraviolet photographic technique records only ultraviolet radiation, in the region 320nm to 390nm, reflected from the subject. All other radiation is prevented from reaching the film. A source of ultraviolet is directed at the subject which will then reflect this radiation back into the camera. In some instances the subject may be excited by this high-energy radiation and emit fluorescence in the visible spectrum. With the reflected technique, it is necessary to fit an ultraviolet transmission filter over the lens to prevent any visible radiation from impinging on the standard black-and-white film. Visible radiation, either in the room or reflected from the subject, can thus be ignored because it is absorbed by the filter over the camera lens.
反射紫外線攝影技術僅記錄從受試者反射的320nm至390nm區域的紫外線輻射。 防止所有其他輻射到達薄膜。 紫外線源指向物體，然後將該輻射反射回照相機。 在一些情況下，受試者可被該高能輻射激發並在可見光譜中發射熒光。 使用反射技術，必須在鏡頭上安裝紫外線透射濾光器，以防止任何可見光輻射照射到標準的黑白膠片上。 因此，可以忽略在房間中或從對象反射的可見輻射，因為它被相機鏡頭上的濾光器吸收。
對於大多數攝影目的而言，紫外線是一個問題 - 它容易被大氣中的霧霾散落，這常常破壞了風景畫面的外觀，並且在用日光或閃光燈拍攝的彩色照片中產生非常藍色的陰影。攝影製造商對這些問題做出了回應，大多數薄膜現在都有紫外線吸收塗層，大多數電子閃光燈都是閃光管上的紫外線吸收濾光片。作為專業攝影師，我們習慣於紫外線是一個問題，我們甚至提倡在鏡頭上永久安裝“天窗”或紫外線吸收濾光片。為了完全扭轉局面並故意使用這種紫外線照射來製作照片，因此提出了相當大的挑戰。
Flowers have often been the subject of reflected ultraviolet photography in an attempt to identify markings or 'guides' for insect vector pollination.
花通常是反射紫外線攝影的主題，試圖識別昆蟲媒介授粉的標記或“指南”。Sources Of Ultraviolet Radiation
紫外線輻射源
Sunlight itself emits 10% of its energy in the ultraviolet region。
陽光本身會在紫外線區域釋放出10％的能量。
Tungsten lamps are very poor sources of ultraviolet and should be avoided.
鎢燈是非常差的紫外線源，應該避免使用。In practice, ultraviolet sources can be divided into two types - continuous and flash. Continuous sources are more suited to chromatography, immunoelectrophoretic studies, fluorescence and document examination, while flash is obviously more suited to patient photography.
在實踐中，紫外線源可分為兩種類型 - 連續和閃光。連續光源更適用於色譜，免疫電泳研究，熒光和文件檢查，而閃光燈顯然更適合患者攝影。
The xenon arc lamp is a particularly good continuous source of ultraviolet. It has a fairly flat, but high spectral output from 300nm to 1100nm and is therefore suitable as a continuous source for both ultraviolet and infrared photography.
氙弧燈是一種特別好的連續紫外線源。 它具有相當平坦但高光譜輸出，從300nm到1100nm，因此適合作為紫外和紅外攝影的連續光源。
Nikon used to supply a portable flash with an uncoated tube - the SB-140. The Nikon unit came complete with filters for both ultraviolet and infrared work and had a useful exposure guide - in many respects the ideal source for invisible radiation patient photography, especially on location. Figures 20 to 23 show the spectral emission curves for this source with its various filters. Unfortunately Nikon have now withdrawn this unit from their product range - like so many products suited to specialized imaging from different manufacturers.
尼康曾經提供帶有無塗層管的便攜式閃光燈 - SB-140。尼康裝置配備了紫外線和紅外線工作的濾光片，並提供了有用的曝光指南 - 在許多方面是無形輻射患者攝影的理想來源，尤其是在位置上。不幸的是，尼康現在已經從他們的產品系列中撤出了這個部件 - 就像許多產品適合不同製造商的專業成像一樣。
Great care needs to be taken when working with continuous ultraviolet sources or a severe burn to the patient, or a keratitis to the photographer, may occur. As can be seen from Figure 4 the peak of erythemal activity occurs at about 310nm. Conjunctivitis and skin erythema only appear 4 to 5 hours after exposure to ultraviolet radiation, and there is no heat involved to warn the photographer of an impending burn.
使用連續紫外線源或嚴重燒傷患者或攝影師可能會發生角膜炎時，需要特別小心。紅斑活動的峰值出現在約 310nm 處。結膜炎和皮膚紅斑僅在暴露於紫外線後 4 至 5 小時出現，並且沒有熱量來警告攝影師即將發生的燒傷。
The low-pressure mercury vapor lamp has found renewed popularity in an unfiltered form for some electrophoretic investigations using radiation at 254nm. Special care needs to be taken with these and with the newer short-wave ultraviolet fluorescent tubes - goggles and skin protection must be worn. Electronic flash only emits a very brief burst of radiation and is completely safe - it is therefore a much more practical source for patient photography. The medical photographer however should be aware that patients suffering from xeroderma pigmentosum can be seriously affected by even moderate exposure to normal electronic flash。
對於使用 254nm 輻射的一些電泳研究，低壓汞蒸汽燈已經發現以未經過濾的形式重新流行。需要特別注意這些，並使用較新的短波紫外熒光燈管 - 必須佩戴護目鏡和皮膚保護裝置。電子閃光燈僅發出非常短暫的輻射，並且是完全安全的 - 因此它是患者攝影的更實用的來源。然而，醫學攝影師應該意識到患有色素性乾皮病的患者即使在適度暴露於正常電子閃光下也會受到嚴重影響。
Filters
過濾器All UV transmitting filters are made of glass。
所有紫外線透射濾光片均由玻璃製成。
Note - the skylight or UV filter commonly used over camera lenses as physical protection from damage and optical protection against UV haze effects - is an UV absorbing filter
注意 - 通常用於相機鏡頭的天窗或紫外線過濾器作為物理保護免受損壞和光學防止紫外線霧霾效應 - 是一種紫外線吸收過濾器
The Kodak Wratten 18A is still the standard filter with a transmission window from 300 to 400nm.
柯達 Wratten 18A仍然是標準濾波器，傳輸窗口為 300 至 400nm。
It should be noted that not only is there a window of transmission in the ultraviolet region of the 18A spectral curve, but that there is also a window in the 700 to 900nm region, which also makes it very effective as an infrared filter - provided of course that the recording medium is also sensitive to infrared.
應該注意到，不僅在18A光譜曲線的紫外區域中存在透射窗，而且在700至900nm區域中還存在窗口，這也使其作為紅外濾光器非常有效。 - 當然提供記錄介質也對紅外線敏感。
B + W 提供紫外線透射濾光片（代號403），其傳輸曲線與 Wratten 18A 非常相似，低得多價格。
由於所有紫外線透射濾光器在視覺上都是不透明的，因此必須使用濾光器支架機構，這樣可以在建立視覺聚焦點後將濾光器快速放置在透鏡上。 保持架提供不透光的安裝非常重要。
Films & Processing
底片與處理
All photographic films - color negative and transparency, black-and-white, infrared, process, etc. - are sensitive to ultraviolet radiation (because silver halide crystals are sensitive to ultraviolet). There is no significant advantage to using color film for reflected ultraviolet work because only the blue layer of the tri-color pack will be exposed by the ultraviolet (the integral yellow filter effectively preventing exposure of the red and green layers). Some workers however have designed systems that use source/filter combinations and color film to give false color renditions; these are dealt with in reflected ultraviolet photography with color. For the pure recording of reflected ultraviolet radiation therefore black-and-white negative emulsions are invariably used.
所有攝影膠片 - 彩色負片和透明片，黑白，紅外線，工藝等 - 都對紫外線輻射敏感（因為鹵化銀晶體對紫外線敏感）。 使用彩色膠片進行反射紫外線工作沒有明顯的優勢，因為只有三色包裝的藍色層會被紫外線曝光（整體黃色濾光片有效地防止紅色和綠色層的曝光）。 然而，一些工作人員設計了使用光源/濾鏡組合和彩色膠片來製作假色再現的系統; 這些都是用反射紫外線攝影處理的。 因此，對於反射紫外線輻射的純記錄，總是使用黑白負性乳液。
The recording of ultraviolet radiation involves a number of problems even though silver halide has an inherent sensitivity to all radiation of shorter wavelength than the visible. Firstly, the emulsion grains themselves, and more importantly the gelatin support structure of the film, absorb ultraviolet significantly. This results in the ultraviolet image lying near the surface of the emulsion because the radiation is unable to penetrate very far. Modern films with flat, tabular-grained silver halide crystals near the surface of the emulsion have a natural advantage therefore in recording ultraviolet. Unfortunately, though, in order to remove the generally unwanted complication of ultraviolet sensitivity, most films now have an ultraviolet absorbing filter built into the over coating of the emulsion - this has the effect of reducing the relative sensitivity of these films to ultraviolet. Silver halide crystals are inherently sensitive to short wavelength radiation but the progressive absorption by the gelatin from 300nm downward results in an effective cut-off at 250 nm (90% transmission). The spectral sensitivity curve for a generalized panchromatic emulsion demonstrates that it has a relatively high sensitivity between 350nm and 400nm.
紫外線輻射的記錄涉及許多問題，即使鹵化銀對所有比可見光波長更短的輻射具有固有的靈敏度。首先，乳劑顆粒本身，更重要的是薄膜的明膠支撐結構，顯著吸收紫外線。這導致紫外圖像位於乳液表面附近，因為輻射不能很深地穿透。在乳液表面附近具有扁平的片狀顆粒狀鹵化銀晶體的現代薄膜因此具有記錄紫外線的天然優勢。然而不幸的是，為了消除通常不希望的紫外線敏感性的複雜性，大多數薄膜現在在乳液的外塗層中具有紫外線吸收過濾器 - 這具有降低這些薄膜對紫外線的相對靈敏度的作用。鹵化銀晶體本身對短波輻射敏感，但明膠從300nm向下逐漸吸收導致250nm處的有效截止（90％透射率）。廣義全色乳液的光譜靈敏度曲線表明它在350nm和400nm之間具有相對高的靈敏度。
In order to determine the best film for reflected ultraviolet photography of patient’s extensive tests were carried out by the authors. A "high speed" film was indicated, as five or six stops more exposure were typically required over the visible equivalent, and a relatively small aperture was required to achieve adequate depth-of-field in patient photography. A high sensitivity to ultraviolet was therefore required. ISO film speeds are not necessarily a good indicator of ultraviolet sensitivity; previous workers had reported that slow "non-color" sensitive films, such as Ilford's N531 (0.1 ISO), were just as sensitive to ultraviolet as panchromatic films of 400 ISO.
為了確定患者反射紫外線攝影的最佳膠片，作者進行了廣泛的測試。 指示“高速”膠片，因為在可見等效物上通常需要五到六次曝光，並且需要相對小的孔徑以在患者攝影中獲得足夠的景深。 因此需要對紫外線的高靈敏度。 ISO膠片速度不一定是紫外線敏感度的良好指標; 以前的工作人員報告稱，慢速“無色”敏感薄膜，如伊爾福德的N531（0.1 ISO），對紫外線和400 ISO的全色薄膜一樣敏感。
Many of the traditionally useful films now have the ultraviolet absorbing overcoats mentioned above.
許多傳統上有用的薄膜現在具有上述紫外線吸收外塗層。The various films responded differently in the ultraviolet spectrum in terms of sensitivity-ISO speeds were not particularly indicative - and some relatively fast films performed less well than medium speed equivalents.
在靈敏度方面，各種薄膜在紫外光譜中的反應不同 - ISO速度並不是特別指示 - 並且一些相對快速的薄膜表現不如中速等效。
The results from these tests showed that typically fifty times more exposure was required in the ultraviolet than in the visible to achieve a correctly exposed negative. The Tri-X turned out to be about one and a half times the speed of T-Max 400 in the ultraviolet spectrum, although nominally they are both the same ISO rating. However, the Tri-X had poorer resolution and was lower in contrast than the T-Max. It was interesting to note that the Ilford film, HP5 Plus, again 400 ISO, was in fact over four times the speed of T-Max 400 in the ultraviolet region and that FP4 was approximately 50% faster than the T-Max 400 in the same region!
這些測試的結果表明，紫外線所需的曝光量通常是可見光的50倍，以達到正確曝光的陰性。 Tri-X在紫外光譜中的速度大約是T-Max 400速度的1.5倍，儘管名義上它們都是相同的ISO等級。 然而，Tri-X的分辨率較差，對比度低於T-Max。 值得注意的是，Ilford膠片HP5 Plus再次是400 ISO，實際上是紫外區域T-Max 400速度的四倍，FP4比T-Max 400快了大約50％。 同一地區！
It was clear that the HP5 Plus was the fastest of all the films, i.e., more than three times faster than Tri-X, its next nearest rival, in relative sensitivity to ultraviolet. Initially, therefore, it was concluded that HP5 Plus was the best film due to its speed. Even though the HP5 Plus appeared the film of choice from these initial tests, its relatively poor sensitivity meant that an aperture of only f/8 could be employed, clearly not sufficient for patient photography.
很明顯，HP5 Plus 是所有電影中速度最快的，也就是比其下一個最接近的競爭對手Tri-X快了三倍以上，相對於紫外線相對敏感。 因此，最初得出的結論是，由於其速度，HP5 Plus是最好的電影。 儘管HP5 Plus出現了這些初始測試中選擇的膠片，但其相對較差的靈敏度意味著可以使用僅為 f / 8 的光圈，顯然不足以用於患者攝影。
The real problem remained that of sensitivity to ultraviolet, and it was obvious that
"push" processing was required to increase film speed still further. From publications of
previous workers (Friar et al., 1989) it was known that T-Max films responded very well
to "push" processing. Further tests, therefore, involved processing the two selected films
with extended development to determine which performed the best; HP5 Plus to 1600
ISO, and T-Max 400 to 1600 ISO. Figure 44 shows the family of D Log E curves for T-
Max with progressively increased development. The results were compared to T-Max
3200 processed normally. It was found that HP5 Plus performed poorly, with marked
increase in granularity that reduced resolution considerably. Although the T-Max 3200
was found to be faster than the T-Max 400 rated at 1600 ISO, the resolution was not as
good. T-Max 400 can be "pushed" quite satisfactorily to 3200 ISO and it was quite
interesting to note that even "pushed" to this speed the image quality obtained was
actually better than the T-Max 3200 film itself !
The spectral sensitivity curve for Kodak T-Max 400 film.
反射紫外線攝影受到伽瑪/λ效應的影響 - 這是波長減少造成的對比度降低。隨著波長通過藍色區域減少到紫外線，負的伽瑪或對比度逐漸下降。在製作分色時，這在圖形藝術工業中是眾所周知的;傳統上，藍色分離一直被給予更多處理以提高其對比度，並且同樣在反射紫外線攝影中需要增加的發展。處理必須增加25-30％才能達到正常的對比度指數。在使用“推”處理來增加膠片速度的情況下，它會自動提高成品底片的對比度。為了獲得 3200 ISO 的所需速度指數，必須使用 9.5 分鐘的處理時間。這偶然地將對比度指數提高到比正常值高約 25％。
The film/processing combination to be recommended for reflected ultraviolet photography of patients is therefore T-Max 400 processed in T-Max developer, 1:4 for 9.5 minutes, at 24oC, to give a relative speed of 3200 ISO.
因此，推薦用於患者的反射紫外線照相的膠片/處理組合是 T-Max 400 在 T-Max 顯影劑中以1：4 處理 9.5 分鐘，在 24℃ 下處理，以提供 3200 ISO 的相對速度。
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My Memo
A. 濾鏡:
1. 最佳: Baader-U filter
Baader Planetarium U-Filter 2" (Venus, Ultraviolet, ZWL 350nm)
搭配: Adorama Step-Down Adapter Ring 58mm Lens to 48mm Filter Size
2. 替代方案: SCHOTT UG11 filter + SCHOTT S8612 filter
B. 底片:
T-Max 400 push to ISO 3200
C. 鏡頭:
1. 測試: G35 或 G90, filter size: 46mm
2. 正式: Schneider Makro-Symmar HM 120mm F/5.6, filter size: 40.5mm
3. 濾鏡專接環: 58mm to 48mm, 46mm to 58mm, 40.5mm to 58mm
D. 365 nm LED手電筒:
HQRP 365 nM UV LED Flashlight
E. 測試記錄
1. 在太陽光下, 測光錶的讀數調整後, 需再增加約 10 個 stop 來曝光
2. 在 365nm LED 照射下, 測光錶的讀數調整後, 需再增加約 5 個 stop 來曝光
F. 其它
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