In some color films where tabular-grain (T-grain) emulsions  are  used,  high  speed  and  increased  sharpness are combined. When these films are manufactured, the overall thickness of the film is reduced By reducing the overall thickness, you also reduce the scattering of light within the film, resulting in improved sharpness. Also, double-emulsion layers, one fast and one slow, may be incorporated to improve film speed in color films. Each emulsion layer of color film either has an incorporated dye coupler or a dye that is put into the emulsion during processing. A dye coupler is a chemical that produces a dye by combining with the oxidized products  that  occur  during  color  developer. Color  Negative  Film A color negative film records a scene in image densities opposite to the brightness of objects in the scene-the  same  as  a  black-and-white  negative  film. Color  films  can  be  recognized  because  they  contain  the suffix “color,”   such as Vericolor, Kodacolor, and Fugicolor. These color films are used when a print is the final product. Most color negatives (other than color film used for aerial photography) have an orange mask This orange mask increases the color separation that reproduces  colors  more  accurately  in  the  final  print. During development, colors are formed in the emulsion that are complementary to the color of the original scene; for example, a red object in the scene is recorded as cyan in the negative. It is a combination of yellow, magenta, and cyan that records all the other colors that you see in the scene. Color dyes in the emulsion layers control the colors of light passing through  the  color  negative. Color  negative  film  images  can  be  printed  on  color positive materials, such as color paper and color print film, to produce color prints or color transparencies. Color  negatives  can  also  be  printed  on  a  special panchromatic  black-and-white  paper  to  produce black-and-white   prints. Color  Reversal  Film Color  reversal  films  produce  positive  images  in densities   directly   proportional   to   the   reflective brightnesses of objects and in the same colors as those in the original scene. Reversal films are recognized by the suffix “chrome” in their names, such as Ektachrome, Kodachrome,  and  Fujichrome. The positive image of most color reversal film is produced by a two-stage development process. This process causes chemical fogging and color developing of the portions of the silver halide emulsions that were not  affected  by  camera  exposure  or  the  first black-and-white  developer.  Like  color  negative  film, color reversal film has three emulsion layers that are sensitive  to  blue,  green,  and  red  light  and  produces yellow,  magenta,  and  cyan  dyes,  respectively.  The  film contains dye-forming chemicals that are put into the emulsion  layers  during  manufacturing.  A  color developer produces three dye images in the emulsion layers. The three dye images in a developed color reversal film control the colors of light passing through the film. Kodachrome film does not contain dye-forming chemicals in the emulsion layers. They are introduced during processing from three separate color developer solutions. Kodachrome film has high resolving power and tine grain and produces a fine image. Processing Kodachrome film is a complex operation and can only be  performed  by  a  Kodak  processing  plant. Developed color reversal film can be used as a transparency  (slide)  for  direct  viewing,  printed  directly onto a color reversal paper, copied on a black-and-white film for producing black-and-white prints, or copied to a  color  internegative  (copy  negative)  for  producing color  prints. Color  Balance Color  balance  is  the  acceptable  relationship  among the three color images in a positive color print or slide. This means that when the color print or slide looks correct,  color  balance  has  been  achieved. To help achieve this acceptable relationship, the manufacturer  balances  color  film  emulsions  for exposure with a specific Kelvin temperature (K). Remember, daylight usually has a higher content of blue light  than  red  light,  while  tungsten  illumination  usually has a higher content of red light than blue light. To compensate for the lower proportion of red light in daylight,  the  manufacturer  balances  color  films  for daylight, so they have a higher sensitivity to red light than  to  blue  light.  To  compensate  for  the  lower proportion of blue light in tungsten illumination, the manufacturer  balances  color  films  for  tungsten illumination, so they have a higher sensitivity to blue light than to red light. Generally, color films are referred to as daylight (outdoor) or tungsten (indoor), indicating their broad use without filters. Specifically, daylight films are balanced for use in sunlight or with an electronic flash 2-6