I come back to this , even if ifeel sorry to cannot explain me better
in english .
Color is really something which can't be managed automatically, beeing
fonction
of many variables : "id est"the ambiant light , the screen , or worse
the paper on which
we see it and it is as irealist to expect it staying the same all over
the process
than to expect a poesy beeing translated "as is " from english to
french and by a machine !
yves
Le 25 mai 04, à 18:28, Piers Hemy a écrit :
>
> Ah, well when you put it that way, I have to agree with you - although
> I
> would say the same 'difficulty' applies (if anything, more so) to
> prints
> produced from slides. That is, when the end product is the result of
> two
> separate processes (film original, paper final image) and perhaps the
> problem is the two processes.
>
> Perhaps you have made a good argument for an E-1, which will produce
> prints
> direct, and to your wife's liking? ;-)
>
> Piers
>
>
>
> Piers asked:
>> So Velvia, not being a negative film, is objectively 'right' Jez?
>
> It's not so much what is right or wrong but what is predictable and
> repeatable. When I use Velvia (for a landscape) I know what to expect
> (and
> others will even be able to guess it's Velvia) but when I use a
> negative
> film without a scanner profile (or a calibrated system) I have to
> decide
> what adjustments to make. And personally I can't - I always end up
> with a
> print that my wife says 'doesn't look right'.
>
> I'm hoping to evolve to a (digital?) camera through to print process
> that
> will add or subtract nothing - the audio purists call their perfect
> amplifier 'a straight wire with gain' - and my Holy Grail is the
> photographic equivalent!
>
> br
> jez
>
>
>
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