'tis good enough for me. That's all that counts.
Chuck Norcutt
Ken Norton wrote:
>> It can be a reason to shoot color rather than B&W. You can do all your
>> B&W color filtration in PhotoShop rather than with expensive filters in
>> the field. You can also see first hand what you're doing.
>
>
> This sounds good in theory and everything. It even works in a pinch. But
> there is usually a HUGE difference between filtered B&W film and converted
> color imagery. I'll go further in saying that there are huge differences
> between various B&W films.
>
> Each film has an unique color response curve and the effect of a filter
> varies greatly because of varying degrees of sensitivity to different
> colors. For example, a green filter on Tri-X is very good for skintones on
> some people, but trying to use the same filter on Delta 400 produces muddy
> and gritty skin. A red filter produces nice dark skies with some B&W films
> and barely anything different with others. I'm very surprised at how
> ineffective the red filter turned out to be on the Fuji 100ss. When combined
> with the polarizer, a Red #25 on most B&W films gives you an inky black sky.
> Not with 100ss. Green filter? Tones go flat and ugly.
>
> So, what I'm saying is that applying color filtration in a computer to
> simulate the effect on a color image is vastly different than getting there
> in an original B&W negative. Most importantly, the curves are burned in on
> the negative--usually very close to the final output (especially when
> printed optically), so there is far less bit-bending going on in
> "post-production" which yields much nicer tonal gradients with excellent
> tonal separation and micro-contrast. To simulate the same effect in a
> computer usually results in solarization artifacts.
>
> But for the crazed digirules-filmdrools crowd, doing everything in
> post-production and pretending that it's "just as good as the real thing",
> there is no convincing them that they are sadly mistaken.
>
> AG (plug-in THIS) Schnozz
>
> AG
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