>
>> That difference in how the digital sensor sees the natural world has
>> been a real pain in this
>exercise. I'll experiment with that white balance later after I get this
>preset business done with.
>
>But the color sensitivity isn't uniform with B&W films. Zones I-III of
>many B&W films will have different color sensitivity than IV-VI and
>VII-IX. This is where a program like Sfx goes the extra mile.
>
As I saw when looking over the various B&W conversions to various films in
Exposure 6. That was very interesting, and I narrowed my choice down to TriX,
which is not surprising.
>
>
>> The colour filtering provided by Exp6 is convenient, but it only
>> provides for a particular band of
>>colour at a time (so it seems), which is not consistent with most Wratten
>>filters. Many of the green
>>filters will perform this way, but the majority will filter out increaing
>>amounts of yellow to red (blue
>>filters) or orange to blue (yellow, orange, and red filters). This
>>complicates matters and requires that
>>some generalised form of filtering that can be customised be brought to bear.
>
>
>It's even more complex than you'd expect.
>
>Take the Wratten #8 filter. Yellow. You'd expect the yellow filter in
>digital monochrome conversion would work the same. It doesn't. It
>actually acts more like a a #12 (minus blue) filter if the source
>image has predominant red, green and blue spikes on the histogram.
>When the color spectrum of the source image is narrow banded to the
>three primary colors, a "minus" filter is very effective. However, in
>the real world, blue skies are rarely exactly blue.
>
Yep. Been there.
Catch my next post in about a minute. Big surprise.
Chris
When the going gets weird, the weird turn pro
- Hunter S. Thompson
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