>
>> Yes, such as a #22 or #21.
>
>The one nuance that everybody seems to overlook is the blue
>sensitivity of B&W films. That slight change of white-balance makes a
>HUGE difference. You don't have to go very far. Just dial the WB
>slightly towards to blue and watch what happens to the sky.
>
Yes, you can easily see that by going through the various B&W film
emulations in Exposure 6. That option is pretty valuable when trying to equate
digital photography (colour and B&W) with the film photography you are most
familiar with.
BTW: I created a dead white image using Corel Photo-Paint and used it as
the original image in FilterSim. Then I turned off the Auto Compensation and
went through the needed filters one at a time, saving the results as overlays
to be used in Photo-Paint for greater flexibility. I did notice that a couple
of familiar filters, such as #6 and #13 were missing, but they can be
compensated for. $13 is essentially a darker version of #11 and #6 is not of
much value as it does very little if anything for darkening sky. It was more
of a UV and protective filter for B&W photography, much like using a UV or
Haze-1 in colour.
Now I just need to devise a suitable IR filter as a JPEG overlay. I tried
that yesterday with my 750u filter but I greatly underexposed it. The #89B and
#90 in FilterSim don't quite do it for me. Applying the #29 and then editing
and converting in Photo-Paint is an interesting experience, just short of IR
and more dramatic than a #25.
Chris
When the going gets weird, the weird turn pro
- Hunter S. Thompson
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