Jorge Parra wrote:

> Dear Thomas, I have great curiosity  about this info. Is this just so
> simple? If so, what is the use or rationale to include all other color
> patches in the card ( 24 in total)?
> I find that if I set ( in Levels) the White point first ( at a value of ,
> say 245 instead of 255) and followed by the Black POint ( set at 10 or 15)
> then there is no way I can have the Grey point to fall in the Expected 128
> target value. THis is odd to me and still have no defined workaround for
> this, specially since it has happened on some ocasions that the order of the
> color  sampling( Black first of Grey first) introduces changes in the
> overall values.

excuse that I am not concentrating on the thread (a great excuse that
;-)).

Is it not perhaps relevant to revisit the 2 notions

1/ that flourescent is highly discrete in its spectral discontinuity and
that no amount of color balancing (ever! ever! ever!) will produce a
real balance

2/ that - even with no flourescent - non linearity in film and digital
sensors (while not as absolute) can easily produce such steep dips in
spectral curves in certain conditions, that there is so little data
recorded, that one will - for all intents and purposes - never create a
really good balance (and love it)

.....exacerbated by the uncompromising fantasy palatte that we all share
for a select bunch of recognizable things (such as skin tones). We will
all distort any scientifically rational 'compromise' color balance in
order to satisfy our pedantic and crude color conception of the world as
she 'should' be.

Whereas all the science that one bring to bear on balancing flourescent
light, is a lot of fun (and most of us like a good tinker) - is it not
easier just to cheat in PS and remake the scene any way one can, (the
way the customer wants).

...and following from that  - just because one can get a correct
highlight reading and a shadow one - why should anything in the middle
oblige in a linear fashion (even under ideal continuous spectral
conditions)


philip
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