Re: Light box screen match
Re: Light box screen match
- Subject: Re: Light box screen match
- From: "Fleisher, Ken" <email@hidden>
- Date: Wed, 20 Jun 2007 08:40:15 -0400
- Thread-topic: Light box screen match
On 6/19/07 11:14 PM, "john castronovo" <email@hidden> wrote:
> The question you're raising is, why are the transparencies that dark?
The chromes are fine--when viewed at the industry standard luminance of 1270
cd/m^2. When that is lowered to 300 (or lower), it's no wonder they look
dark! It's as if the transparencies are 2 stops under-exposed (which they
are not).
> Chromes of fine art usually have too much contrast and to avoid washing
> out the highlights, photographers will underexpose them and view them
> with too much light so as to be able to look into the shadows better.
What are you defining as "too much light"? I do understand your point
though, that the transparencies are exposed to optimize scanning and
reproduction rather than for direct viewing. However, this is not the
situation that I am addressing.
> Personally, I adjust the processing and flash the film.
What do you do with a large library of existing legacy transparencies that
you don't have the option of adjusting exposure or processing with?
> Anyway, it's up to
> the post scanner operations person to open up these images to full
> scale. If you've matched the chrome, you have every right to adjust
> levels according to the gray scale (there is one in the shot right?) so
> that the whitest patch is where it needs to be.
That's exactly right. But wouldn't you rather have some method (i.e.
color-managed procedure) that can account for the bulk of this process
without manual editing? That's what I'm looking for--a way to get closer
while minimizing the manual editing necessary.
--
Ken Fleisher
Photographer
Imaging & Visual Services
National Gallery of Art
Washington, D.C.
Phone: (202) 712-7471
email@hidden
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