Re: B+W 77mm UV/IR Cut (486M) MRC Filter
Re: B+W 77mm UV/IR Cut (486M) MRC Filter
- Subject: Re: B+W 77mm UV/IR Cut (486M) MRC Filter
- From: John Castronovo <email@hidden>
- Date: Sun, 26 May 2013 12:49:37 -0400
- Importance: Normal
I agree with your comment about needing to decide whether or not we actually
want art to fluoresce for the camera, but when white is brighter than white
and also brighter than anything in my profile target, I think it could be a
source for more problems down the road, so I'd rather filter the UV at the
light source. It's not exactly a lie to view and copy the original in light
that has less rather than more UV either, so I feel that it's a variable we
don't need at the camera. However to meet the new ISO standards in 2009,
viewing boxes and luminaries for critical viewing such as those made by GTI
went from allowing none to now allowing a controlled amount of UV.
http://info.gtilite.com/2011/01/where-do-you-set-your-standards/#.UaI2NZw_BPR
I've seen this specification go from a lot to none to now some UV over the
years so even the experts who write the standards don't always agree how
things should look, so I decide in my shop what's best for my copy
processes. I know one thing, my calibrated display only goes to white, not
brighter than white, and I print on papers that don't have OBAs in them
either so I think it's best to filter it out at the light source.
Robin Meyers did some experiments for Betterlight and wrote a great paper
describing this issue of IR in digitally reproducing problematic fine art:
http://www.betterlight.com/downloads/whitePaper/wp_color_accurate_photo.pdf
-----Original Message-----
From: Iliah Borg
Sent: Sunday, May 26, 2013 11:45 AM
To: John Castronovo
Subject: Re: B+W 77mm UV/IR Cut (486M) MRC Filter
On May 26, 2013, at 11:39 AM, John Castronovo wrote:
It's still best to keep UV from exciting the artwork to fluoresce in the
visible spectrum
The question is - what is it that we are trying to reproduce? If the
original fluorescents, and the eye can see it,..?
Other than that, the UV is to be filtered off on the light sources.
The most infamous case of IR issues with art comes from cobalt blue
pigment which will turn purple on digital capture. It's common to need
additional IR filtration at the camera
As I said, maybe to test the camera before mounting those additional
glass-air interfaces which add flare.
--
Best regards,
Iliah Borg
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