>
> It can be a reason to shoot color rather than B&W. You can do all your
> B&W color filtration in PhotoShop rather than with expensive filters in
> the field. You can also see first hand what you're doing.
This sounds good in theory and everything. It even works in a pinch. But
there is usually a HUGE difference between filtered B&W film and converted
color imagery. I'll go further in saying that there are huge differences
between various B&W films.
Each film has an unique color response curve and the effect of a filter
varies greatly because of varying degrees of sensitivity to different
colors. For example, a green filter on Tri-X is very good for skintones on
some people, but trying to use the same filter on Delta 400 produces muddy
and gritty skin. A red filter produces nice dark skies with some B&W films
and barely anything different with others. I'm very surprised at how
ineffective the red filter turned out to be on the Fuji 100ss. When combined
with the polarizer, a Red #25 on most B&W films gives you an inky black sky.
Not with 100ss. Green filter? Tones go flat and ugly.
So, what I'm saying is that applying color filtration in a computer to
simulate the effect on a color image is vastly different than getting there
in an original B&W negative. Most importantly, the curves are burned in on
the negative--usually very close to the final output (especially when
printed optically), so there is far less bit-bending going on in
"post-production" which yields much nicer tonal gradients with excellent
tonal separation and micro-contrast. To simulate the same effect in a
computer usually results in solarization artifacts.
But for the crazed digirules-filmdrools crowd, doing everything in
post-production and pretending that it's "just as good as the real thing",
there is no convincing them that they are sadly mistaken.
AG (plug-in THIS) Schnozz
AG
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