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  1. #1
    David Lyga's Avatar
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    Conservancy Color

    At the Italian Market in Philadelphia this weekend I saw an exhibit of large, beautiful color prints of historic buildings and such. I enquired as to the 'capture' medium and was politely told by the man in charge that with 'conservancy color' (preservation of historic artifacts) the capture must be digital because hues were purer than with film.

    Now, my immediate thoughts were to counteract that heresy but now, pondering, I am not quite sure that he was incorrect. Is there validity to his argument? - David Lyga
    Last edited by David Lyga; 05-21-2013 at 10:10 AM. Click to view previous post history.

  2. #2

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    It depends on the capture device. Michael Wolf photographed skyscrapers with a 112MP back - not sure which.
    'Cows are very fond of being photographed, and, unlike architecture, don't move.' - Oscar Wilde

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    It's true that digital sensors capture light using primary colours (RGB) and that colour film, negative or positive, produces colours using CMY complementaries. Whether or not that RGB setup confers more colour accuracy is debatable and would depend on lighting conditions (time of day, angle of sun, sunny or cloudy conditions etc). You'd also have to call into question the accuracy of the printer's calibration, the purity of inks, the RGB --> CMYK conversion, and if the prints were C-Types made using Lightjet printers, the reversal system still comes into play. And since everyone perceives colour slightly differently, it probably isn't possible to achieve 100% accurate colour representation anyway. The guy's talking bull$hit IMNSHO.

    Cheers,
    kevs
    testing...

  4. #4
    zsas's Avatar
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    Here we go again, knock down drag out film v digital. No mistake that the OP's thread is a thinly veiled analog v digital thread....
    I always thought these film vs digital threads were not allowed as per the APUG Terms of Service.......
    Andy

  5. #5
    Brian C. Miller's Avatar
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    Quote Originally Posted by David Lyga View Post
    At the Italian Market in Philadelphia this weekend I saw an exhibit of large, beautiful color prints of historic buildings and such. I enquired as to the 'capture' medium and was politely told by the man in charge that with 'conservancy color' (preservation of historic artifacts) the capture must be digital because hues were purer than with film.

    Now, my immediate thoughts were to counteract that heresy but now, pondering, I am not quite sure that he was incorrect. Is there validity to his argument? - David Lyga
    A "long" time ago, I looked at a comparison of film and digital. The colors were different for each shot. Which was correct? I don't know. A little while back on The Online Photographer, a photograph of a "pink" car was posted. The car looked orange to me, and I looked at the photograph on four different monitor using different browsers. Still orange. One of the TOP posters wrote a note that the problem could be with the sensor rendering the color a little off, and that there's a difference between Canon and Sony sensors. DxOMark has ratings of the various sensors, and some of them are rather far from "perfect." When the Nikon D800 was compared to a Hasselblad digital camera, the Nikon showed an obvious bias towards adding a bit of red.

    I've also talked to some pros who use both film and digital, and more than once I've heard a complaint that the hues from the digital sensor weren't as good as hues on film.

    I would question the fellow in charge of the exhibit (not argue, just ask questions) to see how much he actually knew about the subject of color accuracy. Like what tests had been done, etc. The fellow could be referring to color shifts in prints over time, i.e., how well the print ages. Printing papers have been a serious problem in the past.

  6. #6
    Rhodes's Avatar
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    Quote Originally Posted by desertratt View Post
    When is the last time you saw a Renault on the streets?
    Every day!

  7. #7

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    Color accuracy relies on so much more than capture medium. Color references help (i.e. a MacBeth Color checker), as does correcting for variables in ambient light (filters on lenses, filters on strobes, choosing the time to shoot based on color temperature). In the end, however, the person actually printing the image has as much control over the end result as the photographer, and in many cases, when printing C-type prints, the capture medium is relatively unimportant. Someone sitting at an Agfa D-lab or Fuji Frontiera can work with film or digital files equally well. In the end, if the print is the final record of the image, and not the negative, transparency or digital file, the quality of the capture would seem more important than the medium.

    By the way, I live near Philadelphia, and would have been at the Italian Market Street Festival on Sunday if the weather was better. Where is this exhibit exactly? I'd love to stop by and check it out. Besides, I need to go to DiBruno's to stock up my fridge.

  8. #8
    polyglot's Avatar
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    He was right. Get over it and quit posting inflammatory threads to get all the film cheerleaders wound up.

    This is an Analog Forum, not a We Hate Digital Forum.

  9. #9
    David Lyga's Avatar
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    Jeff (from 28 miles south), the exhibit was at Ninth Street and Washington Avenue, then northward along Ninth. I had gone there to buy my vegetables and fruits.

    And zsas, I was not trying to foment revolution, only to ask whether or not there was a 'hue standard' that might be 'perfected' with digital images. An analogy might be LPs vs CDs: on CDs the pitch is dead accurate because the 'speed' is dead accurate. Thus, I really am not guilty of any malfeasance here. - David Lyga

  10. #10
    zsas's Avatar
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    The terms of serv are quite black and white here....

    DPUG is a better place for this line of thought
    Andy

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