There's no need to try to imitate film characteristics in digital. Digital provides much more control over gray values than film could ever achieve. Aside from grain and how a film responds to developers, the important elements were how sensitive its emulsion was to different colors. With digital, you have total control over that in the PhotoShop RAW converter, and post processing. I would assume Lightroom provides much of the same control. Filters are only a shortcut to achieving some of that control, but I think one's time is better invested in learning to use color value sliders and contrast curves in BW conversion.
Paul On Jan 16, 2012, at 10:38 AM, Christine Aguila wrote: > And I completely agree with both Paul and Darren. As I was applying these > filters and looking for change , mostly what I saw was what Paul stated, > changes in contrast and hot spots, which I found curious. It seems to me, > when using these filters--that is, using them well--you'd still need a strong > knowledge of a film's characteristics, which I don't have. And while working > through this exercise, I thought, like Paul stated, well, there are a lot > variables involved in the film development and printing process--paper et > al-`which effect the end result--again making film knowledge crucial. > > > Darren is absolutely right about the selection tools as the source of real > power of this plug-in, though I realize that's not what I featured in my > little exercise here. The plug-in works seamlessly with Lightroom--really > nice interfacing there. I hope to give this plug-in some serious attention. > Cheers, Christine > > > > > On Jan 16, 2012, at 7:03 AM, Darren Addy wrote: > >> Of course Paul is right. The film labels given are generalities and >> not necessarily representational of how *you* made a particular film >> work. But that's hardly the point of them either. Most people who are >> using these filter never shot a roll of any of them. Even old school >> film shooters (like me) probably only shot a handful of them. They are >> simply handy labels to remember certain presets of working with Silver >> Efex Pro. They are an especially easy and fun way of getting familiar >> with the mind-boggling variety of control you have with Silver Efex >> Pro. >> >> Of course, you can go far beyond the presets (or create your own). The >> real power of Silver Efex Pro comes when you learn to use their >> special brand of selection tools and learn to apply corrections >> selectively, rather than to the image as a whole. >> >> The results are going to depend upon the source material that they are >> applied to. >> >> Silver Efex Pro is a powerful tool and, like any tool, can be used for >> Good or for Evil. Like any tool it can take anyone who wields it some >> time and experience to become a real craftsman. I think what Christine >> is sharing here (more than anything) is her excitement at the >> possibilities that she sees within reach and perhaps a new way to look >> at images she created long ago and has never seen this way before. >> >> Darren Addy >> Kearney, Nebraska >> >> -- >> PDML Pentax-Discuss Mail List >> [email protected] >> http://pdml.net/mailman/listinfo/pdml_pdml.net >> to UNSUBSCRIBE from the PDML, please visit the link directly above and >> follow the directions. >> > > > -- > PDML Pentax-Discuss Mail List > [email protected] > http://pdml.net/mailman/listinfo/pdml_pdml.net > to UNSUBSCRIBE from the PDML, please visit the link directly above and follow > the directions. -- PDML Pentax-Discuss Mail List [email protected] http://pdml.net/mailman/listinfo/pdml_pdml.net to UNSUBSCRIBE from the PDML, please visit the link directly above and follow the directions.
