On 3/15/2012 6:15 PM, Godfrey DiGiorgi wrote:
Here's the deal:
The key to B&W photography is that it is a non-linear capture of a
color universe abstracted into a set of monochromatic tonal
relationships. One of the vectors is the translation of chrominance to
luminance. When we were working with B&W film, we chose films with
particular spectral characteristics and then added filtration in front
of the lens to tweak those spectral characteristics to match the
particular end tonal relationships we wanted. For instance, red and
green at the same luminance look the same when cast into monochromatic
values. But to capture their perceptual/emotional difference
correctly, we need to differentiate them. So we use filters that
separate them (red filters makes red things brighter, green things
darker, and vice versa).
Applause! Well said!
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