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Sam Reeves wrote: > I have a solution to color balance problems that people have been > expressing. <snip> > Shoot color negatives! Good idea to play around with on your own, but when you graduate, try to explain that you would like to shoot negative film instead of chromes to an art director or editor and tell us what happens. :) Seriously folks, since we were talking about how to manipulate the final image (the film) by using filters, and negatives don't provide a final image to work from, then we may as well color correct in pre-press (Photoshop, etc.) from transparencies. Of course all of this depends on your final output and end use plans for the image. If it is to be published, then it will need to be scanned in some form. BTW, when I scan negatives, it's the same prep as slides to get the final image, providing that the exposures are accurate and I don't have too dense or to thin a negative to work with (just when you thought it was safe to come out of the darkroom, the computer equivalent is knocking on the door). And without a final image (print) to work from (to), you will get what the pre-press person thinks your image should look like, which may not be what you think it should look like. Obviously, if you are a railfan intending to show slides at a show, then you are SOL with the negatives. If you like to print color in the dark room, and you are going to hang it (your trains) on the wall, then by all means, knock yourself out and print until you have to come out for air, or more Fig Newtons. If you have a difficult lighting job and only one chance to get it right on film (I won't even get into digital filmless photography here), and you will have time to play with the film later (and you don't need to project it for any reason), then you can shoot negative film to get a wider exposure latitude and some breathing room, and you can print it or prep it yourself. If you need to get the actual positive image on film, then you must choose a slide film that will represent it the way that you feel is most appropriate, and then you must be critical of your exposure and all else under your control while recording that image. One last note: the better the image you capture on film, the better the scan will be. You can't fix a lousy shot on film, and no one will spend the time and money to try these days unless it's a restoration job. Capturing enough color information on film to work with is one thing, getting it all in the right place (sharp) is another. You can't get the crisp edge of a razor blade from a bucket of sand, no matter how you line up the grains. Been there, done that, still doing it for money... (and learning something new every day!). Filters in Photoshop would be a good topic. :) Regards, Dave Dave Cohen Photographer Action Photographic Webmaster [EMAIL PROTECTED] http://www.anet-stl.com/acphotog/home/ ======================================================= -> SPORRS: 'Serious Photographers Of Railroad Related Subjects' -> Web Site: http://www.anet-stl.com/acphotog/sporrs/ -> Message © 1998 SPORRS® - All Rights Reserved =======================================================
