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#1031
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"Boat" wrote in message
... "jjs" wrote in message ... [...] Or wishing them to be. I think it odd, though, that you might take exception to that. Multi-grade contrast filters and even the Zone System comes, I think, from precisely that. I wait for different light sometimes not because the sky or light now is imperfect, but because the darned thing won't well that way. So you wait for reality to accomodate the medium? I find that to be an odd approach. Remember, the so-called Zone system is merely a point of departure. I know of only one photographer who follows it religiously. All the rest dodge, burn, mask and bleach to make the print show what they want. |
#1032
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"Boat" wrote in message
... "jjs" wrote in message ... [...] Or wishing them to be. I think it odd, though, that you might take exception to that. Multi-grade contrast filters and even the Zone System comes, I think, from precisely that. I wait for different light sometimes not because the sky or light now is imperfect, but because the darned thing won't well that way. So you wait for reality to accomodate the medium? I find that to be an odd approach. Remember, the so-called Zone system is merely a point of departure. I know of only one photographer who follows it religiously. All the rest dodge, burn, mask and bleach to make the print show what they want. |
#1033
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"jjs" wrote in message
... "Boat" wrote in message ... "jjs" wrote in message ... [...] Or wishing them to be. I think it odd, though, that you might take exception to that. Multi-grade contrast filters and even the Zone System comes, I think, from precisely that. I wait for different light sometimes not because the sky or light now is imperfect, but because the darned thing won't well that way. So you wait for reality to accomodate the medium? I find that to be an odd approach. Very recent HD monitors are claiming 400:1 brightness ratio. That's just a nudge more than 13 stops. Pretty amazing stuff if true. Remember, the so-called Zone system is merely a point of departure. I know of only one photographer who follows it religiously. All the rest dodge, burn, mask and bleach to make the print show what they want. Is that artistic interpretation, or struggling to fit it to the medium? Does it matter? |
#1034
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Boat wrote: Very recent HD monitors are claiming 400:1 brightness ratio. That's just a nudge more than 13 stops. Pretty amazing stuff if true. 400:1 would be just under 9 stops, did you mean 4000:1, which would be just under 12 stops? Scott |
#1035
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Boat wrote: Very recent HD monitors are claiming 400:1 brightness ratio. That's just a nudge more than 13 stops. Pretty amazing stuff if true. 400:1 would be just under 9 stops, did you mean 4000:1, which would be just under 12 stops? Scott |
#1036
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"Scott W" wrote in message
oups.com... Boat wrote: Very recent HD monitors are claiming 400:1 brightness ratio. That's just a nudge more than 13 stops. Pretty amazing stuff if true. 400:1 would be just under 9 stops, did you mean 4000:1, which would be just under 12 stops? (Brainfart. 13 stops would need almost 8192:1. Should be able to get a toasty tan from across the room. For you bit jockeys, the brightness range of n f/stops is simply 2^n.) Many LCD monitors are rated at 200:1, or less than 8 stops. Funny that I never stopped to think about it that way. My monitor is a good match for carefully printed and processed B&W silver gelatins. |
#1037
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"Scott W" wrote in message
oups.com... Boat wrote: Very recent HD monitors are claiming 400:1 brightness ratio. That's just a nudge more than 13 stops. Pretty amazing stuff if true. 400:1 would be just under 9 stops, did you mean 4000:1, which would be just under 12 stops? (Brainfart. 13 stops would need almost 8192:1. Should be able to get a toasty tan from across the room. For you bit jockeys, the brightness range of n f/stops is simply 2^n.) Many LCD monitors are rated at 200:1, or less than 8 stops. Funny that I never stopped to think about it that way. My monitor is a good match for carefully printed and processed B&W silver gelatins. |
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