Grey scale . . . color chart ?

[hipchildreth]

This has been an informative thread and while you and I may have enough to chew on a little while, I think Mr. Lester and The Gunfitr might keep going awhile.

This is what makes GG great, nitty gritty knowledge, civil arguement and, uh, really beautiful photographs of really beautiful women.


By the way, back in the day, I always shot chromes a third stop under for saturation and a B&W print either had a true black in it or went into the can followed by some choice language about what an idiot I was.
Remember graded, fiber based paper and chrome plated print dryers? God I miss that.

[cjeffries]

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Remember graded, fiber based paper and chrome plated print dryers?

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Indeed I do remember. Among the guys I used to shoot with, we did F surface to send to the pressman. Had to periodically make sure the plate was clean. [img]/ubbthreads/images/graemlins/wink.gif[/img] And we used G surface for exhibition. Agfa grade 6 if you wanted to do something a little more dramatic.
Did you ever use a dry-mount press? Got some of those in storage some place from way long ago.

Have to agree with you too about the lively, spirited discussion. Gotta love it. [img]/ubbthreads/images/graemlins/smile.gif[/img] I think we owe Mr. Lester and the Gunfitr a special thank you.

Cheers

[JaysonFromMaine]

after setting my lights to the desired output main f8, fill f5.6, hair f8 ect....I take a last reading with all lights poping at once with dome towards the main light source ( or highlight side of the face )...that should be your proper reading for the final image exposure ....Thats the way I beleave I got it from Dean Collins ...Still the best photo vids I have seen...

Dean Collins Vids

OH I found out he was actully color blind...Just like a camera ( film camera at least ).....

[JaysonFromMaine]

funny but that last part...makes me think of film tests....when you get a batch of film you check to find the ideal exposure index for that batch... it might be 400 asa Tmax but you rate it for 200 asa or 160asa or a 100 asa chrome film that you shoot at 80 or even 50asa....course there is the clip test route too...

[williaty]

OK, I realize I'm months late for this party but...

Very early in the thread it was mentioned that one should aim for a value of 127 in all channels to place the representaion of the gray card or the zone V step on a wedge on the correct value. 127 is the correct value ONLY IF you are working in the sRGB color space. Other color spaces have their gray card/18% reflectance/Zone V value on different numbers. ProPhotoRGB, for instance, has a target value for Zone V of 107. AdobeRGB needs to see 126. You can prove this to yourself via Photoshop if you don't want to take my word for it but also don't want to learn the math behind it.

The easiest way to run the experiment the O.P. was interested is to borrow someone's MacBeth Color Checker Chart. Shoot it under the illuminant in which you're most interested. Look at the values for each square in Photoshop and you'll have a quantative view of how your camera interperts light. This allows you to set up your ACR Defaults to render the scene literally (are these the settings I usually keep for final prints, no, but they're the best starting point I've evern seen).

The values for the chart squares in many, many different colorspaces are here: Lindbloom's Color Checker Values

A calculator to ease the arriving on the correct ACR calibration is here: RGB->HSB Calculator with Presets for Color Checker Chart

The best explination I've been able to find of how to do it all is by the esteemed Mr. Frasier here: Calibrating Your Camera with ACR and a Color Checker Chart

[hipchildreth]

That's pretty cool, I never really considered that color profiles would apply luminosity values differently. Thanks, I'll check those web pages out... CreativePro is one of my favorite sites for stuff like this.

Regards,
Chip