Digital BW, The Print

I think when it is very dark we only see in grays.
So possibly we do have some processing in our brains for B&W.
Mike J.

-----Original Message-----
From: DigitalBlackandWhiteThePrint@yahoogroups.com
[mailto:DigitalBlackandWhiteThePrint@yahoogroups.com]On Behalf Of Claude
Sent: Saturday, December 02, 2006 5:09 PM
To: DigitalBlackandWhiteThePrint@yahoogroups.com
Subject: Re: [Digital BW] Grayscale Vs Color (was PFP with UT7)


Very interesting thoughts from both gentlemen. I always thought of B&W
as inherently abstract, to the human eye, since we do not see in
shades of gray.

Therefore B&W is essentially devoid of any color harmonies or
inconguities with the real 4 Dimensional world (time matters as well).
I have found that a B&W looks more "right" when converting from a
color world when there is a greater increase of end-to-end, as well as
local contrast. Since conversions of equal luminances of 2 spectrally
opposite colors remove the color contrast, we must use pre or post
processing color distortions to create a visually pleasing image WITH
those contrasts (if that is the intent). It's also why Tmax 100, Tech.
Pan, and Trix had completely different renderings of the same scene,
without filters, exposed at the same Zone I threshold and developed to
the same Contrast Index.

I know I'm generalizing here, but B&W, as a visual medium, from the
darkroom or lightroom, maintains it's inherent abstract properties
nonetheless. It seems that any minute deviations from perceived
"neutrality" is more readily apparent to the human tri-stimulus system
in the B&W image vs. the color one. Why else would we be so sensitive
to metameric issues?

This, in part, explains the intelligence and intensity of this board
and why some color scientists, technicians, and photographers
(including this one) have such an avid interest in keeping up with it.

Claude Jodoin
Tech. Editor
Rangefinder