[HUG ] Re: Thank you in advance :D
- From: "Patrick St.Cin" <pgstcin@xxxxxxxxx>
- To: hasselblad@xxxxxxxxxxxxx
- Date: Tue, 12 May 2009 09:49:01 -0700 (PDT)
Bob,
PPHS '83 - Dr.s James and Todd were already retired from teaching by the time I
arrived. Ron Francis was Chairman and John Carson was still there.
Carson eventually retired and John Schott came on board as his
replacement...since his arrival the department has a full Remoting Sensing
curriculum and a Color Science Chair for a PhD program (not sure if this is
still running). I'm not sure if you ever met Dr. Davidhazey but he is the
current Chairman and an old clasmate of mine, Dr. Bruce Smith (MS-PPHS'83) is
the Chair of the Micro-Electronics program at RIT.
Even though Dr. James was retired, I was lucky enough to hear him lecture on
the topic of "Serendipity in Research". You must have had a great time
learning photo science from him.
Sensing strips and curves, wow, I haven't really worked with them in decades
(semiconductor processing relies on a step not a curve) but the concepts are
the same (as evidenced by the number of RIT grads that are working in the
semiconductor industry).
BTW, the Nikon 8000 scanner was been sold! What did you finally do for a
scanner?
Patrick St.Cin
STC Enterprises, Inc.
www.imagesbypatrick.com
Tel (505)239-3026
Fax (505)771-8388
________________________________
From: BOB KISS <bobkiss@xxxxxxxxxxxxx>
To: hasselblad@xxxxxxxxxxxxx
Sent: Tuesday, May 12, 2009 10:10:25 AM
Subject: [HUG ] Re: Thank you in advance :D
DEAR PATRICK,
When at RIT I think I already mentioned that Dr T. H. James was the
lecturer in the Theory of the Photographic Process course that was part of my
curriculum. I also had Hollis Todd for sensitometry and Todd and Rickmers for
statistics, Drs. Carroll (sp?) and Francis for Photo Chem and John Carson for
Optics, both undergrad and grad. Pretty heady crowd.
I have in my notes that James lectured on the fact that films were
designed and formulated to have not only different contrasts and speeds (yes,
always influenced by developer etc) but also to have different shaped curves
for different applications. For example, the old Tri-X had a relatively
straight line in most developers with a relatively short toe while Tri-X
Professional had a much longer toe for the same development conditions. Some
films had almost no toe and very low base plus fog and some had almost no
straight line at all…all the results of emulsion design and formulation.
Sooooooooooooo, it is more than designing and formulating an
emulsion for different contrasts and/or changing the development conditions to
vary those contrasts…there were films designed and formulated with purposefully
different curve shapes. And this is even more so when considering
manufacturers other than Kodak.
This results in scene brightnesses being rendered as very different
tonalities (even if developed to the same gamma or contrast index) depending on
which film you use (and this doesn’t even take into account spectral
sensitivity differences)! I used to refer to it as a different “rendition of
light” from one film to another. Of course this assumes standardizing
everything else, like printing conditions etc.
This also begs the answer to the question that I deduced around
1972, that certain films in certain developers printed more beautifully on
certain papers with certain developers. E.g. Panatomic X in D-76 used to print
beautifully on Polycontrast Rapid but looked harsh on Brovira where as Tri X in
D-76 looked GREAT on Brovira. Yes, I know, I know, I should have made a tonal
rendition system of curves but I was just happy with the results.
CHEERS!
BOB
________________________________
From:hasselblad-bounce@xxxxxxxxxxxxx [mailto:hasselblad-bounce@xxxxxxxxxxxxx]
On Behalf Of Patrick St.Cin
Sent: Tuesday, May 12, 2009 11:22 AM
To: hasselblad@xxxxxxxxxxxxx
Subject: [HUG ] Re: Thank you in advance :D
Mark,
The reason that the films have different shaped curves is becuase they
were developed to provide different contrasts...may be you should read Grant
Haist's book on "Modern Photographic Processing". It is a definitive treatese
on photographic films and process chemistry. Dr. Haist was one of the top
researchers at Eastman Kodak. Last time I bought a copy it was a mere $110, 25
years ago. If that's not sufficient how about try Mees and James, "The Theory
of the Photographic Process". C. E. K. Mees was director of research at Kodak,
and James was one of the most senior researchers along with Grant
Haist. That's a fun one to read as well...silver imaging, contrast curves,
effects of grain size on sensitivity hence contrast...boy does that bring back
the days of wine and roses at R.I.T.
Patrick St.Cin
STC Enterprises, Inc.
www.imagesbypatrick.com
Tel (505)239-3026
Fax (505)771-8388
________________________________
From:Mark Rabiner <mark@xxxxxxxxxxxxxxxx>
To: " hasselblad@xxxxxxxxxxxxx " < hasselblad@xxxxxxxxxxxxx >
Sent: Monday, May 11, 2009 3:14:22 PM
Subject: [HUG ] Re: Thank you in advance :D
- films have different shaped curves Terry that's really not contrast.
Some call the middle part "gamma". And on and on.
Mark William Rabiner
> From: terry lindquist <tsll@xxxxxxxxxxxx>
> Reply-To: "hasselblad@xxxxxxxxxxxxx" <hasselblad@xxxxxxxxxxxxx>
> Date: Mon, 11 May 2009 13:25:01 -0500
> To: "hasselblad@xxxxxxxxxxxxx" <hasselblad@xxxxxxxxxxxxx>
> Subject: [HUG ] Re: Thank you in advance :D
>
> ...it really is a "combination" of both type of film & how it is
> processed (time & type of developer...)...not just processing, alone.
>
> terry
>
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