[pure-silver] Re: Shoulder and highlight
- From: Ryuji Suzuki <rs@xxxxxxxxxxxxxxx>
- To: pure-silver@xxxxxxxxxxxxx
- Date: Fri, 31 Dec 2004 20:09:16 -0500 (EST)
From: DarkroomMagic <info@xxxxxxxxxxxxxxxx>
Subject: [pure-silver] Re: Shoulder and highlight
Date: Sat, 01 Jan 2005 01:46:56 +0100
> I don't think this is correct.
I'm afraid I think it is correct.
> Image gradation, and consequently, every final print tone depends purely on
> the combination of film and paper characteristics. This is best visualized
> in the typical tonal reproduction cycle, where one quadrant is occupied by
> the film and another by the paper characteristic curves.
Read what I said again: I'm talking about the case where paper and
average gradient are fixed. I'm also assuming sensitometry of both
film and paper are monotone non-decreasing functions. These are all
reasonable assumptions.
> A film with a mid-tone 'hump' will make for lighter mid-tones in the final
> print than a straight-line film characteristic on the same paper (Tmax is
> such an example). This means two films with similar highlight
> characteristics can have quite different mid-tone characteristics.
In my hand neither T-MAX 100 nor 400 has hump in their curves. T-MAX
P3200 can have it. I'm curious how you got hump in TMX or TMY if it's
what you are talking about.
--
Ryuji Suzuki
"Keep a good head and always carry a light camera."
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