Hi Stuart:
> One question I have always had about colour print processing, is if the
> colour processor has direct control over the colour contents of the print,
> then why bother using a colour saturated print film as the printer will
> reduce the colours to their own standard saturation levels during the
> printing process.
>
>
> I have always wondered about using a warming filter with print films,
don't
> the processors compensate for this and produce an average print.
>
> On the other hand is it not possible for the processor to bump up the
colour
> saturation so as to simulate a warming filter.
You are right in your assessments. Filtering color negative shots doesn't
make much sense since the image control is in the automatic processor. That
lack of control makes slides a prefered media for those who want to maintain
control over their images. If you develop your own prints, color filters can
lead to more precise negatives.
Changing the subject to transparencies (but unfortunately not in the OM
thread), I'm of the opinion that if a slide is to be reproduced it makes more
sense to go for a long tonal scale, more hues than saturation (the classic
tradeoff) and neutrality in color rendition. One needs all the information
they can get in the original, since second generation products boost contrast,
among other changes. We can then boost saturation and contrast and change
color balance, as necessary, in the scan or print made from the slide. If the
slides are intended primarily for projection, then the image flavors offered
by the various emulsions becomes more important.
Gary Reese
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