SD Q Colour

Started 3 months ago | Discussions thread
D Cox Forum Pro • Posts: 25,253
Re: I always find it interesting..

richard stone wrote:

D Cox wrote:

TN Args wrote:

richard stone wrote:

I recently posted a picture of the wife, who at the time was in shadow so the light was somewhat reduced and a bit on the blue side, and she had no make-on. But with skin you don't just get the surface reflection. Particularly with Foveon. And Foveon sensors are quite sensitive to the illumination.

I assume you are talking about colours -- after all, it's the sensor's job to be sensitive to the illumination.

But isn't it a Very Bad Thing to have colours change with the illumination level?

They must do in the monitor or printer, because the maximum saturation occurs only at the mid tones. Highlights and shadows are less saturated.

Ideally, the hues (dominant wavelengths) shouldn't change.

This paper is "really" all the same colour.

Or did you just mean sensitive to the light type? i.e. if the white balance is wrong, the colour tint is stronger.

cheers

"White balance" mainly applies to studio situations. If you are photographing pots for a museum, or a model wearing a particular fabric, the aim is that the colours of the print should match the surface colours of the pot or fabric and the light should be white, or appear white. You can get close to this with photos of flat artwork.

As soon as you leave the studio, all is chaos.

Yes; In my view, this is where the OP went slightly wrong: Trying to work out colors (or colours) with completely unmanaged (and natural) lighting (outside the studio) is mainly doing the best you can. And in reading what I wrote I realized that what I meant was the "color" of the illumination. That is why I noted the blue-ish light in the shadow.

Sometimes the (unmanaged) lighting works out very well and the color looks good, if not great/perfect. Other times, the color is not so good. But it is probably not entirely the fault of the camera.

In natural uncontrolled lighting, you have to deal with spectra that are the results of the reflectance spectrum of the surface, the transmission spectrum (if the object is translucent), the spectra of two or more light sources (sunlight, skylight, light reflected from nearby surfaces, etc).

Some people expect the camera to extract the reflectance spectrum of each surface from all this, and the monitor to replicate it by mixing three primary colours.

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