PRISCILLA TURNER

Interesting, but it's the 80A, 81B and FL-Day that I want so often on my W/A lenses.

I'm talking about mixed lighting. I do it all the time, setting the WB on Daylight. It cannot be fixed in post by any manner of means. Avoids horrible underexposure and the cam calculates ...

Unfortunately no, because you simply tweak the whole image. Real filters used at the time of making the shot enable you, say, to keep the daylight coming through stained glass as it was while ...

The PS colour filters are unfortunately not 'real' photographic filters, in that they do not subtract but simply put a layer of colour over everything. They can't be used to rescue an image for ...

Incidentally since you lose quite a bit of image with a commercially-bought mat for a 12 x 18  print, namely .5 in. in each direction, it's useful to print a little smaller, say 11.8 x 17.7, so as ...

Yes, for printing one nearly always has to lift shadows to some extent.

My PP: 1.  Made double-sized .tif from raw w. SPP 4.2 2. Pulled into DxO Lab2, applied Smart Lighting, WB using picker on white cloud, applied Clearview Plus at 50 3. Exported as big .jpg For ...

The use of a simple polariser will account for some of this blue. A warming 81A or B, or a warming polariser, will serve you as well. I save a large .tif from my raw and run DxO's Clearview on it: ...

Absolutely agree, sometimes useful, but too spotty for words. Sometimes tries to make gibberish out of perfectly good English.

I do still have and sometimes use my DP1, but mostly with the Nikon W/C 75 converter. See this thread: https://www.dpreview.com/forums/thread/4328077#forum-post-61778014 it's easy to use this W/A ...

One can squish those up quite satisfactorily in DxO. With architectural subjects or landscape the phenomenon really doesn't signify.

Yes. And I deal with it by making a big .tif and running the CA correction adjustment over it in DxO.

Actually conquered this mountain in the summer of 1961 with my then-fiancé. Took two days, one whole day in from the sea to the mountain refuge. The last 1,000 ft. were quite dangerous.

Filtration is conceptually and practically distinct from WB settings. I'd use REAL filters, for reasons which I have often stated in these fora. They are especially useful in mixed lighting, e.g. ...

FWIW, I've just found a reference to Ansel Adams in connection with my c. 1,000 focal lengths formula for the location of optical infinity: https://www.rangefinderforum.com/forums/showthread.php?t= ...

Excellent discussion, if at points more mathematical than I can get my mind around. These quotations sum up for me the points relevant to this thread:-- “If we are using a lens opening which ...

Yes. In the light of the subsequent discussion here some of what I said needs qualification. I think one must say that with our modern autofocus-capable lenses the infinity mark represents optical ...

You're very welcome ...

This is the best I can do at this date: https://photo.stackexchange.com/questions/93587/what-is-the-formula-for-determining-where-infinity-focus-begins . I picked up so much decades ago from ...