Exposure / snow

Dave Scott wrote:

I have found that using a UV filter helps with preventing the blue. Also
using a polarizing filter would help do the same.
"Alan Browne" "Alan wrote in message
.. .



...if blue is the natural color of the shaddow area, then I would prefer
to capture it as blue...

"Alan Browne" "Alan wrote in message . ..
Dave Scott wrote:

I have found that using a UV filter helps with preventing the blue. Also
using a polarizing filter would help do the same.
"Alan Browne" "Alan wrote in message
.. .



..if blue is the natural color of the shaddow area, then I would prefer
to capture it as blue...

But your eyes don't 'see' it as blue. Also the film records it as
bluer than it should, so some SOME reduction is in order.

Michael Scarpitti wrote:

..if blue is the natural color of the shaddow area, then I would prefer
to capture it as blue...

But your eyes don't 'see' it as blue. Also the film records it as
bluer than it should, so some SOME reduction is in order.

Some reduction then should be partial, only in the shadows. Hard to do using
filters.

"Q.G. de Bakker" wrote in message ...
Michael Scarpitti wrote:

..if blue is the natural color of the shaddow area, then I would prefer
to capture it as blue...

But your eyes don't 'see' it as blue. Also the film records it as
bluer than it should, so some SOME reduction is in order.

Some reduction then should be partial, only in the shadows. Hard to do using
filters.

The effect of the filter on sunlit part won't be as noticable because
of its greater luminosity. The 'skylight' filter is often all one
needs, though some people use a stronger one, such as an 81 B or C.

William Graham wrote:

"Alan Browne" "Alan wrote in message
news


Peter Chant wrote:

In article cBNgb.700898$YN5.573025@sccrnsc01,
"William Graham" writes:

I would assume that the shadows are blue because all the light in them
is
scattered, and none of it is direct, and atmosphericly scattered light
has a
lot of blue in it. (I'm not sure why)


Is the trickier issue, if the shadow areas really are so blue why don't
we notice it with our eyes?


You do when you "look", on the other hand on a really bright day the
contrast is very, very high and your eyes can easilly be dazzled by the
light... Shaddows look like, well, shaddows... we don't assign a color
to them we assign the label "shaddow".

Yes.....Also, our eyes are good at relative colors, but not too good at
measuring color balance without having anything to compare it with.....For
this you need special light meters that they use in television that are
capable of reading the percentage of the three primary colors in any light
source.

Also, our eyes are more responsive to some colours than others. Maximum
response is to orange wavelengths (roughly the same as UK streetlights
give out) and minimum is to blues (which makes you wonder why that
colour was chosen for UK emergency service vehicle lights).

--
Andrew Eremin
Research Assistant Tel: +44 (0)20 7594 8299
IC-Parc, Imperial College London Fax: +44 (0)20 7594 8432
London SW7 2AZ Email:

In article ,
Andrew Eremin writes:

Also, our eyes are more responsive to some colours than others. Maximum
response is to orange wavelengths (roughly the same as UK streetlights
give out) and minimum is to blues (which makes you wonder why that
colour was chosen for UK emergency service vehicle lights).

Because blue is a colour that men understand. Flashing peach or
aquamarine lights would just be far to difficult to understand.

--

http://www.petezilla.co.uk

In article cBNgb.700898$YN5.573025@sccrnsc01,
"William Graham" writes:

I would assume that the shadows are blue because all the light in them
is
scattered, and none of it is direct, and atmosphericly scattered light
has a
lot of blue in it. (I'm not sure why)

It is because the light is preferentially scattered by the molecules in
the air.

Is the trickier issue, if the shadow areas really are so blue why don't
we notice it with our eyes?

Your eyes are coupled to a wonderful processor, called a brain, which
makes you "see" what you expect to see. It knows that snow is supposed
to be white so it performs an on-the-fly white balancing to make the
snow look white to you.


You do when you "look", on the other hand on a really bright day the
contrast is very, very high and your eyes can easilly be dazzled by the
light... Shaddows look like, well, shaddows... we don't assign a color
to them we assign the label "shaddow".

--
Rudy Garcia

Andrew Eremin writes:

Also, our eyes are more responsive to some colours than
others. Maximum response is to orange wavelengths (roughly the same
as UK streetlights give out) and minimum is to blues (which makes
you wonder why that colour was chosen for UK emergency service
vehicle lights).

Because blue stands out from the sea of red, yellow, white, dirty puce,
etc light that litter the scene.........

--
Paul Repacholi 1 Crescent Rd.,
+61 (08) 9257-1001 Kalamunda.
West Australia 6076
comp.os.vms,- The Older, Grumpier Slashdot
Raw, Cooked or Well-done, it's all half baked.
EPIC, The Architecture of the future, always has been, always will be.

Michael Scarpitti:

The effect of the filter on sunlit part won't be as noticable because
of its greater luminosity.

Only when these sunlit parts are nearing or crossing the border into
overexposure. Just as a filter will be without effect if there is no
light to filter.
Else, the effect will be equal (and equally visible), shadow or well
lit part alike.

Paul Repacholi wrote:


what does "EPIC" refer to in your sig? Anything to do with avionics?