Fuji FinePix S3

Discussion in 'Fuji' started by Alan Browne, Mar 25, 2005.

  1. Alan Browne

    Alan Browne Guest

    The extra sensors in the S-3 go to recording highlights. The extends
    the common 12 bit range (per color) to 14. (This is prior to
    compressing into 0-255/color in JPG).
    Alan Browne, Mar 26, 2005
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  2. Alan Browne

    Siggy Guest

    Thanks. :)
    Siggy, Mar 26, 2005
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  3. Alan Browne

    Crownfield Guest

    some one begs to differ...
    check the phase one p25, and read luminous landscape's review...

    Crownfield, Mar 26, 2005
  4. If I were able to financially consider upgrading from my S2, I would
    not automatically choose the S3. Since I'm *not* able, I'm not
    studying the field too carefully; it would only frustrate me. (I'm
    also not yet dissatisfied with my S2, except for TTL flash.)
    David Dyer-Bennet, Mar 30, 2005
  5. Alan Browne

    andrew29 Guest

    I don't think it differs at all. Reichmann says "The P25 is the first
    digital device that I have ever seen that can (to my eyes at least)
    reproduce a perfect colour chart, I have not had time to do a
    technical analysis (I'm sure it isn't really perfect), but as far as I
    can see this back produces the most accurate colour that I've ever
    seen." This is a long way from claiming colorimetric accuracy, which
    is what the poster was asking for.

    See the cited article at
    which explains the problem in detail.

    andrew29, Apr 4, 2005
  6. Alan Browne

    Crownfield Guest

    very interesting article.
    several levels of problems.

    first is does the painting look
    the way you want to photograph it?
    second is does the imaging system record
    what you see now?

    obviously the camera can not record
    what was, but now is not.
    Crownfield, Apr 4, 2005
  7. Alan Browne

    Crownfield Guest

    on the otherhand,
    when someone who knows enough to review there
    says "The P25 is the first digital device that I have ever seen
    that can (to my eyes at least) reproduce a perfect colour chart.",

    I suspect that it is rather good at reproducing color accurately.
    Crownfield, Apr 4, 2005
  8. Alan Browne

    andrew29 Guest

    Yes, but you have to know about the Color Checker to make sense of
    this. It's made from pigments with good metameric properties,
    i.e. pigments that have the property of not changing relative colour
    when the light source (or the observer) changes. This is good for
    colour calibration, but really bad for evaluating the colorimetric
    accuracy of a system.

    The problems identified with photographing artwork have to do with
    pigments that have bad (in some cases really bad) metameric
    properties. The original poster was asking about how to "correctly
    register as many (ideally all) pigment based colours" and to do that
    you have to have a colorimetrically accurate camera.

    andrew29, Apr 5, 2005
  9. Alan Browne

    Siggy Guest

    Andrew, firstly my apologies for belatedly acknowledging your reply.
    I am grateful to you for the 'Van Gogh' link, but I have been aware of Robin
    Myer's piece for some time now. I have already had a similar discussion with
    our moderator, Alan, in which I pointed out this particular paper. It is
    clearly a much more complex issue than I once imagined, and I can now
    declare myself to be 'consciously incompetent'. :) As I am not a
    museum-grade archivist, I need not trouble myself too much with the science
    (although I am interested in it). However, the issue of reproducing cobalt
    blue's (a pigment oft used by the artists whose work I photograph) fairly
    accurately is of some importance, as this readily shows up as 'wrong' if not
    carefully managed. But as this seems more an issue of light sources than
    camera, I can worry less about which dSLR's I need to consider.

    I am beginning to look at spending more than I first thought. There do seem
    to be some enticing prices on eBay for second user Kodak DCS Pro slr/n's!
    Siggy, Apr 5, 2005
  10. Alan Browne

    andrew29 Guest

    My pleasure.
    AFAIK the only way you can get away from the cobalt blue problem by
    changing light source is to find one totally deficient in far red, to
    which I can only say "good luck!" But DSLRs are pretty much of a
    muchness in this regard; as far as I'm aware they all have similar
    problems with far red. It's important to point out, though, that even
    with these known problems, things are much easier with digital than
    with film, because digital is inherently more repeatable.
    Funny the way that happens...

    andrew29, Apr 5, 2005
  11. Alan Browne

    Siggy Guest

    Well, Robin seems to imply that the problem has been pretty much licked by
    using a combination of the *fluorescent* light tubes with double filtration
    on camera - and I quote "By placing both the daylight and tungsten filters
    on the camera, the optical densities of the filters are combined with a
    greater effect on the far red portion of the spectrum............The results
    show that colors imaged with fluorescent light and the double filtration
    correctly reproduces the cobalt blue hues /without/ causing detrimental
    effects on the rest of the colours"

    So I am pretty hopeful that I can not only now achieve considerably greater
    colour accuracy with less effort now with a dSLR, but also get rid of very
    hot (heat) floods which I presently use in a confined studio. The only other
    fly in the ointment I am trying to solve, is the one of reflections. I am
    presently using 18" square resin polarizing gels which I suspend in front of
    the floods to cut glare. This will be completely impractical to employ with
    5' long fluorescent tubes, and has left me in a bit of a quandry. The use of
    a polarizing filter on-camera is usually not sufficient, moreover.
    Yes, isn't it just! My life story. lol
    Siggy, Apr 5, 2005
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