Difficult technical question on ISO & light

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BillyJoeJimBob <bjjb@nowhere.antispam.com> wrote:

>Tom Phillips wrote:
>> Quote: "the pixel size of a highly sensitive emulsion layer is
>> assumed to be 100 square micrometers on the basis of the fact
>> that a color film with an ISO 400 sensitivity and 135 format
>> contains 24 million pixels."

>Typical 135 format film measures 36x24 mm, for a total imaging area
>of 864 square mm, or 864,000,000 square microns. Dividing this by
>the quoted pixel size above yields 8,640,000 "pixels" on the 135
>format film. I have no idea how the authors of that quote came up
>with 24 million, which at first glance appears to be too large by
>nearly a factor of three. Perhaps the authors assume some degree of
>overlap between "pixels" on the emulsion layer?

Going the Foveon route, maybe they're looking in 3D? Seriously,
maybe they've multiplied by 3 (RGB)?
--
Ken Tough
 
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what a load of waffle!
I suppose with Digital we must have dispensed with photons and we don't get
a representation of the intensity and frequency?
It matter nothing whether we obtain a sample of the data (the source is
data!) via chemical means or via sensor for your classification. In essence,
and as part of the fundamentals of Physics they are analogous.
As far as your continual reference to "The Nyquist" you make it sound as if
you have stumbled across some incredible, mostly understood phenomenon that
restricts Digital signal analysis and can therefore be used as a
justification for tossing out Digital Photography. Have you ever actually
done any digital signal sampling and processing? I doubt it! Even by the way
you use the term it shows you have little knowledge of it.
I can't wait until you hear of a Cepstrum!

"Tom Phillips" <nospam777@aol.com> wrote in message
news:4182AD9B.B7007F9A@aol.com...
>
>
> Ken Alverson wrote:
>>
>> "Tom Phillips" <nospam777@aol.com> wrote in message
>> news:41823255.BC08FE81@aol.com...
>> >
>> > Photography produces a photograph. And a photograph is an
>> > image written on photosensitive materials by the direct
>> > action of light. Digital imaging is electronic and about
>> > as "photographic" as your television cameraman broadcasting
>> > to your T.V. set. Again, no photograph.
>>
>> Photograph, from the greek "photo-" meaning light and "-graph" meaning
>> recording. Whether the recording was made photochemically and stored on
>> physical media or photoelectrically and stored on digital media is really
>> inconsequential to its status as a photograph.
>>
>> Ken
>
>
> No. it means (literally) light writing, i.e., as in physically
> drawing with light.
>
> Digital sensors produce data.
 
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"BJ" <noreply@noemail.com> wrote in message
news:4182c6c9_1@news.iprimus.com.au...
> what a load of waffle![...]
> I can't wait until you hear of a Cepstrum!

Good rant. I give it an 8 of 10 and can sense that had you not typed it out
at 150wpm it would be a classic.

Tom P seems to be stuck in an indefensible position. If I were him I'd
change my name to.... what is appropriate... BLANK, yes, that's an
appropriate name.
 
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BJ wrote:
>
> what a load of waffle!
> I suppose with Digital we must have dispensed with photons

photoelectrons, dummy...Digital is photoelectric.


> and we don't get
> a representation of the intensity and frequency?
> It matter nothing whether we obtain a sample of the data (the source is
> data!) via chemical means or via sensor for your classification. In essence,
> and as part of the fundamentals of Physics they are analogous.
> As far as your continual reference to "The Nyquist" you make it sound as if
> you have stumbled across some incredible, mostly understood phenomenon that
> restricts Digital signal analysis and can therefore be used as a
> justification for tossing out Digital Photography. Have you ever actually
> done any digital signal sampling and processing? I doubt it! Even by the way
> you use the term it shows you have little knowledge of it.
> I can't wait until you hear of a Cepstrum!
>
> "Tom Phillips" <nospam777@aol.com> wrote in message
> news:4182AD9B.B7007F9A@aol.com...
> >
> >
> > Ken Alverson wrote:
> >>
> >> "Tom Phillips" <nospam777@aol.com> wrote in message
> >> news:41823255.BC08FE81@aol.com...
> >> >
> >> > Photography produces a photograph. And a photograph is an
> >> > image written on photosensitive materials by the direct
> >> > action of light. Digital imaging is electronic and about
> >> > as "photographic" as your television cameraman broadcasting
> >> > to your T.V. set. Again, no photograph.
> >>
> >> Photograph, from the greek "photo-" meaning light and "-graph" meaning
> >> recording. Whether the recording was made photochemically and stored on
> >> physical media or photoelectrically and stored on digital media is really
> >> inconsequential to its status as a photograph.
> >>
> >> Ken
> >
> >
> > No. it means (literally) light writing, i.e., as in physically
> > drawing with light.
> >
> > Digital sensors produce data.
 
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In article <10o62mqhd9bhnc0@news.supernews.com>, "jjs" <jjs@x.x.com>
wrote:

> Tom P seems to be stuck in an indefensible position. If I were him I'd
> change my name to.... what is appropriate... BLANK, yes, that's an
> appropriate name.

Your wrong you idiot, and that just shows what you know,... zip zilch nada.
Several appropriate names come to mind for you, however. JJ Ass. Staffacoccus?
--
LF Website @ http://members.verizon.net/~gregoryblank

"To announce that there must be no criticism of the President,
or that we are to stand by the President, right or wrong,
is not only unpatriotic and servile, but is morally treasonable
to the American public."--Theodore Roosevelt, May 7, 1918
 
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"Justín Käse" wrote:
>
> In Message-ID:<4183106E.6365AE10@aol.com> posted on Fri, 29 Oct 2004
> 21:54:49 -0600, Tom Phillips wrote:
>
> >BJ wrote:
> >>
> >> what a load of waffle!
> >> I suppose with Digital we must have dispensed with photons
> >
> >photoelectrons, dummy...Digital is photoelectric.
>
> Whoa,
> there you go again confusing science.
> A photon is an electromagnetic particle that is emitted when an atomic
> shell changes its charge state. Your term "photoelectron" seems to
> suggest that definition, yet your grammatical syntax contradicts it.


Whoa yourself. I'm not confused about anything. And I
know what photon is. You apparently don't know what a
photoelectron is...

The photoelectric effect is the emission of electrons from
a surface upon absorption of electromagnetic radiation.
Electrons so emitted are commonly referred to as
"photoelectrons." This generation of electrons (or electronic
charge) in a sensor is what form the basis of digital
imaging voltages. Thus the term "electronic image."

These are not "my" terms. Unlike many, I don't make things
up.

I do think this crossposted discussion is ended.
 
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On Fri, 29 Oct 2004 22:09:14 -0600, Tom Phillips <nospam777@aol.com>
wrote:

>> Unfortunately only one can effectively thrive in the current
>> economic climate and it won't be film. Film will linger for quite some
>> time but by "thrive" I mean where companies and average buyer is going
>> with their moneys. It's all marketing of course. At one time Kodak
>> certainly had some of the deepest pockets in the world but the
>> combined economic interests of companies like HP, Canon, Epson,
>> Lexmark, Apple, Dell and all the rest that have invested heavily in DI
>> is simply too much for even Kodak. Profiteering steers marketing and
>> marketing steers public opinion. Economics 101.
>
>Pessimist!

Just being realistic. I hate it as much as you. More probably.
There will never be a comparable replacement for Galerie, APX25,
Ektalure or the many other great materials now and soon to be
discontinued due to assaults from both the digital farce-ography and
an EPA that is nitpicking companies like Kodak to death (while
ignoring the growing number of computers and digital cameras in
landfills). A demise that will come sooner rather than later just as
it has to Ilford and Agfa. Kodak has the most to loose and therefore
will take longer but it will happen.

Regards,

John S. Douglas, Photographer - http://www.puresilver.org
Vote "No! for the status quo. Vote 3rd party !!
 
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On Fri, 29 Oct 2004 21:48:57 -0700, Justín Käse
<chupacabra@operamail.com> wrote:

>Now if I could erase and recover all the neural space I have dedicated
>to knowing the techniques of cut film and view cameras, maybe I could
>fill it with some profitable card counting algorithm, and earn or win
>enough to get a top of the line digicam to play with. ;-)

I think I'll just coat my own plates and make contact prints.
;>)


Regards,

John S. Douglas, Photographer - http://www.puresilver.org
Please remove the "_" when replying via email
 
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In article <4183102B.5419F467@aol.com>,
Tom Phillips <nospam777@aol.com> wrote:
>
>
>Chris Brown wrote:
>>
>> In article <4182C8B8.CDAEB46E@aol.com>,
>> Tom Phillips <nospam777@aol.com> wrote:
>> >
>> >> >Quote: "the pixel size of a highly sensitive emulsion layer is
>> >> >assumed to be 100 square micrometers on the basis of the fact
>> >> >that a color film with an ISO 400 sensitivity and 135 format
>> >> >contains 24 million pixels."
>> >>
>> >> What a nonsensical quote - film contains no pixels at all.
>> >
>> >The article was writen by a photo scientist,
>>
>> I don't care if it was written by the Tooth Fairy, it's still nonsense.
>
>
>This conversation is over.
>
>Suffice it to say that every photographic expert
>acknowledges what you reject...

I'm sure they're happy to have you speak for them, but all I acknowledge is
hard, physical reality. If you and some others find said reality a bit
scary, feel free to continue ignoring it - perhaps it'll go away?
 
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On Sat, 30 Oct 2004 10:27:40 GMT, Chris Brown
<cpbrown@ntlworld.no_uce_please.com> wrote:

>>Suffice it to say that every photographic expert
>>acknowledges what you reject...
>
>I'm sure they're happy to have you speak for them, but all I acknowledge is
>hard, physical reality. If you and some others find said reality a bit
>scary, feel free to continue ignoring it - perhaps it'll go away?

So you are more of an authority than the experts at Kodak and
RIT ?

Regards,

John S. Douglas, Photographer - http://www.puresilver.org
Vote "No! for the status quo. Vote 3rd party !!
 
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"Tom Phillips" <nospam777@aol.com> wrote in message
news:4182A636.6840EF5E@aol.com...
>
>
> Chris Brown wrote:
>>
>> In article <26k952-5k8.ln1@narcissus.dyndns.org>,
>> Chris Brown <cpbrown@ntlworld.no_uce_please.com> wrote:
>> >In article <4182032A.D3B720F7@aol.com>,
>> >Tom Phillips <nospam777@aol.com> wrote:
>> >
>> >>uh huh... multi-hour digital. And no noise due to heat. right.
>> >>(and heat is *inherent* in digital sensor exposure...)
>> >>
>> >>Show me a "multi hour" digital exposure.
>> >
>> >OK, I'll take one tonight and upload it. Have to be of something indoors
>> >and
>> >boring, I'm afraid, as there's too much light pollution where I live to
>> >do
>> >such a long exposure outside, and the weather's pretty nasty atm as
>> >well.
>>
>> In the meantime, here's a 30 minute one to be going on with. I downsized
>> it
>> for the web, but included a 1:1 crop in part of the pic, so that you can
>> see
>> just how "terrible" the noise is.
>>
>> Ambient temperature was about 15C.
>>
>> http://homepage.ntlworld.com/narcissus/30mins.jpg
>
> 30 minutes is not "multi hour."
>
> CMOS sensors are an improvement over CCD sensors.
> But,caveats still exist. For exmaple, it is still
> a fact of electronics that the bigger the pixel the
> better the signal and the less noise. Canon, in fact
> states on their web site that "When photographing dark o
> bjects like stars, conditions at the place of use, such
> as the temperature and the length of exposure, may have
> a noticeable effect on the noise level of the camera...."
>
> Canon also recommends the EOS 10D for such imaging, on
> the basis that the pixels are larger and thus produce
> a better signal and less ingherent noise.
>
> Hours and hours is what you claimed. Noise is still going
> to be an issue. The issue with film is reciprocity failure,
> but this is easily compensated for and there is no noise.

There certainly is noise. Do you really mean to say that?

> The fact is, due to Nyquist digital sensors suitable for
> longer exposures simply are not going to match the detail
> and resolution possible with film.

Astronomers have almost enturely converted from photographic film or plate
imaging to digital Certainly, the stunning, detailed images from space
satellite and probe observations are digital. And most land-based
telescopes for serious astronomy use digital sensors. The high-resolution
images of earth from military satellites are digital. Will that quality come
to ordinarly digicams? Right now, the pro-level digicams with 12 Mp or more
match the resolution of 35 mm film.
 
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On Sat, 30 Oct 2004 11:11:57 -0400, "Marvin Margoshes"
<physnospamchem@cloud9.net> wrote:

> Right now, the pro-level digicams with 12 Mp or more
>match the resolution of 35 mm film.

Nope. They may match APS but not a good 35mm. So my $120
Nikkormat FTN and 135/2.8 Nippon Kogagu is still better than a Canon
EOS-1Ds !


Regards,

John S. Douglas, Photographer - http://www.puresilver.org
Vote "No! for the status quo. Vote 3rd party !!
 
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Tom Phillips wrote:

>
> BillyJoeJimBob wrote:
>
>>Out of curiosity, do you have a website anywhere that I might
>>view some high detail low-light pictures you have taken? I'm
>>considering exploring this area of photography (even though
>>I'm on the digital side of things) and would like to see what
>>other folks have accomplished.
>
>
> I don't maintain a web site for general public consumption.
>
> Got as real email?

Um... yes, but it's surely not going to be posted to this newsgroup. :)

BJJB
 
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[Hm, way too many groups, but I can't decide which ones to remove.]

Kibo informs me that Tom Phillips <nospam777@aol.com> stated that:

>pk wrote:
>>
>> Whats wrong with you? You are making this too complicated. And did you
>> really need to cross post this to half a dozen newsgroups?
>
>I do agree this is should not have been crossposted.
>
>> Digital film (senor) sensitivity are equivalent to film.
>
>Incorrect. CCD or CMOS sensors are not equal to film; one is
>not equivalent to then other. There are differenent physics
>and imaging properties that apply to any giving situation.

Yes, but the end result is quite similar for photographic purposes. In
the context of lattitude/dynamic-range (ie; the OP's problem), the only
important difference is that an electronic image sensor has a brick-wall
cut off at the highlight side of the scale, whereas most people are used
to shooting colour negative film, which is somewhat more forgiving of
highlights. OTOH, a lot of that is more to do with it being reversal
film, because people shooting positive colour film (ie; slide film) also
have to watch out for sharply cut-off highlights as, (although, IIRC,
not quite as sharply as an image sensor).
But leaving aside all the technical details, the fact is that a piece of
film & an image sensor are both devices for trapping photons & keeping
track of how /many/ photons they've trapped. They're both subject to the
same laws of physics in that regard, resulting in similar compromises.

>Film has the ability to _accumulate_ light and endure long
>exposures or multiple exposures that can capture detail
>in the dimmest of situations. Reciprocity failure is the
>only factor. Silicon simply can't do this and is limited by
>both exposure latitude and length of exposure.

That's incorrect. CCD & CMOS sensors accumulate electrons in a charge
well in each pixel. They can be, & often are, used for long exposures of
very dim light sources. As a bonus, their equivalent of reciprocity
failure (charge leakage) can be controlled far more easily than for
film. The tradeoff is that they pick up thermal noise, but in for really
long exposures, the sensor will be cryogenically cooled.

>> The higher
>> the ISO the more sensitive the film is to light. So the higher the ISO
>> on a digital camera the more sentive to light the digital sensor is.
>
>Digital sensors have a _nominal_ "speed" at which they
>produce the best quality image. When you alter that speed
>the image quality goes down.

Um. There's a certain amount of truth to that, but it's not quite so cut
& dried as you are implying. The 'inherent' speed (actually sensitivity)
of a CCD/CMOS sensor is a function of a number of design factors, such
as the size of the charge well & photo-sensitised area at each pixel,
how much light is lost to the CFA (if one is used), the accuracy &
signal-to-noise ration of the sense amps, resolution/sensitivity of the
A2D converter(s), whether microlenses are used, the amount of noise
considered acceptable for the sensors intended use, etc. All of those
variables determine the maximum usable sensitivity of a particular
sensor, certainly, but that's equally true of the way a particular film
emulsion is formulated as well.

> Film can be rated at a different
>speeds and still produce quality results because as development
>of film is altered, effective speed also alters. Also, a "slow"
>film can be simply be exposed for a longer time than a faster
>film, and achieve the same results. No loss in image quality.

You don't think that reciprocity failure counts as "loss of quality"? -
I certainly do!

>Film can be exposed for hours. Try that with a digital sensor.
>It simply one of the differences between these two imaging
>mediums.

Well no, it's the difference between standard film & the design goals
for digital cameras sold to the general public. There is no inherent
limitation to semiconductor image sensors that makes it impossible to
design one suitable for multi-hour exposures - there's just not a very
big market for such sensors. (That said, try Googling for information on
the kinds of image sensors used for astronomy - it's fascinating what
you can do with a CCD if you're willing to spend enough money.)

--
W
. | ,. w , "Some people are alive only because
\|/ \|/ it is illegal to kill them." Perna condita delenda est
---^----^---------------------------------------------------------------
 
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"Tom Phillips" <nospam777@aol.com> wrote in message
news:4182C9D7.8137C9DC@aol.com...
>
>
> Ken Alverson wrote:
>>
>> "Tom Phillips" <nospam777@aol.com> wrote in message
>> news:4182AD9B.B7007F9A@aol.com...
>> >
>> > Ken Alverson wrote:
>> >>
>> >> "Tom Phillips" <nospam777@aol.com> wrote in message
>> >> news:41823255.BC08FE81@aol.com...
>> >> >
>> >> > Photography produces a photograph. And a photograph is an
>> >> > image written on photosensitive materials by the direct
>> >> > action of light. Digital imaging is electronic and about
>> >> > as "photographic" as your television cameraman broadcasting
>> >> > to your T.V. set. Again, no photograph.
>> >>
>> >> Photograph, from the greek "photo-" meaning light and "-graph" meaning
>> >> recording. Whether the recording was made photochemically and stored
>> >> on
>> >> physical media or photoelectrically and stored on digital media is
>> >> really
>> >> inconsequential to its status as a photograph.
>> >
>> > No. it means (literally) light writing, i.e., as in physically
>> > drawing with light.
>> >
>> > Digital sensors produce data.
>>
>> Write, draw, or record. All meaning to take something transient and make
>> a
>> more permenant record of it.
>>
>> But let's say "-graph" was a strict literal translation to "writing".
>> Are you
>> implying writers who use word processors aren't really writing?
>
> I'm stating a fact. Digital sensors do not create a
> photograph. They transmit a voltage, regenerated into
> digital signals, then stored as binary data.
>
> The ISO defines a digital still camera as producing a signal
> that represents a still picture. In digital form, there is
> only data. No picture. And they set the standards all digital
> cameras follow.

get a life man .. in film emulsion there is silverhalides and silver et al.
which are chemical moleculres and hence aka chemistry .. so where is your
photographic data there ?
There is no picture .. you have to go through a number of chemical processes
to come to a final chemical process which makes the chemitry turn into
something visible .. kindly point out the differences in concept with
digital ..?
 
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On Sat, 30 Oct 2004 11:30:59 +0200, "imbsysop" <imbsysop@yahoo.com>
wrote:

>There is no picture .. you have to go through a number of chemical processes
>to come to a final chemical process which makes the chemitry turn into
>something visible .. kindly point out the differences in concept with
>digital ..?

In photography, the latent image is created _in_the_medium_.
In DI it's stored in as a file.

Regards,

John S. Douglas, Photographer - http://www.puresilver.org
Vote "No! for the status quo. Vote 3rd party !!
 
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Kibo informs me that Tom Phillips <nospam777@aol.com> stated that:

>Tom Phillips wrote:
>
>> That's the point. If the OP wants to obtain detail in nighttime
>> exposures, he might try using a suitable film and employing
>> a multiple exposure technique. No digital camera can do this.
>
>Either that or he should stop crossposting...

Gotcha, troll. 😉

Forgot to change ID's before responding to your sock-puppet, eh?


[For everyone reading this thread, you're being trolled by this idiot.
He's trying to start up yet another of those interminable film/digital
flamewars. Too bad he screwed up while switching personas.]

--
W
. | ,. w , "Some people are alive only because
\|/ \|/ it is illegal to kill them." Perna condita delenda est
---^----^---------------------------------------------------------------
 
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"Tom Phillips" <nospam777@aol.com> wrote in message
news:4182C72E.2A4F6A4@aol.com...
>
>
> imbsysop wrote:
>>
>> "Tom Phillips" <nospam777@aol.com> wrote in message
>> news:4182AA2C.4460FA66@aol.com...
>> >
>> >
>> > imbsysop wrote:
>> >>
>> >> On Fri, 29 Oct 2004 06:06:53 -0600, Tom Phillips <nospam777@aol.com>
>> >> wrote:
>> >>
>> >> >
>> >> >
>> >> >Chris Brown wrote:
>> >> >>
>> >> >> In article <418210F6.561BFC92@aol.com>,
>> >> >> Tom Phillips <nospam777@aol.com> wrote:
>> >> >> >
>> >> >> >
>> >> >> >Chris Brown wrote:
>> >> >> >>
>> >> >> >> In article <4181DC73.F1671D33@aol.com>,
>> >> >> >> Tom Phillips <nospam777@aol.com> wrote:
>> >> >> >>
>> >> >> >> >Talking lighting and exposure here. And again you ignore
>> >> >> >> >nyquist. Also, on average a 400 speed 35mm film has the
>> >> >> >> >equivalent of 24 million pixels.
>> >> >> >>
>> >> >> >> Oh wow, a real 35mm pixel-counter. I thought the last one of
>> >> >> >> those
>> >> >> >> in the
>> >> >> >> wild had died out years ago...
>> >> >> >
>> >> >> >
>> >> >> >No, stupid.
>> >> >>
>> >> >> I bet that's what you say to all the girls.
>> >> >>
>> >> >> >It's something that's been scientifically determined
>> >> >> >by eminent photo scientists based on the number of absorbed
>> >> >> >photons.
>> >> >>
>> >> >> Your alluded to "scientific determination" doesn't match the
>> >> >> reality
>> >> >> observed by those of us who shoot multiple systems. In said
>> >> >> observed
>> >> >> reality, 35mm film can just about edge out 6 megapixel DSLRs at low
>> >> >> ISO,
>> >> >
>> >> >***ONLY*** at typical machine print sizes. In fact, any 35mm
>> >> >image can be *enlarged* to as much as 10 times it's resolution,
>> >> >revealing additional image detail. No digital image of a similar
>> >> >pixel resolution can achieve this capability. A higher resolution
>> >> >capture is required.
>> >> >
>> >> >This is simply due to the fact that silver halides record
>> >> >tonal/image information on a molecular level as opposed to
>> >> >a much larger pixel. This is an inherent distinction between
>> >> >these two imaging mediums.
>> >>
>> >> off track .. this only happens if the emulsion would consist of free
>> >> molecules in a monomolecular layer at 100% molecular density .. it is
>> >> not, even if microcrystaline it still is crystaline .. and hence you
>> >> do not get a 100 chemical reaction to light ..
>> >
>> > Silver hailde exposure occurs at the molecular level.
>>
>> sure .. but not sure for how many molecules in the crystal ..
>
> All it requires is one to initiate photolysis.

you are clearly not understanding emulsions and crystal structures ..
 
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"Justín Käse" <chupacabra@operamail.com> wrote in message
news:4183c6e0.7091124@chupacabra...
> In Message-ID:<4182b49f$0$7082$ba620e4c@news.skynet.be> posted on Fri,
> 29 Oct 2004 23:22:44 +0200, imbsysop wrote:
>
>>> Silver hailde exposure occurs at the molecular level.
>>
>>sure .. but not sure for how many molecules in the crystal ..
>
> Due to the cellular lattice* structure of crystals,
> if any molecule's affected, they all are, in that one crystal.
> Therefore, the amount of photons required to "expose" emulsions with
> larger crystals is less, making the emulsion react faster and the result
> appear grainier.
>
> *see Minkowski's theorem

which makes film a lousy photo medium ?
 
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Ken Tough wrote:

> BillyJoeJimBob <bjjb@nowhere.antispam.com> wrote:
>
>
>>Tom Phillips wrote:
>>
>>>Quote: "the pixel size of a highly sensitive emulsion layer is
>>>assumed to be 100 square micrometers on the basis of the fact
>>>that a color film with an ISO 400 sensitivity and 135 format
>>>contains 24 million pixels."
>
>
>>Typical 135 format film measures 36x24 mm, for a total imaging area
>>of 864 square mm, or 864,000,000 square microns. Dividing this by
>>the quoted pixel size above yields 8,640,000 "pixels" on the 135
>>format film. I have no idea how the authors of that quote came up
>>with 24 million, which at first glance appears to be too large by
>>nearly a factor of three. Perhaps the authors assume some degree of
>>overlap between "pixels" on the emulsion layer?
>
>
> Going the Foveon route, maybe they're looking in 3D? Seriously,
> maybe they've multiplied by 3 (RGB)?

I actually considered that possibility; it does fit the data fairly
well, after all. However, the first quoted line speaks of an "emulsion
layer", implying a single layer of emulsion rather than multiple layers
in color film. Under these conditions there's no "3" to multiply, and
I tossed the Foveon possibility out.

BJJB
 
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Concepts are nonrelivant to facts. You can't accurately say Digital Photography is
"Photography", because typically types of photography have been designated
as subsets of photography at large. That is; its obviating the whole of Photographic
history to say a particular subset is the whole and is assumed as the replacement
for the whole when history provides ample examples of other subsets.
If you wish to say Digital photography perhaps thats ok.

Film

a) Higher resolving ability, both at the capture stage and the output if all subsequent
phases have been optimised.

b) Subtle tonal dispersion, the ability to control variances to a vastly superior degree
after one obtains the image. The ability to handle a vastly wider tonal range within
the scene at the time of capture.

c) Final tangible item (Original Negative or Positive) that is highly adaptable in its
intended use.

Digital

a) Convience.


In article <41835f4c$0$30709$ba620e4c@news.skynet.be>,
"imbsysop" <imbsysop@yahoo.com> wrote:

> kindly point out the differences in concept with
> digital ..?
--
LF Website @ http://members.verizon.net/~gregoryblank

"To announce that there must be no criticism of the President,
or that we are to stand by the President, right or wrong,
is not only unpatriotic and servile, but is morally treasonable
to the American public."--Theodore Roosevelt, May 7, 1918
 
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On Sat, 30 Oct 2004 13:32:47 GMT, Gregory W Blank
<gblank@despamit.net> wrote:

>Film
>
>a) Higher resolving ability, both at the capture stage and the output if all subsequent
> phases have been optimised.
>
>b) Subtle tonal dispersion, the ability to control variances to a vastly superior degree
> after one obtains the image. The ability to handle a vastly wider tonal range within
> the scene at the time of capture.
>
>c) Final tangible item (Original Negative or Positive) that is highly adaptable in its
> intended use.
>
>Digital
>
>a) Convience.

Greg you've hit that nail once again !


Regards,

John S. Douglas, Photographer - http://www.puresilver.org
Vote "No! for the status quo. Vote 3rd party !!
 
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Tom Phillips <nospam777@aol.com> writes:

>Film has the ability to _accumulate_ light and endure long
>exposures or multiple exposures that can capture detail
>in the dimmest of situations. Reciprocity failure is the
>only factor. Silicon simply can't do this and is limited by
>both exposure latitude and length of exposure.

Silicon sensors can also accumulate light for long periods if they are
cooled to reduce dark currents. Astronomers routinely use long
exposures. In addition, silicon sensors are *far* more sensitive; they
convert close to 100% of incoming photons to electrons, while with film
only a few percent of photons actually cause any exposure. So in
*really* dim light work, like astrophotography, electronic sensors give
much shorter exposures, and they have almost completely replaced film.

>Digital sensors have a _nominal_ "speed" at which they
>produce the best quality image. When you alter that speed
>the image quality goes down. Film can be rated at a different
>speeds and still produce quality results because as development
>of film is altered, effective speed also alters. Also, a "slow"
>film can be simply be exposed for a longer time than a faster
>film, and achieve the same results. No loss in image quality.

Both digital and film have a nominal speed. To get a higher effective
speed from film, you push process it - but that changes contrast and
colour accuracy, sometimes producing uncorrectable colour errors. It
also increases grain. To get higher effective speed from an electronic
sensor, you increase the amplification between the sensor and A/D
converter. This increases image noise, but it does *not* necessarily
have any effect on contrast or colour reproduction. So electronic
sensors are better than film if you want to adjust sensitivity (without
swapping sensors).

>Film can be exposed for hours. Try that with a digital sensor.
>It simply one of the differences between these two imaging
>mediums.

Works fine with a digital sensor that's cooled. Meanwhile, film exposed
for hours has terrible reciprocity failure problems unless it's
gas-sensitized or cooled. Just about the only remaining use for film in
professional astronomy is applications where you need a really large
sensor, like a Schmidt camera.

Dave
 
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On Fri, 29 Oct 2004 23:03:26 -0500, in article
<vu36o0ht9brf19so889pinjb1o895c6hvv@4ax.com>, John <use_net@puresilver.org>
wrote:

>At one time Kodak
>certainly had some of the deepest pockets in the world but the
>combined economic interests of companies like HP, Canon, Epson,
>Lexmark, Apple, Dell and all the rest that have invested heavily in DI
>is simply too much for even Kodak. Profiteering steers marketing and
>marketing steers public opinion. Economics 101.

No, it's not "all in marketing", although one cannot ignore marketing, either.
But marketing has a hard time with products like Edsels, and is not the be all
to end all. And this "Economics 101" assumption rather foolishly ignores
consumers, who have responded by voting en masse with their cash for the
ability to produce perfectly good images on their own (I'm talking about the
mainstream market and keepsake imaging, not about some esoteric theorizing
about which medium produces ultra superior imaging) without ever buying a roll
of film again, or paying anyone to develop it. In short, marketing can help to
steer demand, but it is powerless where there is little or no demand in the
first place. Marketing has been shown again and again to act on demand only at
the margins.

There was clearly (as we now know) a huge latent demand for the ability to,
say, snap a picture of baby's first steps in the living room, or mom blowing
out the candles on her birthday cake, then go into the bedroom or den and pump
out a fine quality print immediately. This demand was by far the driving force
in the market. Manufactures did extensive studies on that suspected demand,
and responded accordingly. What exists right now is equal and more to the
tasks that most consumers want to accomplish, and it's only getting better.

Of course the lower denominator is going to win. Most people can't
differentiate between superb and very good images even if you give them a
loupe. Superb is overkill for the bulk of the population. It will remain
extremely expensive, and on the fringe. Always has lived right there.

Film will always be around. But it will be around less and less, and will
become increasingly more expensive. Within, say, 10 years, it will be very
difficult to find anyone who can develop it, and even rarer to find someone who
will develop it at a decent price. It's quickly becoming a fringe product, and
likely to stay there, even assuming the impossible: that the quality of digital
sensors and associated technology won't make huge leaps in the same 10 years.
Marketing has little say so about this, other than to convince you that you
need (for example) 8 MP instead of just 5 MP. <g>

It's long been understood in economics that one of the quickest and surest ways
to make a fortune is to find a way to wipe out the middleman in any economic
structure. Film sellers and film developers are essentially middlemen. It's
always been dangerous economic ground to stand on.

SP
 
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In article <4183466e$0$10830$9a6e19ea@unlimited.newshosting.com>,
Susan Perkins <deleted@> wrote:
>
>Film will always be around. But it will be around less and less, and will
>become increasingly more expensive. Within, say, 10 years, it will be very
>difficult to find anyone who can develop it, and even rarer to find someone who
>will develop it at a decent price. It's quickly becoming a fringe product, and
>likely to stay there, even assuming the impossible: that the quality of digital
>sensors and associated technology won't make huge leaps in the same 10 years.
>Marketing has little say so about this, other than to convince you that you
>need (for example) 8 MP instead of just 5 MP. <g>

With one reservation I agree with you, and that's the market for disposables
and very cheap 35mm point and shoots. If they can find a way to make all
that in digital, cheaply, then that could well be the final nail in the
coffin lid of film as a mass market product. However, the big hurdle to that
is to make inexpensive digital cameras where the user can shoot some images,
just get prints, and order repreints in the future as easilly as they can do
at present with 35mm print film.

That's the holy grail for low end digital cameras - at the moment you really
still need to use a computer, and some people just don't want to. The
"solution" will probably involve cellphones though, and their nasty little
pokey lenses. That's the market segment that really doesn't much care about
image quality - after all, lots of them probably bought 110, Disc (remember
that vile little format?) and APS.

But it's coming, and film will eventually just be a cottage industry, rather
like large format at the moment - the LF shooters probably have the least to
worry about, even if the quality issues are completely disregarded, because
they're used to working in that sort of environment. Those of us who shoot
with vintage medium format stuff (TLRs, folders, etc.) will probably cope as
well, as we're used to using stuff that hasn't been manufactured for half a
century or more, and don't regard it as a scary prospect. 🙂

We'll probably just have to send all our stuff away to be processed. I'm
fortunate at the moment in that there's a lab across the road from me that
will do 4 hour E6 processing for 120, and they're just investing in some new
film processing equipment as well, so they'll be around for a while. Long
term, I can't see it lasting though. :-(