This video is a brief look at how limitations of digital imaging might effect how modelers choose to finish and weather their models Airbrush for Scale Modelers webpage: scale-model-wo...
Long time listener, first time poster. I was a digital photo-retouch artist back in the days of film and drum scanners. I appreciate your proper use of terminology. "Banding", especially over distance with 254 shades of gray, was an issue we had to solve. When digitally scanning film and scaling up for final print, our solution was to add 'noise' in a grayscale channel to lessen the visual effect of banding. Essentially, we added a 'digitized' film grain to the image appropriate to final size of print. We masked, blurred, 'noised' and repeated until we had the visual effect of smoothness. It's worth noting that film scanned at full size (or less) than final print would not require such techniques since the film itself had the grain required to hide the effects of banding. Adobe Inc. was somewhat correct on the subject when they claimed the human eye cannot perceive more than 254 shades of gray. However, when 254 shades of gray is spread out over distance (perhaps 9" or greater), only a natural film grain or digital 'noise' would give a sense of smoothness to the gradient.
I got into digital photography when it first got started and camera RAW files were a godsend for black & white photography. Essentially you end up taking overexposed images in RAW on purpose so that captured information could be brought into the lightroom/darkroom and shifted back to something that looked normal. By doing this it would allow you to recapture more density in the shadows where it was needed and avoid the banding you mention here. And this is just the digital file side, printing dense shadow information is another whole ball of wax.
Ansel Adams’s Zone System zone 0 blackest black to zone10 paper white or in digital terms rgb(0,0,0) blackest black the monitor can produce to rgb(255,255,255) whitest white monitor will produce. 256 shades of grey the two on either end is considered a shade. Just like Adams Zone System.
You've completely missed the point. Analog vs digital ... negatives and film are not made up of distinct steps (there are no 256 steps in a dark room) ... digital is made up of steps. It's the same as audio. Your eyes and ears are analog devices.
My whole point is if it’s part of the scale you have to include it pure white and the blackest black are part of that scale no matter analog or digital - if no pure white or darkest black existed you would have no grey scale so they have to be included@@scale-model-workshop
Google Zone System The full range from black to white, represented by Zone 0 through Zone X. The dynamic range comprising Zone I through Zone IX, which Adams considered to represent the darkest and lightest “useful” negative densities. The textural range comprising Zone II through Zone VIII. This range of zones conveys a sense of texture and the recognition of substance.
![ARGENTINA vs. CHILE [3-0] | RESUMEN | ELIMINATORIAS SUDAMERICANAS | FECHA 7](http://i.ytimg.com/vi/De3AWmXzhuA/mqdefault.jpg)
Long time listener, first time poster. I was a digital photo-retouch artist back in the days of film and drum scanners. I appreciate your proper use of terminology. "Banding", especially over distance with 254 shades of gray, was an issue we had to solve. When digitally scanning film and scaling up for final print, our solution was to add 'noise' in a grayscale channel to lessen the visual effect of banding. Essentially, we added a 'digitized' film grain to the image appropriate to final size of print. We masked, blurred, 'noised' and repeated until we had the visual effect of smoothness. It's worth noting that film scanned at full size (or less) than final print would not require such techniques since the film itself had the grain required to hide the effects of banding. Adobe Inc. was somewhat correct on the subject when they claimed the human eye cannot perceive more than 254 shades of gray. However, when 254 shades of gray is spread out over distance (perhaps 9" or greater), only a natural film grain or digital 'noise' would give a sense of smoothness to the gradient.
Kevin, Thank you for the additional information and explanation.
Your vids are great because they challenge the old grey matter and inform us all at the same time as well as being entertaining. Thank you. :-)
Your vídeos are simply wonderfull!
Thank you Alexandre
Always great info thanks Paul, Look forward to more
thank you very much Paul. Very useful (all airbrush playlist)
I got into digital photography when it first got started and camera RAW files were a godsend for black & white photography. Essentially you end up taking overexposed images in RAW on purpose so that captured information could be brought into the lightroom/darkroom and shifted back to something that looked normal. By doing this it would allow you to recapture more density in the shadows where it was needed and avoid the banding you mention here. And this is just the digital file side, printing dense shadow information is another whole ball of wax.
Truely informative, thanks.
Always excited when I see a new video from you in my subscriptions. Thank you for taking the time to put this together! Everyday is a school day :D
You used to be a model railroader, Paul? I KNEW there was something I liked about you! Another great video!
Thanks for this, I have had this argument more than once.
Love the video Paul/Excellent/ George in uk👍
Thanks
Thank you Paul really informative and am I right in thinking that thats HMS Belfast in the background, she doesn't look to shabby either!
I said the same thing when I first saw it...;)
Yes it is.
Ansel Adams’s Zone System zone 0 blackest black to zone10 paper white or in digital terms rgb(0,0,0) blackest black the monitor can produce to rgb(255,255,255) whitest white monitor will produce. 256 shades of grey the two on either end is considered a shade. Just like Adams Zone System.
You've completely missed the point. Analog vs digital ... negatives and film are not made up of distinct steps (there are no 256 steps in a dark room) ... digital is made up of steps. It's the same as audio. Your eyes and ears are analog devices.
My whole point is if it’s part of the scale you have to include it pure white and the blackest black are part of that scale no matter analog or digital - if no pure white or darkest black existed you would have no grey scale so they have to be included@@scale-model-workshop
Google Zone System
The full range from black to white, represented by Zone 0 through Zone X.
The dynamic range comprising Zone I through Zone IX, which Adams considered to represent the darkest and lightest “useful” negative densities.
The textural range comprising Zone II through Zone VIII. This range of zones conveys a sense of texture and the recognition of substance.
HMS Belfast - nice. I'm looking forward to Trumpeter releasing their 1/700 post-war refit version.
Always a treat to see one of your new videos!