>The experience I've had with Provia 100F in the U.S. Pacific Northwest,
>where it is overcast 9 months out of the year, is that it is actually best
>when overcast. If I take pictures of a forested scene that is hundreds of
>feet away (e.g. a waterfalls with surrounding moss-covered cliffs) with a
>blue sky (but no direct sunlight), there is a discouraging blue cast to the
>whole scene. (I can fix most of this in the scanning process.) The colors
>are much more realistic if the same scene is taken with an overcast sky.
>Also, for closeups deep within the forest, even with a blue sky, colors are
>great with no blue overcast. Does anyone have an explanation for this
>behavior?
>
>Frank Paris
Frank:
The blue sky illuminates the shadow areas with a blue color. We don't
notice this when looking at the scene(In real time) because of the
pre-processing done before the image data from the eye reaches the
brain. So the film records what is actually there and when looking at
the print there are no clues to trigger the minds pre-processing.
With the overcast there is no blue illumination for the film to
record. In the forest case the trees are blocking the blue sky. For
interesting speculations about the minds operation check out "The
Feeling Of What Happens" by Antonio Damasio.
Ray
