I thought it was something like this. There is a whole book written on this
kind of brain pre-processing. It is *Information Visualization* by Colin
Ware. This is actually a very technical subject that this book brings down
to earth, although it is still quite a challenging read.
Frank Paris
[EMAIL PROTECTED]
http://albums.photopoint.com/j/AlbumList?u=62684
> -----Original Message-----
> From: [EMAIL PROTECTED]
> [mailto:[EMAIL PROTECTED]]On Behalf Of Ray McGuinness
> Sent: Thursday, January 18, 2001 6:55 AM
> To: [EMAIL PROTECTED]
> Subject: RE: filmscanners: orange mask
>
>
> >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
