eugene@pioneer.arpa (Eugene Miya N.) (09/03/87)
In article <20412@ucbvax.BERKELEY.EDU> oster@dewey.soe.berkeley.edu.UUCP (David Phillip Oster) writes: >One of our local commedians came out on stage and said he had a part time >job colorizing Ansel Adams prints. I started doing this several years ago by finding all the places Ansel took photos and tried to take nice photos. I have sold several hundred dollars worth of prints of things like a color version of Yosemite Winter, Half Dome (have to return on April 25 when he did it), and Lone Pine, CA. Ansel himself dabbled in color image processing in the latter part of his life when he visited JPL. He left a nice copy of Moon and Half Dome in the 3rd floor of the building I worked in. The irony is that Ansel probably would not have objected to people experimenting with his prints. I don't know about B&W films. From the Rock of Ages Home for Retired Hackers: --eugene miya NASA Ames Research Center eugene@ames-aurora.ARPA "You trust the `reply' command with all those different mailers out there?" "Send mail, avoid follow-ups. If enough, I'll summarize." {hplabs,hao,ihnp4,decwrl,allegra,tektronix,menlo70}!ames!aurora!eugene
dowdy@apple.UUCP (Tom Dowdy) (09/04/87)
In article <2651@ames.arpa> eugene@pioneer.UUCP (Eugene Miya N.) writes: >In article <20412@ucbvax.BERKELEY.EDU> oster@dewey.soe.berkeley.edu.UUCP (David Phillip Oster) writes: >>One of our local commedians came out on stage and said he had a part time >>job colorizing Ansel Adams prints. > > [interesting commentary on taking the "same" pictures that AA did in color] > >in the 3rd floor of the building I worked in. The irony is that Ansel >probably would not have objected to people experimenting with his >prints. I don't know about B&W films. > >From the Rock of Ages Home for Retired Hackers: > >--eugene miya > NASA Ames Research Center > eugene@ames-aurora.ARPA In *fact* Ansel left all of his "really good" negatives with some famous school of photography (whose name escapes me now). And he said on many occasions that in the future there would be all kinds of stuff such as laser scanning of negatives and computer touch-ups and so on, and that he expected that in the future someone would be able to make better prints of his negatives than he could do. And the only condition for his leaving the negatives with this school was that they actually be USED by the higher level students to experiment with and not just be locked up in some vault. Tom Dowdy CSNET: dowdy@apple.CSNET Apple Computer MS:27Y AppleLink:DOWDY1 20525 Mariani Ave UUCP: {sun,voder,amdahl,decwrl}!apple!dowdy Cupertino, CA 95014 "Plus ca change, Plus c'est la meme chose."
skinner@saturn.ucsc.edu (Robert Skinner) (09/15/87)
In article <2651@ames.arpa>, eugene@pioneer.arpa (Eugene Miya N.) writes: > In article <20412@ucbvax.BERKELEY.EDU> oster@dewey.soe.berkeley.edu.UUCP (David Phillip Oster) writes: > >One of our local commedians came out on stage and said he had a part time > >job colorizing Ansel Adams prints. > > The irony is that Ansel > probably would not have objected to people experimenting with his > prints. I don't know about B&W films. > I just thought I would add this: In a class taught by Alain Fournier last year he pointed out some interesting things about colorization. The colorizing is done on the low band-width signals of video which carry the color signal. The high bandwidth B&W information is untouched. So if you don't like watching the colorized versions, simply turn down the color on your TV and you get the original image. This also means that the original 35mm prints are not touched. This is only done on video, where the relatively small bandwidth of the color signal makes it economical to do this sort of thing. (I'm discounting the rare and very expensive cases of people 'painting' original 35mm prints. It doesn't happen very often.) I think that its humorous that no one has pointed this out before (or disgusting that people don't listen to reason). I personally don't like the colorized versions, but I think that without colorization a lot of classic films would never make it to video because the estimated market is too small. Maybe we should really thank Ted Turner, et. al. for makeing these movies accessable to all of us, colorization fan or not. Robert Skinner skinner%saturn.ucsc.edu@ucscc.ucsc.edu