Почему при съемках лунной аферы ошиблись с цветом лунного грунта?

"I worked in my exhibition printing towards a neutral gray, isolating what I felt to be filmic issues and eliminating them. There is still color in my prints, but filmic casts and filmic crossover has been largely eliminated; I worked to eliminate mission-specific filmic artifacts.

Transparency film from AS16, for example, is consistently, relentlessly blue — no one ever reported the moon being blue — as well as brutally overexposed in most instances. Photoshop allows one to work on contrast and saturation in to compensate for overexposure in ways that amaze, but increase contrast and saturation and everything only goes even more blue — so one must selectively go in and desaturate that overheightened blue that never should have been there in the first place . . . . Picture number 67 (in Full Moon) still has some blue, but much has been cut. Images looking directly into the sun, however, all go blue and should do so: that's what happened across all missions.

AS17 transparency film is pretty consistently magenta, with crossover of greens; I cut them both down, but one can still see in the prints the warmth that Cernan and Schmitt discussed.

And so on through the missions . . . "

"Я работал над своей выставочной печатью до нейтрально-серого цвета, выделяя то, что я чувствовал как кинематографические проблемы, и устраняя их. В моих отпечатках все еще есть цвет, но киносъемки и кинематографический кроссовер были в значительной степени устранены; Я работал над устранением специфических для миссии кинематографических артефактов.

Например, прозрачная пленка от AS16 неизменно синего цвета - никто никогда не сообщал о том, что луна синяя, - а также в большинстве случаев жестоко переэкспонирована. Фотошоп позволяет работать над контрастом и насыщенностью, чтобы компенсировать переэкспонирование удивительными способами, но увеличивать контраст и насыщенность, и все становится только еще более синим - так что нужно выборочно входить и обесцвечивать этот чрезмерно синий, которого никогда не должно было быть на первом месте . , , , Картинка № 67 (в полнолуние) еще немного синего цвета, но многое было вырезано. Однако все изображения, которые смотрят прямо на солнце, становятся синими и должны это делать: так было во всех миссиях.

Прозрачная пленка AS17 довольно последовательно пурпурная, с пересечением зелени; Я вырубил их обоих, но на отпечатках все еще можно увидеть тепло, которое обсуждали Сернан и Шмитт.

И так далее по всем миссиям..."
> Почему при съемках лунной аферы ошиблись с цветом лунного грунта? [Yuri Krasilnikov#14.01.19 00:40]

 

So: I worked in my exhibition printing towards a neutral gray, isolating what I felt to be filmic issues and eliminating them. There is still color in my prints, but filmic casts and filmic crossover has been largely eliminated; I worked to eliminate mission-specific filmic artifacts.

Transparency film from AS16, for example, is consistently, relentlessly blue — no one ever reported the moon being blue — as well as brutally overexposed in most instances. Photoshop allows one to work on contrast and saturation in to compensate for overexposure in ways that amaze, but increase contrast and saturation and everything only goes even more blue — so one must selectively go in and desaturate that overheightened blue that never should have been there in the first place . . . . Picture number 67 (in Full Moon) still has some blue, but much has been cut. Images looking directly into the sun, however, all go blue and should do so: that's what happened across all missions.

AS17 transparency film is pretty consistently magenta, with crossover of greens; I cut them both down, but one can still see in the prints the warmth that Cernan and Schmitt discussed.

And so on through the missions . . .

 

Apollo Photography and the Color of the Moon

    Editor's Note: I recently had the pleasure of attending the Sydney opening of Mike Light's Full Moon and, the next day, to have a leisurely walk thru with some Sydney friends. I was delighted at the lovely detail. Some of the geology visible on the orbital shots is fabulous; and I was simply awed to see some of the pans done with care and at large scale. I highly recommend the show to anyone who has a chance to see it. Our Sydney friends, Jan and Russell Beardmore, are not certifiable Space Nuts, but still spent the time moving from picture to picture, responding to each with a heartfelt "Wow!!!!!". //  Дальше — www.hq.nasa.gov