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COLOR RENDITION 265
Of course there are certain aids in determining the photographic values of such materials by inspection through the various monotone viewing-filters available; but the writer's personal experience with such niters is that none is uniformly accurate with all colors and under all light conditions; in fact, no such filter will give an accurate reading for any single sensitive material under nearly all the conditions met with in the course of general studio work. For instance, the so-called "Pan glass" is reasonably accurate inasmuch as it will show about what one will get on Panchromatic film with a K-2 filter; but with either a heavier or lighter filter, or with none at all used, this glass is entirely incorrect. The same may be said of the so-called Blue glass or C monotone filter. It is useless to use such a filter when photographing with Mazda light or Panchromatic film. It may, however, give one a fair idea of the color rendition when Arc or Hard light or even Cooper-Hewitt light is used, and even in daylight when one is using Orthochromatic film, but for other uses this filter is of little value. Therefore, it is this writer's suggestion that if a single pair of accurate, neutral-colored viewing-filters (one for Orthochromatic film, and one for Panchromatic) could be devised, it would be a great boon to the cinematographic profession. To be absolutely accurate such a filter would of course have to be made in several different densities to take care of the use of various kinds of filters as well as both Orthochromatic and Panchromatic emulsions.
In view of the existence of the condition just outlined, it appeared to this writer that a systematic series of tests of the various sensitive materials commonly used in the studios, and covering a wide range of colored materials and textures, made with absolute uniformity, under the light and filter conditions most commonly met with in studio practice, would furnish a far more nearly scientific basis from which to judge such photographic values than experience, filters, or any previous tests with which he was acquainted. Accordingly, he set himself to the task of devising and executing such a series of tests. The first problem was to collect a comprehensive amount of colored materials in every shade and tone possible and then to segregate the different shades and tones of each individual color, eliminating those that were not necessary.
The second problem was that of arranging the color-specimens to be photographed in a way that permitted several different shades and tones of the same color to be easily compared. This was done by arranging the color-charts with nine squares of different shades of each color to the sheet. Then, to form a basis for more rigid comparison, each sheet was also provided with identical monochromatic squares of white, light grey, dark grey, and black.
But these test films must all be exposed and printed so as to preserve the same relative factor of density for the entire series, or the tests would be valueless. To this end identical photographs were placed at the centre of each of the test-sheets, and exposure and printing were keyed by these. In the final, enlarged prints these photographs all showed the same density, the relative densities of the dif