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Light Filters — Jones 173
Me. Waller: I want to rise to a point of protest against Mr. Jones' statement of the fact that in order to correct for hue we should increase brightness as we get into the reds. I don't doubt that Mr. Jones' findings are correct scientifically; in fact, I know that they are, but another factor enters in which I think we should reason. All of us have a store of visual impressions, and as we have stored visual impressions, we have stored photographic impressions. Mr. Jones just pointed out that it is an accumulation of these impressions which makes us see the things in this room as we would see them in white fight. Since the time of Daguerre, we have known that things photograph black, and I think the reaction of the average audience is that darker objects are and should be darker on the screen. There is a built-up formula in the motion picture audiences' minds that I have found in talking to the fans.
Mr. Jones: I cannot agree with Mr. Waller's point of view. I reafize we have been accustomed in photographic work to the distorted rendition of brightness w^hich is given by photographic materials of the ordinary blue-sensitive type. There is little doubt that this distortion is in the opposite direction to that required by the great mass of our every-day experiences. I must agree that we are accustomed at present to the photographic convention of rendering reds and yellows as black. I do not befieve, however, that there is any reason for continuing this practice which is ob\iously contrary to the logical requirements. The fact that we have for a long time been doing something obviously wrong is not an excuse for continuing. Perhaps Mr. Waller is correct in his opinion that we should change our photographic conventionalities somewhat gradually but I do not feel that our eventual aim should be to produce a rendering as constant as possible with the great mass of our \'isual experiences. The fact that we have counteracted a bad habit is no particular reason why we should not reform.
Mr. Ross: We have in mind a studio setting wherein a scene includes green trees, blue flowers, red cows, etc. Would it not be possible, for a given light source to determine the shades of gray paint which could supplant these colors wherebj^ when photographed without filters their registration on an ordinary negative, without the use of one or more filters, would be the same as if the original colors had been photographed with panchromatic film and filters?
Mr. Jones: I had the same brilUant idea a few years ago and thought it advisable to discuss it with someone who had experience