I don't know. Try googling for "autochrome" and see what you think.

I'm imagining here what a new Autochrome might look like. I don't know for sure because the ones we see can be quite faded, so I may or may not be wide of the mark.

Prompted by the discussion on colour or mono here is an image that I have modified to look as much as possible like an early Autochrome colour transparency.

Autochrome is an early process (1900-ish) that uses starch grains to make up the image. The result is muted and grainy colour.

[IMG]http://i240.photobucket.com/albums/ff250/johnriley1uk/025-Haddon-Girl.jpg[/IMG]

The 14.6MP CMOS measures 23.4x15.6mm and the 10.2MP CCD measures 23.5x15.7mm.

My calculation shows the K20D as exactly 3:2 and the the K10D/K200D as almost the same but not quite. The difference is very very small.

Unfortunately I don't still have the figures for the *istDS sensor, but it is in the instruction manual.

In any event, it is a different sensor and the shape may well be slightly different, requiring different cropping in Photoshop. I would reset my crop tool to lose a sliver of image as required to fill the paper. Composition is rarely so tight as to make this a problem.

So if colour had been the norm, would black and white have been invented?

We'll never know of course, but to deny that black and white images can be powerful is to deny the existence of some really incredible stuff. I may be that not everyone is aware of what is out there or it may be that some just do not like monochrome, which is fair enough.

I did a recent Fine Art Nude shoot and when I saw the images I did opt to make most of them in colour, which I did not expect that I would do.

Nice idea Dan. It's something I haven't had time to do yet, but it's really a very useful if not essential part of a course/lecture.

Same as aboce really. OK but not exciting and probably not great for digital.

However, don't forget that at least one famous photographer made his style and his fortune using a reject 50mm lens, so try it and see if the faults can be made into virtues.

If you think about what happens when you include a bright light in a scene, you are adding lots of light that falls on the metering system. So the camera reduces the exposure accordingly.

The answer is to dial in exposure compensation when including bright lights or sky. Maybe 0.5 to 1 srop for starters, more if needed.

At least with a digital camera you can see the resukt straight away.

I can definitely say maybe. Or maybe not. In reality they both produce excellent reults and you have to be quite picky at this level when discussing the differences.

If you never print beyond A4 there is probably no difference.

We had a talk on Urban Exploration last week at ADAPS. All very exciting stuff, but not as exciting as hidden tunnels beyond locked doors!

Fantastic!