Re: "Mama, don't take my Kodachrome away"

"Peter" <peternew@xxxxxxxxxxxxxxxxxxx> wrote:
What's amazing here is the need to defend. My simple statement was made in
the context of image preservation, clearly I thought, menat that no media is
imune from deterrioation.

To the degree that you are correct, it is simply not
significant.

That is, yes a given media deteriorates, but in one case
it is unique and therefore the deterioration is
irreversable (i.e., making a perfect copy of the
original while before it has deteriorated is not
possible). The other case being compared has no such
restriction and multiple *perfect* copies can be
generated from any one perfect copy, thus making the
eventual deterioration of any media totally irrelevant.

But your concept of it is not correct anyway, as shown
by the discussion below:

Obviously, once we get into the area of image
revocery, it menas some form of restoration. With a painting, we have the
resotration artists understanding of what was originaly there. With a
digital image recovery program we have various algorithms.
Both can work very well and either can suck. A restoration algorithm is
nothing more than a guess.

Digital error correction is *not* a "guess". It uses
data redundancy to determine precisely what all of the
original data was. The output is not just close, it is
*exactly* correct.

That is not true with restoration of a painting or a
film image unless they have been digitized.

Just as any noise reduction in post processing is nothing more than an
algorithm for color blurring. It may work quite well, or may suck in in any
particular image.

Most forms of noise reduction do not involve color
blurring.

--
Floyd L. Davidson <http://www.apaflo.com/floyd_davidson>
Ukpeagvik (Barrow, Alaska) floyd@xxxxxxxxxx
.

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