a modern buffet SP is very brilliant, and older one not that brilliant. I thought they were both nickel until talking to anderson plating. Until one polished the silver with specific silver techniques, then it was more obvious. My SP Selmer CT vs my non-SP Selmer CT wasn't much different in visual perception. was it cleaned every so often for display, etc. With silver plating / nickel I was unaware of how the instrument was stored or taken care of. I'd go with nickel too, plus when you check the serial number it comes up a plain jane R13. Trying to do it from pure digital (or, even worse, digitized representations of physical photographic prints, or (horror of horrors) from an inkjet print) is a game I'd not want to play. Making the same judgement call from regular photographs is also pretty obvious, since the colors are not "washed out" by dithering (although it's still there, only on a molecular level in the dye particles, rather than relatively discrete pixel-sized units). I know that my silver key work clarinets stand head and shoulders above my nickel key work ones. The difference between nickel and silver is usually pretty clear to the eye when seen in a straight up comparison, or it is at least to moi. (And, if you really want to push the envelop, try making your judgement off of an inkjet or laser print of a digital photograph.) Push comes to shove, shiny metal just doesn't look all that much like metal after all of this. They only know that a photograph doesn't look quite right, but not exactly why.)Īs one of the characteristics of a metallic surface is the reflection of other objects and light sources, the dithering (in effect) introduces a second layer of "non-web safe" color in the reflections. (This issue is very familiar to those who have done web site 'programming', but it is pretty transparent to most of the rest of the world. Websites like this one have a default setting whereby images are reduced to some subset of the 256 "websafe colors", either in "pure form" (which is unusual in a photograph) or in mixtures of pixels that (like a color television image) use multiple colors to "fill in the gaps" betwixt the magic two hundred and fifty six web safe hues. Then, further artifacts are introduced into an image in the "dithering" process that is used to "fill in" the intermediate colors in any photographic image, but particularly in depictions of a metallic surface. Reflections (which are a large part of metallic surfaces) are (usually) point sources - pixels "smear out" a point into something larger. There is a problem with lower picture element density digital photography and metallic surfaces, particularly when the final image is "published" on the internet.įirst off, the fine "detail" in a photograph of a metallic surface tends to get submerged through the pixelization process. Digital photography and metallic surfaces
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