It is interesting to note what happens under different sky conditions. If the sky is white, the character of the blend changes and the mirror position for best blend shifts slightly, by an amount too small to correct, at least in the first printer. At the best blend position the blend looks like a darker purplish line in the center of a lighter blend. This follows from the typical emulsion characteristics. For very dense skies or panels, the matchline changes character in the opposite sense taking on the appearance of a light band with dark edges (although the dark edges are often not apparent in the dark scene) and also requires a mirror shift for best blend by a small amount. There is sometimes a very slight uncorrectable color shift. In the picture, there is one scene where the camera is half submerged where both effects (white sky and dense water) are present in the same matchline.

    When the sky is blue we have an example of a color shift. Here there is good exposure in the cyan color layer and very little density in the yellow and magenta layers of the emulsion so that these last two layers are relatively unresponsive to the feather exposure. The feather therefore takes on a blue cast. Where the sky runs from deep blue-cyan at the top to white haze near the horizon, it is possible to see the blue line shading to magenta near the horizon.


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