As Brian stated, a sensor is a monochrome device, it is sensitive to light level only. The colour information is added by either the Bayer filter, or in the case of the Foveon the depth to which various wavelengths of light, i.e. different colours penetrate the silicon. Therefore the camera has added the colour information to the image. The uncoloured information must by inference be the truest representation of the light levels of the original scene.Wait a minute, I always thought the best B&W conversions are the ones that have colour information in the RAW?
No- the best Monochrome images are done with a Monochrome sensor, whether electronic or chemical based. Otherwise, Kodacolor 400 would have put tri-X out of production decades ago. Filtering, also best done optically rather than digitally.Wait a minute, I always thought the best B&W conversions are the ones that have colour information in the RAW?
Hmm, I knew there was a reason why I normally avoid discussions such as this Paul, I would suggest that you are correct about the Foveon sensor.I'm not sure whether I'm nitpicking, or simply not understanding a couple of things:
Black and white film (whether silver- or dye-based) doesn't have equal sensitivity to all wavelengths of light (hence pan- and ortho-); How does this play into the discussion?
I "get" that a Bayer filter adds colour, but if the Foveon is sensitive to different wavelengths, is it not recording rather than adding colour?
'Surplus' was my own word. It was the impression given to me by the Leica dealer that the B&W M9 is Leica's last hurrah with the Kodak sensor with whatever they had left - that is, whether it's their last contracted run of sensors or otherwise.I cannot believe that "surplus" sensors will be used for a Monochrome version of the camera.