I'm not trying to get into a protracted argument about this. My point is simply this: filters in PhotoShop that are intended to simulate camera filters are designed to work with a color source. A PhotoShop based red filter will process data in the RGB channels to do its thing. If all you present is an original black and white source, these filters will not operate as intended.
Yes of course if there is any tonal separation at all (as we discussed with the red apples and green leaves) you can find many ways in PhotoShop to grab those individual tones and alter them to your hearts content. I don't deny that, I do it all the time. But that is not the point of my statement, which is quite simple - the "simulated camera filters" you can use in PhotoShop are designed to work against a color source. That is the full extent of that statement.
My point on a blazing white sky was the problem you have if you have black and white film that is insensitive to the blue sky, and instead renders it very white. I have no doubt you can PhotoShop your way around that, so go ahead, knock yourself out. But doing that is not simply a matter of presenting a PhotoShop simulated orange or red filter with a black and white image and expecting it to do the right thing, as previous posters implied in their posts, whether they intended to or not.
I will continue to maintain that if you want to use PhotoShop to simulate the use of in-camera filtration by using simulated PS camera filters, you are best off starting with color film. For what you are trying to do, the small loss of resolution is probably not an issue. But if you like working with black and white film, your processing workflow is made much easier if you do in-camera filtration. Polarizers and ND filters add another dimension that are difficult to accomplish in post, regardless of the original film type.
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