dswiger wrote:
Need some advice on shooting transparencies in dusk or dawn scenarios....
Thanks
Dan
I use a very cheap now Canon DSLR set on M at F8 , ISO 100 for all my LF metering and always rely on the histogram.
Depending on the scene, the sky almost always goes close to +1&1/2. White cloud - always a +2. Same rules apply to the whites from crashing waves. Then I click and look at the histogram. It should just start clipping and then I may pull back 1/3 to have it perfect (no clipping). Or leave as is.
For yellow leafs it would always be a +2/3 , for Mono lake tufas +1&1/2 , Green grass or leafs +1/2. And then a test shot and histogram analysis to make sure it does look right. If not - some further shutter speed adjustments...
For that particular shot that you have posted I would meter for the sky putting it at +1&1/2 , taking a test exposure with my DSLR, and ensuring that there is no highlights clipping( I would even leave a 1/3 or 1/2 stop room before that). My guestimate for that scene and light would be around 1/60 at F8. Then I would add 2 stops to my metered that way exposure, \"translate\" it into my LF aperture (F22 ?) and shutter speed (1/2 of a sec), and use a .6 hard-edge ND filter over the part of the image lit by the sun.
That if I was shooting a transparency rated at ISO 100 (Velvia 100(F), Astia 100F, Provia 100F). For Velvia 50 I would add another stop.
Since the scene \"allows\" to use a ND filter I would do the same for Ektar or Portra 160. For Portra 400 I would subtracts a stop or a stop and a half.
If a scene does not allow to use a ND filter or its presence will be obvious in the shot but the dynamic range is beyond of what a slide film can handle I would use Portra and nothing else. With Portra I would put my darkest part, where I want to retain the details, in between -2 and -3 and let the highlights fall were they may. I will still do the normal processing.
The DR of Portra is really spectacular.
Same rules applies to B&W film.
Hope this helps,
SergeyT
Mar 06, 2016 at 10:55 AM
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