daniel.in.la wrote: chez wrote:
Yep, shooting religious ceremonies in early dim light in India had me at ISO 6400 and sometimes to 12,800 with a 1.8 aperture. Sometimes you just don't have the luxury of well lit venues.
Would love to know how film photographers of yesteryear worked around dim lighting situations with the limitations of what was available back then? Boosting ISO is the luxury that once wasn’t. Photography was still possible with fast glass in low light. New cameras take away the problem solving and add new world complaints like high ISO noise like the R IV is apparently plagued with.
Interesting times...
There's a great story from British Guardian photographer Eamon McCabe back in the 80's, he'd been shooting some world championship table tennis competition, and timed his film usage to last frame right through to the last game. Then, right after that, the organizers announced a final exhibition game, and in a panic he rummaged through his bag and found one roll of FP4 which was only 125 ASA, so he shot it at whatever setting he'd been rating the HP5 at, I think it was 1600 or 3200 ASA, and thought "there'll be little to no chance that'll yield anything."
Long story short, he threw the FP4 at the lab tech, told him what he'd done, the tech proceeded to drop it in the deveoper, kinda forgot about it, and went to lunch. On his return, the tech pulled the FP4, fixed it, printed it and there was a stunning shot on there which won Eamon a few press awards. Its the 8th shot in the gallery:
E6 labs would routinely do a similar thing with Transparency film for clients like NGS, notice how beautifully grainy some of those old 80's National Geographic images are, there was a magic to some of that work, something you completely loose when you add lights or digital cameras to the mix.
Sep 15, 2019 at 11:56 PM
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