Originally posted by CreationBear Very cool--I can imagine a crowd of young Diggers listening to "Waltzing Matilda" before shipping out to the Dardanelles.
That's going way, way back — beyond my time. Though I often sing
Waltzing Matilda when camping! Or
The Man from Snowy River or
Clancy of The Overflow. If you really want to get into toe-tapping, get going with
Click Go The Shears. Originally posted by CreationBear At any rate, if you've got any foolproof approaches to metering for Velvia in a rainforest setting, feel free to chime in--for myself, there always seems to be one leaf with its cutin layer turned just the wrong way...
There is still a lot of myth and misconception about the use of Velvia and how it seemingly "Disneychromes" scenes. Yes, it will misbehave if it is used in conditions outside its performance brief! It has emphasis in each of its RGB channels, and can be either enhanced or moderated
depending on prevailing lighting conditions. Sometimes I like to make it look like Reala.
In a rainforest (a lot of them are very dry around here this side of what is essentially a very dry winter):
• Nature is not always particularly 'just so' with arrangement. if there is an annoying litter like a fallen branch, move it.
Shoot, then replace it where you found it.
• With MF RVP, meter at its native speed (
50, not 40, which is better for smaller formats, like 35mm)
• Avoid areas in large shadow or extremely bright areas (bright sun on water, for instance, creates out-of-range spectrals; big shadow areas encourage overexposure)
• Small scenes with a strong central focal point work best.
• Use a polariser (in a rainforest, this enriches the foliage, but can also lead to reciprocity issues if the exposure is extended); and
• Meter methodically, not willy-nilly: taking into account the polariser's filter factor (either +1.5 [bright light] or +2.0 [flat, diffuse light]) with a spot meter (not incident), read a bright area (but not the
brightest e.g. spectrals) of the scene, and lock in; next, read a darker area (but not total black - Zone 0) and lock that in. At this point you are free to select a mid-tone (Zone IV to VI) within the scene (e.g. a wet rock face)
or get a known mid-tone by filling the spot-meter's viewfinder
* with a grey card (this part can also be done first if desired). Lock that in. When the scene has been scoped correctly, the scale should so an even distribution of marks after averaging, and using judgement you can either accept that as final or tweak the ranging (left or right) for slight under or over-exposure (with slide film destined for printing, slight overexposure is preferred to compensate for printer loss). The method outlined means consistent and repeatable metering (taking into account the full range of luminances of the subject, unlike an incident meter, which assumes there is only one value) under like and dissimilar scenes with only adjustments at the end required.
______________________________________________________________________
* Sekonic spot meters e.g. the L758D/DR read 12.6% incident, 16.2% spot/reflected