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11-05-2018, 05:35 PM   #31
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QuoteOriginally posted by Silent Street Quote
(1 degree I assume?)
Yes, 99% sure it was not modified so 1 degree.
Thanks for the Guy Rhodes link, I will need to read a few time to digest all of it.
I hope it's OK to paste Eric's email here, if not let me know.
"Wait for the film to come back and see how the prints turn out. It's okay to shoot, there isn't any lube that dries out when the unit is this new or hasn't been used much. If you want me to install seals and check speeds send it on in."

And just another thank you all here for taking the time to post.


Last edited by nuke8401; 11-05-2018 at 05:42 PM.
11-05-2018, 05:40 PM - 1 Like   #32
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QuoteOriginally posted by Silent Street Quote
There is little point in perusing Zone System exposure and methodology if your film is sent to a lab for processing. Although it can be and is done for roll film, it is best and rewarding with sheet film, which was the original intention.

I disagree, and, with all due respect, profoundly.

The zone system was Adams’s way to create a repeatable methodology when he was put in the teacher’s position. The idea is to know at the time the photo is made what it should look like, and then manipulate craft predictably to achieve that “previsualization”.

We can still do that with lab processing, color film, and roll film. It just means we won’t be adjusting negative density ranges using processing. We will only be able to use exposure and filtration to adjust subject brightness range to fit in the range of the film.

So, as I said, the development testing stuff won’t be as useful. But the discussion of previsualization, measuring scene values and placing them within the sensitivity of the film using exposure applies fully. And nobody explained it better than its inventor, in my opinion.

For slide film, instead of the ten zones Adams discusses, the scale for me extended from Zone III to Zone VII, with high zones being the danger zone. (Velvia tighter.) And color negative film gave me close enough to ten zones with normal lab processing, but the danger zone (as with black and white) is at the underexposure end).

So, when I want to make sure I don’t blow out highlights on slide film, I place them no higher than Zone VII (two stops more exposure than a gray card reading). And so on. A zone scale marked on that Pentax spotmeter makes that sort of thing easy.

Rick “it’s all about doing things on purpose” Denney
11-06-2018, 09:37 AM   #33
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QuoteOriginally posted by rdenney Quote
Rick “it’s all about doing things on purpose” Denney
Yes! (But easier exquisitely said than exquisitely achieved.)
+1
11-07-2018, 09:16 AM   #34
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QuoteOriginally posted by rdenney Quote
For slide film, instead of the ten zones Adams discusses, the scale for me extended from Zone III to Zone VII, with high zones being the danger zone. (Velvia tighter.) And color negative film gave me close enough to ten zones with normal lab processing, but the danger zone (as with black and white) is at the underexposure end).

So, when I want to make sure I don’t blow out highlights on slide film, I place them no higher than Zone VII (two stops more exposure than a gray card reading). And so on. A zone scale marked on that Pentax spotmeter makes that sort of thing easy.
I use an averaging system when shooting slide film on my P6x7 & 67, using my Pentax spot-meter V. If the darkest and lightest meter reading of the scene are no more than 5EV, then I use the average of the two for my meter reading. If it's more than 5EV then I'll do a third reading for middle range and average the three. Works well with Provia 400X.

Phil.

11-07-2018, 11:23 AM - 1 Like   #35
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Say there are 16 stops of light in a scene. And further say you typically get about 10 stops worth of detail in your end results with average developing home or lab. Where do you place the middle gray exposure in this scenario? Do you expose for the shadows and get what you get in the highlights? Do you expose for the highlights and get what you get in the shadows? Or do you sacrifice both some shadow and highlight detail by selecting the middle? And finally do you just say oh-well whatever the camera meter says?

That's a choice you get to make if you have that control over metering your own scene. That control can be gained by experience with your camera's meter response to these conditions and compensate. And it can be done very effectively with a one-degree spot meter once you can place a tone in a scene and get that in your final image to a modest degree. Here a one-degree spot meter is still useful home developed or not.
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