On Fri, 18 Jun 1999, Jeff Borenstein wrote:
> A) When taking sunsets and or shots with a dominate foreground and
> background (I shot a chapel which was lit by bulbs and it had a statue in
> front) is there a way to get *some* definition in the foreground? I mainly
> got silhoutess with great color in the sky..what could I have done to
> improve this?
Two ways. Best, to use a Graduated Neutral Density filter. The
best ones (and they are pricey, and well worth it) are Singh-Rays.
The second is to flash the foreground, but here you could easily get
into a problem where the light temperature that's flashed would not
match the background. This can be fixed via warming gels, but it takes
some experience to do so. Experiment before trying it on a shoot.
> B) Bracketing. I hear so much about this! Am i confusing the little dial
> next to the shutter release and the ASA knob in regards to bracketing? If I
> have a scene and i move the dial down one (the knob that shows up in the
> viewfinder) and up one knob this is esentially bracketing the shot 1/3rd
> stop up and down? Or do I need to change the ASA knob? does changing the
> ASA knob esentially do the same thing, but allows for less control like the
> other switch?
Yes, that is bracketing. Leave the ASA be. Remember to always change
it back to the null position.
> C) With the 20 rolls of velvia and 5 or 6 of elitechrome 100, i got the
> fuji mailers. I read that they dont "push process" film. The roll of
> velvia i did develop was done really well at a local lab, but it cost 13
> bucks! For this price I could get processing and a roll of film by mail! I
> dont really care about the time it will take to develop these slides, but if
> i use the concept of bracketing will Fuji develop the scene i bracketed all
> the same?
Yes, they'll develop them all the same, but they will not look the same,
as they might with print film (and they really don't, to the trained eye.
Your bracket will show up clearly. When the shot is truly critical, you
may want to bracket further than a mere + - 1/3rd stop, not to mention
shooting variants and duplicates.
> D)
> The roll was mainly on auto and it came out well. But of course a few shots
> were darker than expected. Should i have overexoposed 1/3rd or 1/2 a stop?
[That's a truly expensive lab...]
Since we have no way of knowing what you mean by "darker than expected",
you should learn this for yourself by using the exposure biasing and
seeing what happens between 1/3rd & 2/3rds over and under exposure.
I strongly advise you to waste a few precious frames and edify yourself
by going to a "normal" scene, and shooting a long bracket. By that I mean
shoot it at whatever the meter indicates (better yet, use your grey card,
shoot at that, then shoot another frame at what the meter indicates for
the scene) then in 1/3rd increments, go all the way to +2 and -2 from the
straight reflected reading (6frames there). Keep track of what's on each
frame, and analyze the results carefully.
> All of these pretty much revolve around velvia and bracketing / exposure
> procedure on the 2n in particular. But indirectly i'd like to make sure
> that the fuji mailers will be able to correctly develop the film using these
> technqies. See letter C.
The fuji mailers will work perfectly. Any problems there are 99.999%
likely to be on your side, not Fuji's. But always experiment at home
with things like this before going on a shoot.
*= Doris Fang =*
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