>===== Original Message From AG Schnozz <agschnozz@xxxxxxxxx> =====
>Joel W. Wrote:
>>With 35mm it is always most important to get the highlights
>>right and let the shadows fall where they will. I think it is
>>true even with print film. I was taught to expose BW film for
>>the shadows, but this presupposes development to control the
>>highlights. One doesn't usually have this kind of control in
>>C-41 development (or even with BW most of the time), so I
>>basically shoot print and slide film the same way.
>
>I would have to slightly disagree here. With modern print
>films, both C-41 and modern B&W emulsions, the highlights have
>gobs (technical term) of headroom. I would much rather
>overexpose most print films than even risk running under. You
>can always pull something out of the highlights, but there is no
>way to recover what ain't there.
>
>With B&W film, you still need to be very concerned with shadow
>control and can pretty much ignore where the midtones land (as
>long as they are within a couple of zones of neutral). I rarely
>worry about blowing out the highlights on my Delta films.
>
>With slide film, I'm much more concerned about the mid-tone.
>You can "overprotect" the highlights to the detriment of the
>whole image. That's where polorizers and gradients come in.
>
>I've been experimenting with selective merging of bracketed
>exposures. Still a ways to go in my techniques, but I knew that
>eventually I'll be able to use some potentially spectacular
>shots that should have gone into the bin.
>
>AG-Schnozz
I just strive to shoot print film with the same accuracy that is required for
slides. I think the resulting negative works better. I don't disagree that
it is better to overexpose negative than underexpose. Kodak says that their
films are best when exposure is right on, while acknowledging that there is
something like 3 stops overexposure and 2 of underexposure that their print
films can tolerate. I've just found that they're correct about films being
best when exposure is right on.
Joel W.
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